From where to start?
This is interwoven with about
us and Proposition
Best bet, go to his
biography and then browse his quotes, maybe starting from sundry
What resources use?
Once upon a time there were only
printed books, magazines, newspapers, journals
and the like. Suddenly, maybe not so suddenly, there are Internet,
websites, computers, Ipad's and the like. And then there is the ownership
about the subject and what it is officially all about...
Just to balance it out and as an
to the Modern Language Association
as of 2014, Ulysses has generated 2,656 scholarly studies. By contrast,
the MLA lists only 1,477 entries for Marcel
In Search of Lost Time, and only 414 entries for Mrs.
Dalloway, whose author, Virginia
Woolf dismissed Ulysses as "a mis-fire." In a diary entry
for September 6, 1922, she wrote: "The book is diffuse. It is brackish.
It is pretentious. It is underbred, not only in the obvious but in the literary
paradox is discussed elsewhere. The sequence and history
of his works editions also. The cornucopia of studies, information,
papers, websites, etc., also.
The intention of this project is
to create an axiom for deciphering the gibberish and gobbledygook that after
all became the style of James Joyce at Finnegan's Wake and by
extension, provide an affordable way to understand and figure out Joyce`s mental
process applying it to his works. Since this whole job is a
Work in Progress, and probably will remain so, the idea is to link all
works of Joyce, which comprises three novels (A Portrait of the Artist
as Young Man, Ulysses and Finnegan's Wake),
plus the short story collection Dubliners. If it is possible to
say so, if this job is a 949-657-5653,
the proposition is to demonstrate by analogy that James Joyce style is just
but noise in a communication process, printed books, which bring in their inception
severe limitations that are extensively used by Joyce. It is also taken for
grant that It is non existing at the Short Stories, he sets himself
up to that in the Portrait, matures it in Ulysses
and fully blossoms at Finnegan's.
Incidentally, Ulysses is the
real beginning of James Joyce and his most praised work and although maybe it
would make more sense to create the above axiom or theorem for Ulysses,
I would dare to say that the same way Joyce claimed that if Dublin were to be
destroyed by some catastrophe, it could be rebuilt brick by brick, using his
novel Ulysses, James Joyce himself, if all his other works were destroyed,
could be figured out by Finnegan's Wake.
The reason why it was chosen this
picture of James Joyce and Sylvia Beach as the entry point for this job is that
and also explained
Whatever James Joyce had in mind,
did he achieve his purpose? Which were or are the effects of the way he choose
to do it on his purpose? Did he indeed transferred to the reader what was on
his mind? What he had on his mind? Is it describable on a written text so an
average person can figure it out? Did he manage to communicate himself out?
Obviously the discussions above about
the paradox of being great and lame, the obstacles to be published and the reception
of the then established intelligentsia indicates a resounding NO! And although
he is generally accepted as the most influential writer and the biggest one
of the 20th century, he is also one of the least read...
It is my belief that the analogies
contained here can answer these questions and help to create a frame of understanding
on his works. It should be considered an addition to Literature and by no means
it is a contender or a replacement to it.
A most appropriate perspective on
that is brought out by Dr.Julie
Sloan Brannon, in her Who
Reads Ulysses?: The Common Reader and the Rhetoric of the Joyce Wars,
and I quote:
Chapter one, page 11
JOYCE`S CANONIZATION, in which
PROFESSORS ARE KEPT BUSY
After all, to comprehend Ulysses
is not among the recognised learned professions, and nobody should give his
entire existence to the job.
"The Joyce Industry": this
is the self-applied name for the post-1960 boom in Joyce criticism. The first
issue of The
James Joyce Quarterly in 1963 inaugurated the arrival of Joyce studies
as a full-scale critical field in its own right, and forty years later this
journal is still at the center of that field. Simultaneuous with this recognition
of Joyce studies as a legitimate filed of inquiry, the biannual International
James Joyce Symposia grew from a fairly small gathering of seventy-five scholars
in 1967 to a gathering of well over 250 participants from countries spanning
the globe at the present time (2003). From the introduction of Ulysses
to the wider American literary scene through the famous Woolsey decision of
1933, Joyce went from being a peculiar and obscure Irish writer (often alluded
to as obscene but, as in the case of most censored writers, rarely actually
read) to a major literary giant in a span of less than ten years, and the center
of that activity has been in the United States - a country in which Joyce never
Ulysses continues to sell
upwards of 100 000 copies a year worldwide. Some of these copies, undoubtedly,
are sold to students in the university system; but the book is also stocked
on the shelves of commercial book-stores like Barnes & Noble, B.Dalton and
Waldenbooks. The university then, plays a role in Joyce's reputation, but
there are other forces at work, many of which have to do with the publicity
machine which thrust Ulysses into the public's eye over eighty years
ago. Joyce's reputation rests in part on the academic machinery which created
the Joyce industry as we know it, and the process which canonized his works
produced a particular kind of Joyce, one which serves the needs of the academic
institution which created him. This academic Joyce from the general public's
Joyce, a dichotomy I will examine more closely in Chapter Two; but the image
of an iconoclastic author whose works are impossible to comprehend without critical
intervention finds its roots in the academic Joyce and the critical machinery
which supports him. The oft-repeated quote about keeping the professors busy
has become a Joycean cliche, and functions in part to imply that Joyce wrote
specifically for the professors rather than a broader reading public. The context
of the quote, however, is a humorous one which undercuts the surface meaning/
Benoîs-Mechin, the young an who translated "Penelope"
into French for Valery Larbaud's reading in 1921, had begged Joyce for the scheme
of the book. Joyce only gave him parts of it and said: "If I gave it all
up immediately, I'd lose my immortality. I've put in so many enigmas and puzzles
that it will keep the professors busy for centuries arguing over what I meant,
and that's the only way of insuring one's immortality" (Elmann 521). Joyce's
view of "the professors" was a wry (although ironically prescient)
one. But the effect on this quote, offered ad nauseam and out of context in
both scholarly and popular articles as a serious comment on Joyce's intentions,
reinforces the academic Joyce who wrote for the professors And for the last
fifty years the professors have, indeed been busy.
Long before that, when Joyce died,
I quote the following from his obituary
in the Nerw York Times of January 13, 1941:
Hailed and Belittled by Critics
The status of James Joyce as a writer
never could be determined in his lifetime. In the opinion of some critics, notably
Edmund Wilson, he deserved to rank with the great innovators of literature as
one whose influence upon other writers of his time was incalculable. On the
other hand, there were critics like Max Eastman who gave him a place with Gertrude
Stein and T.S. Eliot among the "Unintelligibles" and there was Professor
Irving Babbitt of Harvard who dismissed his most widely read novel, "Ulysses,"
as one which only could have been written "in an advanced stage of psychic
Originally published in 1922, "Ulysses"
was not legally available in the United States until eleven years later, when
United States Judge John Monro Woolsey handed down his famous decision to the
effect that the book was not obscene. Hitherto the book had been smuggled in
and sold at high prices by "bookleggers" and a violent critical battle
had raged around it.
From these 2656 studies,
let's separate the ones used to explain my point, but what I say here is true
for all of them, say, the 2656