In Fingal S Wake

The former Northern Lighthouse Board tender Fingal was in service for some 37 years and was party to many operational and technical changes in the provision of aids to navigation in Scottish waters.

Long considered the essential guide to Joyce's famously difficult work, Roland McHugh's Annotations to "Finnegans Wake" provides both novice readers and seasoned Joyceans with a wealth of information in an easy-to-use format uniquely suited to this densely layered text. Each page of the Annotations corresponds directly with a page of the standard Viking/Penguin edition of Finnegans Wake and contains line-by-line notes following the placement of the passages to which they refer. The reader can thus look directly from text to notes and back again, with no need to consult separate glossaries or other listings. McHugh's richly detailed notes distill decades of scholarship, explicating foreign words, unusual English connotations and colloquial expressions, place names, historical events, song titles and quotations, parodies of other texts, and Joyce's diverse literary and popular sources. The third edition has added material reflecting fifteen years of research, including significant new insights from Joyce's compositional notebooks (the "Buffalo Notebooks"), now being edited for the first time.

This sixth in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake. This volume covers all of the long chapter 2.3 with the intent to explore its 80 pages as an art object. Coming off the last chapter about children, the role performed in the case of children by over-bearing parents is taken over by imperialistic forces in the case of adults. The imperialists consume weak adult spirits by telling them what to do. Anal-retentive children become passive/aggressive adults under the direction of imperialists. They are the "head liners" in this chapter. The spirit imperialists in this chapter range from the church allowing you to experience the joy of sexual intercourse only in the harness of the properly married state, to the state ordering you to kill other humans, to your customers whose desires you must appease in order to do business and to your collective unconscious which houses the collective bulletins registered in human experience. All of these usurpers are deployed to limit your free will and tell you what to do. They speak to your outer ear in order to smother the voice in your inner ear. In terms of RCC theology related to the human spirit, the Holy Spirit is at least theoretically the source of mutuality and is supposed to infuse the spirit of the joined father-son divine mutuality into our human relationships. But that spirit has since Pentecost been locked up in and administered exclusively by the church through its sacraments. In Joyce's theology, a passive Holy Spirit sequestered in the church does register the relationship in the trinity of father and son, but that relationship is not charity but the domination of the father over the son. Joyce sees this father dominance in Christ's fearful reluctance in the Garden of Gethsemane. In this chapter the three main victims made passive by the spirit imperialists are the Captain in the Norwegian Captain tale, Buckley in the Buckley and Russian General tale, and Earwicker in his own pub. The subject arenas for passivity are sex, war and earning a living. In the background as always with Joyce is the passivity of Eve and Adam in the Garden, a passivity that let aggressive TZTZ god into their spirits as fear and dependency and was laid down in the collective unconscious. The setting for this chapter about the human spirit is the sale of alcoholic spirits by Earwicker in his Pub aptly named the "House of Call." With "stout" flowing into glasses and coins pinging into his till, this chapter focuses on what else in the process the Proprietor Earwicker sells to the consuming patrons. And that what else is his own stout, his own spirit. Even though he is the Proprietor, he no longer owns himself. He takes their "orders" and then takes their orders. The audience in this pub setting is exclusively male. And inasmuch as the alcohol does the talking, when these males do and say what they want, they listen to the same old stories and banter at rather than talk to each other. There is no union or communion or mutuality-promoting conversation. Passive/aggressives yell at each other but don't communicate, communication being the mutuality-based network of the Holy Spirit. In a pun that connects much of this chapter, juvenile psychosexual "hang-ups" become telephone-type "hang-ups" in adult communication and mutuality.

Modern Irish and Scottish Literature: Connections, Contrasts, Celticisms explores the ways Irish and Scottish literatures have influenced each other from the 1760s onwards. Although an early form of Celticism disappeared with the demise of the Celtic Revivals of Ireland and Scotland, the 'Celtic world' and the 'Celtic temperament' remained key themes in central texts of Irish and Scottish literature well into the twentieth century. Richard Barlow examines the emergence, development, and transformation of Celticism within Irish and Scottish writing and identifies key connections between modern Irish and Scottish authors and texts. By reading works from figures such as James Macpherson, Walter Scott, Sydney Owenson, Augusta Gregory, W. B. Yeats, Fiona Macleod, James Joyce, Samuel Beckett, Hugh MacDiarmid, Sorley MacLean, and Seamus Heaney in their political and cultural contexts, Barlow provides a new account of the characteristics and phases of literary Celticism within Romanticism, Modernism, and beyond.

Joyce and Company is a comparative study which encourages a way of thinking about Joyce not as an isolated figure but as someone who is best understood in the company of others whether from the past, the present or, indeed, the imagined future. Throughout, Pierce places Joyce and his time in dialogue with other figures or different historical periods or languages other than English. In this way, Joyce is seen anew in relation to other writers and contexts. The book is organised in four parts: Joyce and History, Joyce and Language, Joyce and the City, and Joyce and the Contemporary World. Pierce emphasises Joyce's position as both an Irish and a European writer and shows Joyce's continuing relevance to the twenty-first century, not least in his commitment to language, culture and a discourse on freedom.