Suspicious Readings Of Joyce S Dubliners

Because the stories in James Joyce's Dubliners seem to function as models of fiction, they are able to stand in for fiction in general in their ability to make the operation of texts explicit and visible. Joyce's stories do this by provoking skepticism in the face of their storytelling. Their narrative unreliabilities—produced by strange gaps, omitted scenes, and misleading narrative prompts—arouse suspicion and oblige the reader to distrust how and why the story is told. As a result, one is prompted to look into what is concealed, omitted, or left unspoken, a quest that often produces interpretations in conflict with what the narrative surface suggests about characters and events. Margot Norris's strategy in her analysis of the stories in Dubliners is to refuse to take the narrative voice for granted and to assume that every authorial decision to include or exclude, or to represent in a particular way, may be read as motivated. Suspicious Readings of Joyce's Dubliners examines the text for counterindictions and draws on the social context of the writing in order to offer readings from diverse theoretical perspectives. Suspicious Readings of Joyce's Dubliners devotes a chapter to each of the fifteen stories in Dubliners and shows how each confronts the reader with an interpretive challenge and an intellectual adventure. Its readings of "An Encounter," "Two Gallants," "A Painful Case," "A Mother," "The Boarding House," and "Grace" reconceive the stories in wholly novel ways—ways that reveal Joyce's writing to be even more brilliant, more exciting, and more seriously attuned to moral and political issues than we had thought.

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Margot Norris discusses the challenges that Ulysses, one of the greatest and most difficult novels of the twentieth century, posed to the filmmaker, along with the production and censorship problems that Strick encountered before the film was released to great contemporary critical acclaim. James Joyce, interested in drama from his youth, encountered early Italian cinema in Trieste and subsequently worked to establish the first movie-house in Dublin in 1909. He eventually discussed his cinematographic writing techniques with the great Russian filmmaker, Sergei Eisenstein. But although Joyce considered the possibilities of filming his famous 1922 novel at various times in his life, Ulysses was not brought to the screen until independent filmmaker Joseph Strick released his adaptation in 1967. Margot Norris discusses the challenges that Ulysses, one of the greatest and most difficult novels of the twentieth century, posed to the filmmaker, along with the production and censorship problems that Strick encountered before the film was released to great contemporary critical acclaim. Though rigorously faithful to Joyce's language, Strick's decision to set the story in 1960s Dublin subtly shifted its political focus while producing an intensified humanistic interpretation of Joyce's novel.

Transnational in scope, this much-needed volume explores how modernist writers and artists address and critique the dramatic changes to food systems that took place in the early twentieth century. During this period, small farms were being replaced with industrial agriculture, political upheavals exacerbated food scarcity in many countries, and globalization opened up new modes of distributing culinary commodities. Looking at a unique variety of art forms by authors, painters, filmmakers, and chefs from Ireland, Italy, France, the United States, India, the former Soviet Union, and New Zealand, contributors draw attention to modernist representations of food, from production to distribution and consumption. They consider Oscar Wilde’s aestheticization of food, Katherine Mansfield’s use of eggs as a feminist symbol, Langston Hughes’s use of chocolate as a redemptive metaphor for blackness, hospitality in William Faulkner’s Sanctuary, Ernest Hemingway’s struggles with gender and sexuality as expressed through food and culinary objects, Futurist cuisine, avant-garde cookbooks, and the impact of national famines on the work of James Joyce, Viktor Shklovsky, and Tarashankar Bandyopadhyay. Less celebrated topics of putrefaction and waste are analyzed in discussions of food as both a technology of control and a tool for resistance. The diverse themes and methodologies assembled here underscore the importance of food studies not only for the literary and visual arts but also for social transformation. The cultural work around food, the editors argue, determines what is produced, who has access to it, and what can or will change. A milestone volume, this collection uncovers new links between seemingly disparate spaces, cultures, and artistic media and demystifies the connection between modernist aesthetics and the emerging food cultures of a globalizing world. Contributors: Giles Whiteley | Aimee Gasston | Randall Wilhelm | Bradford Taylor | Sean Mark | Céline Mansanti | Shannon Finck

Traditional readings of "Dubliners" have entrapped themselves in easy identifications with the narrator in the stories. Later critics have used strong overarching theories to explore the techniques through which the narrator produces these reductive effects. This study applies a different contemporary theoretical lens to each of the stories.

Hope and future are not the terms with which James Joyce has usually been read, but this book paints a picture of Joyce's fiction in which hope and future assume the primary colours. Rando explores how Joyce's texts, as early as Dubliners and A Portrait of the Artist as a Young Man, delineate a complex hope that is oriented toward the future with restlessness, dissatisfaction, and invention. He examines how Joyce envisions alternatives to the prevailing conventions of hope throughout his works and, in Ulysses and Finnegans Wake, develops formal techniques of spatializing hope to contemplate it from all sides. Casting fresh light on the ways in which hope animates key aspects of Joyce's approach to literary content and form, Rando moves beyond the limitations of negative critique and literary historicism to present a Joyce who thinks agilely about the future, politics, and possibility.

Using Attachment Theory as a frame of reference to critically analyse grief in the works of James Joyce, Attachment and Loss in the Works of James Joyce allows for new and innovative readings to emerge, opening another avenue in the debate regarding cognition and literature.

Unlike many recent Joyce studies, De-familiarizing Readings eschews the theoretical and ideological and instead plants itself on firmer ground. Its eight outstanding Joyce scholars share a love of the stuff of texts, contexts, and intertexts: data and dates, food and clothing, letters and journals, literary allusions, and other quotidian desiderata. Their inductive approaches - whether to Dubliners, Portrait of the Artist, Ulysses, or Finnegans Wake - are thoroughly researched, argued with meticulous, even nit-picking, precision, and offer the pleasurable reading experience of forensic analysis. And in the end they provide the satisfaction of reaching persuasive conclusions that seem both striking and inevitable.