June sixteen, 2004, used to be the only hundredth anniversary of Bloomsday, the day that James Joyce's novel Ulysses happens. To rejoice the celebration, hundreds of thousands 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 comprises the easiest, so much provocative readings of Ulysses awarded on the conference.
The members to this quantity urge an in depth engagement with the unconventional. they give readings that attention variously at the materialist, historic, and political dimensions of Ulysses. the variety of subject matters lined comprise nineteenth-century psychology, army background, Catholic theology, the impression of early movie and track corridor songs on Joyce, the post-Ulysses evolution of the one-day novel, and the problem of discussing the sort of complicated paintings among the ocean of extant feedback.
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Extra resources for Bloomsday 100: Essays on Ulysses (The Florida James Joyce Series)
The English word “litter” is derived not from the Latin littera (letter) but from lectus, meaning bed, itself derived from the Greek lektron. In early English, “litter” came to mean not just bed but also bedding, commonly made of 28 David Spurr straw or strewn rushes, whence a disorderly accumulation of odds and ends. The word “litter” thus has embedded within it connotations both of disorder and of the bed or substratum made of various materials: litter is cast off and beaten down, but it also constitutes a foundation or underlayer, however loose and variegated.
But you cannot see Bray Head from the Martello Tower. What gives? 1213), a constellation that, being below the horizon at that hour, you also cannot see. I would suggest that this second occurrence constitutes a double take on the first, one that resolves its irritating incongruity by refining out of the word “towards” the unexamined assumption that orientation must imply connection. “Towards” is a dull-as-dishwater word, happily overlooked, but Ulysses wants you to look at it, first once and then again.
According to this way of seeing it, the presence of trash in the artwork sacrifices the work’s inner coherence in favor of a subversive negation of late-capitalist totality, a subversive power it acquires not through the destruction of meaning but through the ceaseless interrogation of meaning itself. In my view, Adorno’s analysis of trash in modern art resonates with Lacan’s observation that for Joyce, “la lettre est déchet,” although Adorno applies to the historical scene what Lacan regards as a question of the fundamental relation between the subject and language.
Bloomsday 100: Essays on Ulysses (The Florida James Joyce Series)