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"Dubliners"
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Joyce's city : history, politics, and life in Dubliners
\"Joyce's City, by Jack Morgan, includes groundbreaking new interpretations of the stories in James Joyce's Dubliners while exploring the issue of colonialism and the nuanced way in which the historical and the personal intertwine\"--Amazon.com.
BOOK
(DE)PRESSING THE READER: JOURNALISM AND JOYCE'S \A PAINFUL CASE\
\"A Painful Case\" may be understood as Joyce's sceptical response to the epistemological privilege of newspaper reportage as simply nonfiction. Joyce employs a rhetorically objective tone that satirizes and subverts the scene of reportage as it meticulously chronicles the developing relationship of James Duffy and Emily Sinico. Thus Joyce quite literally depresses us as readers of reportage, for our comparison finds Joyce's narrative epistemologically more robust than the inquest report of Mrs Sinico's death at the story's centre. To write an ethical reading of Duffy's character prompted by his denial that he hastened Mrs Sinico's demise, we unwittingly follow Duffy in reading the circumstantial details of the report back to the narrative as he seeks to distance himself from her memory.
Journal Article
Between Sickness and Sin: The Pathologization of Illicit Love in James Joyce’s Dubliners
Illicit or non-normative sentimental relationships appear repeatedly in many of the short stories that comprise James Joyce’s Dubliners (1914). This type of emotional link did not have any room in end-of-century Catholic Ireland, and any unorthodox relationship was regarded or punished as sinful and socially unacceptable, following the strict morality of the times. In this article, I intend to analyse some of the most significant stories in Dubliners, in order to dissect the ways in which late nineteenth-century Dublin’s double standards punished any subject steering away from established social norms concerning marriage and acceptable relationships, either by forcing the reclusion of the subjects to the domestic/private sphere or by imposing a normative marriage on them, or even by pushing them to the brink of madness, alcoholism, or suicide.
Journal Article
JOYCE IN BLACKFACE: GOLOSHES, GOLLYWOGGS AND CHRISTY MINSTRELS IN “THE DEAD”
Why does the word \"goloshes\" appear eight times in The Dead? Jackson and McGinley propose that Gretta connects \"goloshes\" with the Christy Minstrels because she hears the word as \"golly shoes.\" Golly shoes connect with the Golliwogg, a children's storybook character based on a black rag doll in minstrel attire. Joyce was well acquainted with minstrel shows: repeated allusions to this form of entertainment occur in The Dead and the historical antecedents of minstrelsy in Irish/African music inform the story. In addition, the structure of the story is broken into three main segments, echoing the three parts of a classic minstrel show.
Book Chapter
“GUTTAPERCHA THINGS”: CONTRACEPTION, DESIRE, AND MISCOMMUNICATION IN “THE DEAD”
\"Goodness me, don't you know what goloshes are? You wear them over your... over your boots, Gretta, isn't it?\" asks Aunt Kate (D 181). In \"The Dead,\" Joyce devotes a curiously large amount of space to a seemingly inconsequential pair of goloshes. The historical, medical, and cultural context of the word \"gutta-percha\" suggest that Gabriel and Gretta Conroy's argument over \"guttapercha things\" could, in fact, be a coded conversation about birth control, connecting unrequited desire, miscommunication, and a pair of rubber boots.
Book Chapter
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
Suspicious readings of Joyce's Dubliners
Because the stories in James Joyce's Dubliners seem to function as models of fiction, they are able to stand in for fiction in general in their ability to make the operation of texts explicit and visible. Joyce's stories do this by provoking skepticism in the face of their storytelling. Their narrative unreliabilities-produced by strange gaps, omitted scenes, and misleading narrative prompts-arouse suspicion and oblige the reader to distrust how and why the story is told.As a result, one is prompted to look into what is concealed, omitted, or left unspoken, a quest that often produces interpretations in conflict with what the narrative surface suggests about characters and events. Margot Norris's strategy in her analysis of the stories in Dubliners is to refuse to take the narrative voice for granted and to assume that every authorial decision to include or exclude, or to represent in a particular way, may be read as motivated. Suspicious Readings of Joyce's Dubliners examines the text for counterindictions and draws on the social context of the writing in order to offer readings from diverse theoretical perspectives.Suspicious Readings of Joyce's Dubliners devotes a chapter to each of the fifteen stories in Dubliners and shows how each confronts the reader with an interpretive challenge and an intellectual adventure. Its readings of \"An Encounter,\" \"Two Gallants,\" \"A Painful Case,\" \"A Mother,\" \"The Boarding House,\" and \"Grace\" reconceive the stories in wholly novel ways-ways that reveal Joyce's writing to be even more brilliant, more exciting, and more seriously attuned to moral and political issues than we had thought.
eBook
Mother-Daughter Syntax
This article offers a re-reading of James Joyce’s “Eveline” as a transnational story. The concept of the transnational is brought into conversation with motherhood studies, more precisely, with the notion of the ‘mother-daughter dyad’ (Hirsch). The key here is to explore the formal and narratological clues that Joyce uses to convey religiously inflected inheritances of the maternal, inner splits, patterns of repression and matrophobic reflexes. Joyce partly maps Eveline’s psyche by engaging the reader in a set of delicate auditory exercises and, thereby, offers an indirect re-writing of the Orpheus myth. This article shows how the short story has been conceived as a sort of soundbox and demonstrates that Stephen Clingman’s conceptualisation of the transnational through ‘vertical’ versus ‘horizontal’ patterns of identity can be productively applied in the exploration of literary representations of mother-daughter relations as well.
Journal Article
“It Wouldn’t Be Her Own”: Norah Hoult’s “Miss Jocelyn” as a Response to James Joyce’s “Eveline”
This article examines Norah Hoult’s 1929 short story “Miss Jocelyn,” from her short story collection Poor Women!, as an intertextual response to James Joyce’s representation of single women in the short story “Eveline” included in his landmark 1914 collection Dubliners. Drawing on Katherine Fama and Jorie Lagerwey’s work on singlehood, I suggest that Hoult challenges the dichotomy of “married” versus “premarried” that Joyce critiques in “Eveline”. At the same time, Hoult’s portrait of Miss Jocelyn powerfully engages the material and social factors that so often condition single women’s lives. She considers not only Miss Joceyln’s awareness and loss of her former independence, but also the ways that ageism compromises her options and agency. While both stories examine the disempowerment of women, “Miss Joceyln” highlights the loss of agency, the financial dependency, and the societal dismissal to which celibate older women were often subject in early twentieth-century Ireland and Britain, thus treating celibacy as a “third space”—an option not proffered in Joyce’s work.
Journal Article
Puppet and Paralipsis: The Performance of Maria and the Narrator in Joyce’s “Clay”
In “Clay,” James Joyce introduces Maria, a middle-aged scullery maid whom critics have characterized as a modern-day Irish saint while also describing her as somewhat vain and foolish. However, this protagonist is multifaceted, and Joyce’s use of paralipsis in the narration of this story allows this ambiguous identity to become an unfathomable enigma. Maria’s identity may be elucidated by engaging with notions of performance and performativity. As a symbolic puppet, Maria performs on a screen upon which different manipulations of her behavior are manifested. This multifaceted nature implies a performative subjectivity that resists referentiality and reductive interpretations of this tale.
Journal Article