Joyce And Militarism

Each of James Joyce's major works appeared in a year defined by armed conflict in Ireland or continental Europe: Dubliners in 1914 at the outbreak of the First World War; A Portrait of the Artist as a Young Man in the same year as the 1916 Easter Rising; Ulysses in February 1922, two months after the Anglo-Irish Treaty and a few months before the outbreak of the Irish Civil War; and Finnegans Wake in 1939, as Joyce complained that the German army's westward advances upstaged the novel's release. In Joyce and Militarism, Greg Winston considers these masterworks in light of the longstanding shadows that military culture and ideology cast over the society in which the writer lived and wrote. The first book-length study of its kind, this articulate volume offers original and interesting insights into Joyce's response to the military presence in everything from education and athletics to prostitution and public space.

This collection of essays is a critical reexamination of Joyce’s famed book of short stories, Dubliners. Despite the multifaceted critical attention Dubliners has received since its publication more than a century ago, many readers and teachers of the stories still rely on and embrace old, outdated readings that invoke metaphors of paralysis and stagnation to understand the book. Challenging these canonical notions about mobility, paralysis, identity, and gender in Joyce’s work, the ten essays here suggest that Dubliners is full of incredible movement. By embracing this paradigm shift, current and future scholars can open themselves up to the possibility of seeing that movement, maybe even noticing it for the first time, can yield surprisingly fresh twenty-first-century readings.

In this first full-length study of race and colonialism in the works of James Joyce, Vincent J. Cheng argues that Joyce wrote insistently from the perspective of a colonial subject of an oppressive empire, and that Joyce's representations of 'race' in its relationship to imperialism constitute a trenchant and significant political commentary, not only on British imperialism in Ireland, but on colonial discourses and imperial ideologies in general. Exploring the interdisciplinary space afforded by postcolonial theory, minority discourse, and cultural studies, and articulating his own cross-cultural perspective on racial and cultural liminality, Professor Cheng offers a ground-breaking study of the century's most internationally influential fiction writer, and of his suggestive and powerful representations of the cultural dynamics of race, power, and empire.

 This is the second volume of a two-volume work entitled The British Army on Bloomsday. It contains detailed explanations of the military allusions in James Joyce’s groundbreaking novel, Ulysses, as well as an in-depth look at the two principal, fictional military characters: Major Brian Tweedy and his daughter, Marion (Molly Bloom). Also included are chapters on the minor military characters and personages that appear in the novel, the Royal Dublin Fusiliers (Tweedy’s old regiment), Gibraltar of the nineteenth century, and the British Army in Ireland on Bloomsday. The appendices contain period photographs of 1880s Gibraltar (where Molly Bloom spent her formative years) and barracks and other army facilities in Late-Victorian Dublin. While the first volume focuses on the British Army, this volume, The British Army in Ulysses, narrows in on the novel. The chapters on Molly Bloom and Major Tweedy present new findings that will likely provoke controversy among Joyceans. From the Introduction: James Joyce spent a good deal of his youth, and all his university years, in a British Army garrison city: Dublin. Throughout that period, 4,500 to 5,500 soldiers were quartered in that city of 250,000 residents. Barracks and former barracks were situated all over “dear, dirty Dublin” and probably one-in-eleven of the young men out in town during the evening and late afternoon was in uniform. The British Army was a major part of Dublin life and so it appears throughout Ulysses in characters, places, and references to wars and battles. Additionally, Joyce worked on Ulysses between 1912 and 1922. During that period, two wars were fought in the Balkans in 1913, and a "Great War" raged throughout Europe from 1914 through 1918. These conflicts, particularly the Great War, certainly influenced Joyce and his writing. As noted by Greg Winston in Joyce and Militarism, “it is not surprising that in Joyce's writings the martial element is frequent and ubiquitous.”

This is the first volume of a two volume work entitled The British Army on Bloomsday. It contains a history of the British Army through 1904 with an emphasis on Ireland and Irish history. Includes extensive, detailed material on commissioned and enlisted life during the Late-Victorian Era (especially for Irish soldiers), the Irish Militia, the armies of the British East India Company, and a description of the British Army of 1904. The book's subject matter is viewed through the lens of James Joyce's Ulysses with multiple references to material in the novel. The book gives the serious Ulysses reader full background information on the military events and characters that appear throughout Joyce's groundbreaking and most popular novel. While this volume focuses on the British Army, the second volume, The British Army in Ulysses, narrows in on the novel. The chapters on Molly Bloom and her father, Major Tweedy, present new findings that will likely provoke controversy among Joyceans.

The Ireland of Ulysses was still a part of Britain. This book is the first comprehensive, historical study of Joyce's great novel in the context of Anglo-Irish political and cultural relations in the period 1880-1920. The first forty years of Joyce's life also witnessed the emergence of what historians now call English cultural nationalism. This formation was perceptible in a wide range of different discourses. Ulysses engages with many of them. In doing so, it resists, transforms, and works to transcend the effects of British rule in Ireland. The novel was written in the years leading up to Irish independence. It is powered by both a will to freedom and a will to justice. But the two do not always coincide, and Joyce does not place his art in the service of any existing political cause. His struggle for independence has its own distinctive mode. The result is a unique work of liberation - and revenge.

An introduction to the fascinating world of Joyce’s manuscripts This book shows how the creative process of modernist writer James Joyce can be reconstructed from his manuscripts. Daniel Ferrer offers a practical demonstration of the theory of genetic criticism, the study of the manuscript and textual development of a literary text. Using a concrete approach focused on the materiality of Joyce’s writing process, Ferrer demonstrates how to recover the process of invention and its internal dynamics. Using specific, detailed examples, Ferrer analyzes the part played by chance in Joyce’s creative process, the spatial dimension of writing, the genesis of the “Sirens” episode, and the transition from Ulysses to Finnegans Wake. The book includes a study of Joyce’s mysterious Finnegans Wake notebooks, examining their strange form of intertextuality in light of Joyce’s earlier forms of note-taking. Moving beyond the single author perspective, Ferrer contrasts Joyce’s notes alluding to Virginia Woolf’s criticism of Ulysses with Woolf’s own notes on the novel’s first episodes. Throughout this book, Ferrer describes the logic of the creative process as seen in the record left by Joyce in notebooks, drafts, typescripts, proofs, correspondence, early printed versions, and other available documents. Each change detected reveals a movement from one state to another, a new direction, challenging readers to understand the reasons for each movement and to appreciate the wealth of information to be found in Joyce’s manuscripts. A volume in the Florida James Joyce Series, edited by Sam Slote

In this book, the first to explore the role of disability in the writings of James Joyce, contributors approach the subject both on a figurative level, as a symbol or metaphor in Joyce’s work, and also as a physical reality for many of Joyce’s characters. Contributors examine the varying ways in which Joyce’s texts represent disability and the environmental conditions of his time that stigmatized, isolated, and othered individuals with disabilities. The collection demonstrates the centrality of the body and embodiment in Joyce’s writings, from Dubliners and A Portrait of the Artist as a Young Man to Ulysses and Finnegans Wake. Essays address Joyce’s engagement with paralysis, masculinity, childhood violence, trauma, disorderly eating, blindness, nineteenth-century theories of degeneration, and the concept of “madness.” Together, the essays offer examples of Joyce’s interest in the complexities of human existence and in challenging assumptions about bodily and mental norms. Complete with an introduction that summarizes key disability studies concepts and the current state of research on the subject in Joyce studies, this volume is a valuable resource for disability scholars interested in modernist literature and an ideal starting point for any Joycean new to the study of disability. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles Contributors: Rafael Hernandez | Boriana Alexandrova | Casey Lawrence | Giovanna Vincenti | Jeremy Colangelo | Jennifer Marchisotto | Marion Quirici | John Morey | Kathleen Morrissey | Maren T. Linett