Up To Maughty London

"Fundamentally alters the received wisdom that tends to award Paris a far more central place in the making of Joyce the modernist."--John McCourt, author of The Years of Bloom: James Joyce in Trieste 1904-1920 "In readings equally attentive to text, avant-text, and context, this book shows us how many roads in Joyce's life and work led to London. Yet the first city of the British Empire is also decentered here, enmeshed by Joyce with Dublin through the place names, cartographies, and imperial history the two cities shared. Loukopoulou has written the atlas of their entanglement, a Londub A to Z."--Paul K. Saint-Amour, author of Tense Future: Modernism, Total War, Encyclopedic Form The effect of Dublin--and other cities such as Trieste, Zurich, and Paris--on James Joyce and his works has been studied extensively, but few Joyceans have explored the impact of London on the trajectory of his literary career. In Up to Maughty London, Eleni Loukopoulou offers the first sustained account of Joyce's engagement with the imperial metropolis. She considers both London's status as a matrix for political and cultural formations and how the city is reimagined in Joyce’s work. Loukopoulou examines newly discovered or largely neglected material, including newspaper and magazine articles, anthology contributions, radio broadcasts, sound recordings, and other writings published and unpublished. She also assesses the promotion of Joyce's work in London’s literary marketplace. London emerges not just as a setting for his writings but as a key cultural and publishing vector for the composition and dissemination of his work. Eleni Loukopoulou is an independent scholar living in London. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles

This book examines the largely under-explored connection between Joyce's writings, their publication history, and the city of London, arguing that the metropolis was an important political and cultural center for Joyce.

At Fault is an exhilarating celebration of risk-taking in the work of James Joyce. Esteemed Joyce scholar and teacher Sebastian Knowles critiques the state of the modern American university, denouncing what he sees as an accelerating trend of corporatization that is repressing discussions of controversial ideas and texts in the classroom. Arguing that Joyce offers the antidote to risk-averse attitudes in higher education, he shows how the modernist writer models an openness to being "at fault" that should be central to the academic enterprise. Knowles describes Joyce's writing style as an "outlaw language" imbued with the possibility and acknowledgment of failure. He demonstrates that Joyce's texts and characters display a drive to explore the boundaries of experience, to move outward in a centrifugal pattern, to defy delimitation. Knowles further highlights the expansiveness of Joyce’s world by engaging a diverse range of topics, including Jumbo the elephant as a symbol of imperialism, the gramophone as a representation of the machine age, solfège and live music performance in the "Sirens" episode of Ulysses, Joyce's jokes and the neurology of humor, and inventive ways of reading and teaching Finnegans Wake. Contending that error is the central theme in all of Joyce's work, Knowles argues that the freedom to challenge boundaries and make mistakes is essential to an effective learning environment. Energetic and delightfully erudite, and offering insights drawn from over thirty years of classroom experience, Knowles inspires readers with the infinite possibilities of free human thought exemplified by Joyce's writing. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles

In Victorian London, filth was everywhere: horse traffic filled the streets with dung, household rubbish went uncollected, cesspools brimmed with "night soil," graveyards teemed with rotting corpses, the air itself was choked with smoke. In this intimately visceral book, Lee Jackson guides us through the underbelly of the Victorian metropolis, introducing us to the men and women who struggled to stem a rising tide of pollution and dirt, and the forces that opposed them. Through thematic chapters, Jackson describes how Victorian reformers met with both triumph and disaster. Full of individual stories and overlooked details--from the dustmen who grew rich from recycling, to the peculiar history of the public toilet--this riveting book gives us a fresh insight into the minutiae of daily life and the wider challenges posed by the unprecedented growth of the Victorian capital.

In this book, Keith Williams explores Victorian culture's emergent 'cinematicity' as a key creative driver of Joyce's experimental fiction, showing how Joyce's style and themes share the cinematograph's roots in Victorian optical entertainment and science.

"This book shows that a large part of the British empire's history took place in the minds of distant readers who were by turns inspired, entranced, and agonized by English literature"--

"Original and significant. This book shows us how Conrad and Joyce manipulate representations of imperialist belief in the sacred to indict Western culture for its racist colonization. This striking reading of modernism emphasizes Conrad's and Joyce's use of chaos in general and pilgrimage in particular in terms of mapmaking, racial denigration, and strategies of power. Szczeszak-Brewer makes spectacular connections between sacred language, nation building, and literary representation."--Georgia Johnston, author of The Formation of Twentieth-Century Queer Autobiography Though they were born a generation apart, Joseph Conrad and James Joyce shared similar life experiences and similar literary preoccupations. Both left their home countries at a relatively young age and remained lifelong expatriates. Empire and Pilgrimage in Conrad and Joyce offers a fresh look at these two modernist writers, revealing how their rejection of organized religion and the colonial presence in their native countries allowed them to destabilize traditional notions of power, colonialism, and individual freedom in their texts. Throughout, Agata Szczeszak-Brewer ably demonstrates the ways in which these authors grapple with the same issues--the grand narrative, paralysis, hegemonic practices, the individual's pilgrimage toward unencumbered self-definition--within the rigid bounds of imperial ideologies and myths. The result is an engaging and enlightening investigation of the writings of Conrad and Joyce and of the larger literary movement to which they belonged.

This innovative analysis shows how James Joyce uses the language of prayer to grapple with profoundly human ideas in Finnegans Wake—the dreamlike masterpiece that critics have called his “book of the night.” Colleen Jaurretche moves beyond what scholars know about how Joyce composed this work to suggest why he wrote and arranged it as he did. Jaurretche provides a sequential reading of the four chapters and corresponding themes of the Wake from the perspective of prayer. She examines image, manifested by the letters of the alphabet and the Book of Kells; magic, which Joyce equates with the workings of language; dreams, which he relates to poetry; and speech, glorified in the Wake for its potential to express emotions and ecstasy. Jaurretche bases her study on important thinkers from antiquity to the present, including Origen of Alexandria, Giambattista Vico, and Giordano Bruno. She demonstrates how these philosophers influenced Joyce’s view that prayer can imbue language with power. This book is an illuminating and much-needed interpretation of a work that abounds with echoes and cadences of sacred language. Jaurretche’s insights will guide readers’ understanding of the style and structure of Finnegans Wake. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles

“Excellent.”—Studies: An Irish Quarterly “A handy anthology of key articles, twelve in all, excavated from the trove of Joyce interpretation, analysis and scholarship. . . . Each piece marks a moment of departure subsequent studies have built on, extended, or reacted against, but which nonetheless laid down significant parameters for approaching Joyce’s works.”—Irish Studies Review "Provides readers with introductions to, and examples of, important Joyce scholarship during its middle years, the 1950s and 1960s, when much of the groundwork for today’s Joyce criticism was laid."--Patrick A. McCarthy, University of Miami"Provides readers a revealing, stimulating basis for moving forward with their own interpretations while remembering the paths, clearly marked out by the editor’s introductions and selections, already traveled by twelve canny, influential, earlier readers of Joyce’s memorable narratives."--John Paul Riquelme, Boston UniversityThis collection presents, in a single volume, key seminal essays in the study of James Joyce. Representing important contributions to scholarship that have helped shape current methods of approaching Joyce’s works, the volume reacquaints contemporary readers with the literature that forms the basis of ongoing scholarly inquiries in the field.Foundational Essays in James Joyce Studies makes this trailblazing scholarship readily accessible to readers. Offering three essays each on Joyce’s four main works (Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake), editor Michael Patrick Gillespie provides a contextual general introduction as well as short introductions to each section that describe the essays that follow and their original contribution to the field. Featuring works by Robert Boyle, Edmund L. Epstein, S. L. Goldberg, Clive Hart, A. Walton Litz, Robert Scholes, Thomas F. Staley, James R. Thrane, Thomas F. Van Laan, and Florence L. Walzl, this is a volume that no serious scholar of Joyce can be without.Michael Patrick Gillespie, professor of English at Florida International University, is the author or editor of many books, including The Aesthetics of Chaosand Oscar Wilde and the Poetics of Ambiguity.

Francois Nouvion is well known collector and author of operatic subjects. He was born in Zurich and is a US citizen. He studied at the Swiss Federal Institute of Technology in Zurich and at Stanford University in Palo Alto. He worked mostly in the semiconductor testing equipment fi eld and sold US Equipment from Russia to Tokyo. Early on he became very interested in Opera and developed his knowledge in singing from the reissues by Guy Dumazert. He currently maintains a comprehensive website on tenors (historicaltenors.com) and a YouTube channel on Historical tenors. Although his interest on Irish-French tenor John O`Sullivan dates from his early days, he fi nally started researching the tenor`s career in the early 90s after meeting O’Sullivan’s children: Jacques, Colette and Raymonde. After much work contacting the different libraries all over the world, with the Paris and Marseilles libraries being the most diffi cult to work with, he fi nally started writing the O`Sullivan biography in 2007. It is now published. He only regrets that Jacques O’Sullivan, the tenor`s son, did not live to witness the publication.