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"Mahaffey, Vicki"
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The Joyce of everyday life
Winner of the American Conference on Irish Studies' Robert Rhodes Prize for Books on Literature Part of James Joyce's genius was his ability to find the poetry in everyday life. For Joyce, even a simple object like a table becomes magical, \"a board that was of the birchwood of Finlandy and it was upheld by four dwarfmen of that country but they durst not move more for enchantment.\" How might we learn to regain some of the child-like play with language and sense of delight in the ordinary that comes so naturally to Joyce? The Joyce of Everyday Life teaches us how to interpret seemingly mundane objects and encounters with openness and active curiosity in order to attain greater self-understanding and a fuller appreciation of others. Through a close examination of Joyce's joyous, musical prose, this book shows how language provides us with the means to revitalize daily experience and social interactions across a huge, diverse, and everchanging world. Acclaimed Joyce scholar Vicki Mahaffey demonstrates how his writing might prompt us to engage in a different kind of reading, treating words and fiction as tools for expanding the boundaries of the self with humor and feeling. A book for everyone who loves language, The Joyce of Everyday Life is a lyrical romp through quotidian existence.
eBook
Collaborative Dubliners
In this collection, Joyce experts from around the world have collaborated with one another to produce a set of essays that stage or result from dialogue between different points of view. The result is a sequence of lively discussions about Joyce’s most accessible and widely read set of vignettes about Dublin life at the turn of the century.
eBook
States of desire : Wilde, Yeats, Joyce, and the Irish experiment
Mahaffey’s fascinating study shows how the writings of Wilde, Yeats, and Joyce are politically subversive in the most local and dangerous sense of the term: they aim to take apart the assumptions and verbal practices that make dominance possible. Each writer developed an experimental style out of the struggle with his national heritage, but each also had to come to terms with passionate ideals of his own that for a time impeded or denied the versatility of his writing.
eBook
BLOOM AND THE BA: VOYEURISM AND ELISION IN “NAUSICAA”
Bloom's attention to the tininess of the hands and bones suggests that beneath the level of consciousness, he seems to have completed the syllable \"Ba\" in two different ways, as \"bat\" but also as \"baby\". [...]Bloom's subconscious mind, directing the stream of language that constitutes his thoughts, also associates the bat with that watch or clock, which also has \"tiny hands\", directing us to realize that a watch, despite its name, is blind: it is designed to be seen rather than to see. (U 13.1 132-43) Bloom's stream of consciousness flows from an initial image of the sun as possessive and self-perpetuating - even imperial - in the way it imprints its image on the viewer's eyes, so that it affects whatever he or she sees next: \"Stare the sun for example like the eagle then look at a shoe see a blotch blob yellowish.\" (U 13.1132-3) Bloom's interpretation of the sun's power is significant: he concludes that the sun \"Wants to stamp his trademark on everything\" (U 13.1133-34), and he associates the power of light to brand or possess what it touches with a dim memory of the use of light to burn and destroy the enemy in war:
Book Chapter
Portal to Forgiveness: A Tribute to Ibsen's Nora
Fred Luskin, who defines grievances as painful episodes that the narrator has endured but not healed from, summarizes research findings that offenders and victims give significantly different accounts about who was responsible for the hurt; both offenders and victims blame the other, whether directly or indirectly, for the offense: \"subjects who responded from the point of view of the offended minimized their responsibility for what happened and put blame on the offender. . . . they themselves were relatively blameless.\" According to this view, Jesus integrated what the Church has interpreted as forgiveness-loving self-sacrifice-with what Friedrich Nietzsche later attributed only to the Antichrist: the courage to realize and thereby transform the self by letting go of both grievance and illusion.
Journal Article
Yeats and Bowen
Throughout his career, Yeats, like Keats, was “half in love with easeful Death,” at least as an imaginative construct or idea, which he typically depicts in its most alluring guises.¹ Death was not for him the Grim Reaper, but Niamh, “A pearl-pale, high-born lady” on horseback, her lips “ A stormy sunset on doomed ships.”² Death was the domain of Niamh’s father, Aengus, God of Youth and Beauty and Poetry; it was the world of dream, of Tir-na-nOg itself, with its isles of Dancing, Victories, and Forgetfulness, which Yeats entered by donning the mask of Oisin in his first published
Book Chapter
Ulysses at 100
The year 2022 marked the 100th anniversary of the publication of Ulysses. The following reflections express different sentiments and thoughts about the novel that gave T. S. Eliot “all the surprise, delight, and terror that I can require.”
Journal Article