By Morris Beja, Anne Fogarty
June sixteen, 2004, used to be the only hundredth anniversary of Bloomsday, the day that James Joyce's novel "Ulysses" happens. To rejoice the party, millions took to the streets in Dublin, following within the footsteps of protagonist Leopold Bloom. the development additionally used to be marked via the Bloomsday a hundred Symposium, the place world-renowned students mentioned Joyce's seminal paintings. This quantity includes the simplest, such a lot provocative readings of "Ulysses" provided on the convention. The participants to this quantity urge a detailed engagement with the unconventional. they provide readings that attention variously at the materialist, old, and political dimensions of Ulysses. the range of subject matters lined comprise nineteenth-century psychology, army background, Catholic theology, the effect of early movie and tune corridor songs on Joyce, the post-Ulysses evolution of the one-day novel, and the problem of discussing any such advanced paintings among the ocean of extant feedback.
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Additional resources for Bloomsday 100: Essays on Ulysses
Emma. Oxford: Oxford University Press, 1998. Benjamin, Walter. Das Passagen-Werk. Gesammelte Schriften 5. Frankfurt am Main: Suhrkamp Verlag, 1982. Blanchot, Maurice. L’entretien infini. Paris: Gallimard, 1969. Derrida, Jacques. ” La Metaphore 1 (1993): 51–65. Dickens, Charles. Bleak House. Oxford: Oxford University Press, 1998. ———. Our Mutual Friend. Oxford: Oxford University Press, 1998. Homer. The Odyssey. 2 vols. Trans. A. T. Murray. Cambridge: Harvard University Press, Loeb Classical Library, 1984.
FW 183) This “speech unasyllabled” is the unassimilated syllable left over from dayspeech; it is speech fit only for the likes of Shem himself, a Lucifer fallen from the social order, an unredeemed castoff of the same dubious company as Beckett’s Watt and Céline’s Bardamu, both of whom might claim descendance from Dickens’s Krook. Joyce’s interest in the materiality of language as well as in the physical substance of objects themselves may be addressing a basic need for literature, in an age of capitalist materialism and pure exchange-value, to come into contact with the more fundamental object world.
Joyce must have known, however, that the word archipelago is not Greek. It derives from the Italian arcipelago (Italian arci, high or original, Greek pelagos, sea), a medieval word coined to render the Latin Egeopelagus, the Aegean Sea (Weekley 1: 67). The original archipelago is thus the Aegean, so that the throwaway in finding its way to the archipelago at the mouth of the Liffey also reascends the course of history to the Aegean, and thus to the Homeric origins of Joyce’s text. Joyce’s archipelago, however, does not correspond to the romantic ideal of the Aegean celebrated in Hölderlin’s great poem of 1800, Der Archipelagus.