He studies manuscripts for Joyce's works as evidence of his creative process and for their inherent interest, and this topic has become a prominent one in Joyce studies in recent years as new manuscripts for Ulysses have come to light. Teaching courses in literary theory in the s and early s led him to co-edit a reference guide to literary theory and criticism, a book that was published in in a second edition.
His publications include several books on James Joyce and editions of Webster's tragedies. His research interests include experimental fiction, Swedish literature, the poetry and iconography of flight, and erotic tension in the poetry and visual arts of the Middle Ages and the Renaissance. Cheryl Herr teaches and writes about literature, culture, music, and cinema. She is fascinated by the consensus formations in which most people live their lives - in short, by popular culture. During the eighties and nineties, she concentrated on Joyce, Ireland, and emergent methodologies for cultural studies.
During the new millennium, shes says she's "been rethinking the cultural through the lenses of phenomenology, the study of everyday social practices, and the 'music scene. His teaching and research interests are in the philosophy of science, with particular emphasis on general questions in the philosophy of science, problems in the philosophy of biology, and issues in the philosophy of mathematics. He attempts to connect these questions with the central philosophical issues of epistemology, metaphysics and ethics, with the history of philosophy especially the history of modern philosophy , and with the practice and findings of the sciences, past and present.
Garry Leonard 's general area of study is Twentieth Century literature.
He has published two books so far: the first was on James Joyce's Dubliners and featured the psychoanalytic theory of Jacques Lacan, while the second dealt with the Advertising and Commodity Culture in all of Joyce's fiction. His new book is called M aking it New: Technology and Subjectivity in Modernity and Modernism , which looks at various ways people came to understand themselves in the modern city, and how this mode of understanding is reflected in the literature and art of the time. Teaching classes on the American West as well as in the Art History department, Leonard includes early cinema and the formation of such film genres as the Hollywood Western, the Hollywood Romance, the Hollywood Melodrama, and Film Noir in his new book.
Vicki Mahaffey took up a chair in Modern Literature in July Her most recent book, Modernist Literature: Challenging Fictions , was published by Blackwell in She is in the process of completing a book called The Joyce of Everyday Life.
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She is also editing a collection of collaborative essays on Joyce's Dubliners by Joyce experts around the world, and is engaged in writing two articles: the first is on forgiveness, and the second, on Joyce and Visual Culture, is concerned with handwriting, film, melodrama, and Finnegans Wake. A former Guggenheim fellow and member of the Board of Trustees of the International James Joyce Foundation, she has also won awards for teaching. In addition to modernism, her interests include Anglo-Irish literature, feminist fairy tales, and the s.
He teaches and carries out research mainly in the area of modern British literature, and has been an advisory editor of James Joyce Quarterly for nearly two decades. Although he continues to write on canonical authors such as Joyce and Eliot, his recent work has also focused on a group of writers that includes, among others, G. Chesterton, Dorothy L. Sayers, the Inklings, [especially J. Tolkien C. Lewis, Charles Williams], and their return to the Middle Ages either as the site of what Umberto Eco calls an "ironical revisitation" or as a quest to locate the roots of Western culture.
His book-length project, Making Dante New , accordingly examines the nature of the high-level reception twentieth-century writers accorded The Divine Comedy. He is interested particularly in the various ways the medieval masterpiece serves as a catalyst for later writers intent on advancing an aesthetic of renewal that strives to keep the old and the new in dynamic balance.
Whether they devise literary strategies to confirm, modify, or ironize the "horizons of expectations" of readers, the moderns sustain a rich intertextual dialogue with Dante grounded in the conviction that a luminous figure from the past still speaks to present cultural preoccupations. Margot Norris increasingly sees herself as a specialist in twentieth century literature, art, and culture--although her field is Modernism, both Anglo-American and Continental.
Her book, titled Writing War in the Twentieth Century was published by the University Press of Virginia and contains chapters on a range of writing about mass warfare in the 20th century-including both World Wars, Vietnam, and the Persian Gulf War. This work grew out of an earlier book on the changing relations of the human to the animal and to the body in the late nineteenth and early twentieth century titled Beasts of the Modern Imagination: Darwin, Nietzsche, Kafka, Ernst and Lawrence , which was published by Johns Hopkins University Press in Her most sustained and devoted interest over the course of her entire career has been the work of James Joyce.
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I eventually extended my interest to all of Joyce's work in Joyce's Web Texas, John Paul Riquelme holds a BA from Rice; a MPhil and a PhD from Yale University, and lists his research interests as Post-Romantic literature, primarily poetry and fiction of the long 20th century, Irish, British, and American; humanistic theory and literary criticism, especially concerning modernity, creativity, aesthetic response, narrative, post-colonialism, and anthropological issues. He edited the Norton Critical Ed. Martin's Case Studies Eds.
He is currently working on a book on modernist authenticity, and gender, nation and confession in A Portrait of the Artist. He has written widely on century literature, especially on satire and on the early novel. Cambridge University Press, Cambridge University Press. We're sorry - this copy is no longer available. More tools Find sellers with multiple copies Add to want list. Didn't find what you're looking for? Add to want list.
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This episode parodies nationalist efforts to invigorate Irish masculinity, although this derision is tempered with an ambivalence towards the idealism of international rationalism. Again, it is the space that the homosocial generates that has a counter-colonial potential, although this episode is more about the antagonism that results from homosociality than the desire that drives it.
The dialogue promotes a deeper understanding of the problems of colonialism, at the level of psychological and social structure. Crucially, the usefulness of the homosocial is not coincidental with the production of ideology or capital, but rather with the production of space. Joyce frequently figures homosociality as a refusal of productivity, and shows the way that homosocial stagnancy and economic paralysis are linked effects of colonial domination.
The ideal construction of masculinity achieved a balance of brute sexuality and rational control. This type of manhood is obviously linked to British power, as well as to investments in biological and economic productivity. There is a capitalist and imperialist logic inherent in the construction of masculinity that relies heavily on production. Valente shows how Irish men were always already prevented from access to this type of masculine power.
Instead, the homosocial reroutes the construction of gender into a resistant mode of non-productivity. The comparison sets up a clear dichotomy between heteronormative productivity and the somewhat profane transgression of male homosociality. His imagined intercourse with the imaginary multitudes of lustdriven Irish women is fantasized collectively by the group of men as a sort of ironic utopian counter to the heterosexual reproduction that has proven to reinforce British dominance over the increasingly poor Irish She dare not bear the sunnygolden babe of the day.
No, Leopold. The youthful illusion of thy strength was taken from thee— and in vain. No son of thy loins is by thee.
Romani struje svijesti: James Joyce "Uliks," William Faulkner "Buka i bijes."
There is none now to be for Leopold, what Leopold was for Rudolph. These ruminations on his aborted patriarchy triangulate Molly in the affective relationship between Leopold and his father. There is an underlying resentment of the power that cannot be totally controlled without women— the ability to reproduce.
The homosocial system of maintaining and reorganizing power is threatened by reproduction, and seeks non-productive modes, such as the reflective and deceptively progressive process of language. This mystification of nature seems to originate in an anxiety around femininity and the way that natural processes are gendered feminine. This anxiety indicates an uncomfortable recognition of the non-patriarchal feminine productivity, which is countered by the aggressive laziness of the men in the episode, who do not even think to congratulate Mrs.
Purefoy on her successful labor. Production and reproduction is a fraught site of inquiry for men invested in this Irish mode of homosocial resistance of labor. In the Aeolus episode, the effect of this refusal of productivity is amplified by the atmosphere of mechanistic movement in the hivelike newspaper offices. Despite this rhythm of productivity, the men of the office are statically arranged around Stephen Dedalus, wasting time as they plan to leave for the bar.
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The men have an uneasy, and occasionally homoerotic, admiration of Stephen, reinforced by his disdain for the work that they offer him. Bloom, as is often the case, provides the counterexample to the homosocial gathering in the office, as he attempts to get approval for an ad, while the editor and others belittle his efforts and even the narrative lens abandons his journey across town in favor of a close focus on Stephen.
The importance of the newspaper as an engine of counter-colonial opinion frames this episode with greater political significance. The great journalists that the men name are systematically undercut with suspicion, and Stephen only seems genuinely interested in the mention of figures of literary significance. What did he say? What did he say about me?
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Best and, ultimately, Bloom, that position homosexulaity as a perverse commitment to passivity. She is positioned as the object of supposed interest between Stephen and the scholars in the library as well as between Shakespeare and Hamlet as the object of supposed desire who allows for the potential of the homosocial to develop. Commitment and stable opinions do not interest Stephen as much as the dialectical process of generating new thought. The explicit homosexuality of the scholars in the library seems to represent the sort of lamentable commitment that Stephen seeks to avoid.
This contempt can be read as the same sort of panicked repression of homosexual desire that the novel portrays in other episodes, but also as an attraction to the ambiguity of the less concrete structure of homosociality. Stephens vexed relationship to the homosocial is summarized later in the episode through a reflection on the male companions of his life:. Where is your brother? My whetstone. Him, then Cranly, Mulligan: now these.
Speech, speech. But act. Act speech.