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Journal articles on the topic 'James Joyce's Ulysses'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Alonso-Giráldez, José Miguel. "The Mental Construction of Reality in James Joyce." Oceánide 13 (February 9, 2020): 69–77. http://dx.doi.org/10.37668/oceanide.v13i.42.

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The purpose of this study is to analyse how James Joyce builds a large part of his narrative through a verbal tissue that is born from the cognitive experience, from the deep interaction between mind and environment. Beyond the psychoanalytic approach or Psychological realism, Joyce, particularly in Ulysses, displays this reading of reality in which a series of cognitive events form a narrative continuum. Reality appears before us through the perceptions of the protagonists, and that is the reason why we only access an incomplete view of reality itself. Partiality or incompleteness is a fundamental characteristic of Ulysses. However, Joyce aspires to build up a coherent and solid universe. Joyce creates a continuous reality through the semantic flow, often chaotic and blurry. Joycean language reveals the inconsistencies and instabilities of one's life, when it is impossible to transmit what cannot be apprehended completely, whether due to mental dysfunctions, hallucinations or other causes, as in Finnegans Wake. In this study, we also consider etymology as a tool that provides stability and linguistic richness to Joyce’s narrative, although subjecting it to hard transformations or mutation processes. Joyce finds great stylistic possibilities in the words used as semantic repositories that come from the past, and, with his passion for language, is able to build cognitive moments that rely on etymology. In the light of the most recent cognitive theories applied to Joyce's work, this study shows how the combination of mind, body and environment builds reality in Joyce, especially in Ulysses, overcoming traditional analyses around the inner monologue or the individual mind. Confirming previous studies, we consider that Joyce builds reality through microhistories, sketches, discursive or introspective cognitive events. However, to form a continuous substrate, that contributes to the construction of identity in Ulysses, Joyce deploys strategic frameworks, such as paternity or adultery.

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2

Marichalar, Antonio, and Gayle Rogers. "James Joyce in His Labyrinth." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 926–29. http://dx.doi.org/10.1632/pmla.2009.124.3.926.

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Jorge Luis Borges claimed to be “the first hispanic adventurer to have arrived at Joyce's [Ulysses]” (3) when he published a translation of the novel's final page in the Argentine journal Proa in January 1925; in fact, the Spaniard Antonio Marichalar was the first to translate passages of Ulysses into Spanish—just two months earlier, in the Revista de Occidente in Madrid. One of the finest literary critics and essayists of the 1920s and 1930s, Marichalar (1893–1973) was largely responsible for circulating the works and poetics of a number of anglophone writers, including Joyce, William Faulkner, Virginia Woolf, Lytton Strachey, Liam O'Flaherty, Hart Crane, and D. H. Lawrence, among hispanophone audiences. Prior to 1924, Joyce had been mentioned briefly in the Spanish press by Marichalar, by the English travel writer Douglas Goldring, and by several others, but no one yet had substantially treated the Irish author whose work was at the center of a revolution in European literary aesthetics. Marichalar's groundbreaking article/review/translation “James Joyce in His Labyrinth” was a remarkable introduction to and adaptation of Joyce's modernist cosmopolitanism in Spain, where the author's influence remains profound.

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3

Nash, J. "Review: James Joyce's Ulysses. A Casebook." Review of English Studies 56, no. 223 (February 1, 2005): 164–66. http://dx.doi.org/10.1093/res/hgi020.

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4

Beja, Morris. ""Ulysses" Annotated: Notes for James Joyce's "Ulysses" (review)." MFS Modern Fiction Studies 36, no. 2 (1990): 276–77. http://dx.doi.org/10.1353/mfs.0.0424.

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5

Smyth, Gerry. "‘Trust Not Appearances’: Political and Personal Betrayal in James Joyce's Ulysses." Irish University Review 44, no. 2 (November 2014): 254–71. http://dx.doi.org/10.3366/iur.2014.0123.

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Literary historians such as Tony Tanner have speculated that adultery, with its assault upon the patriarchal institution of marriage and its potential for family drama, is the principal theme of the bourgeois novel that evolves in Europe during the nineteenth century. Joyce's famous work was heir to the great nineteenth-century novel of adultery – a tradition which includes the likes of Tolstoy's Anna Karenina (1873–77), Flaubert's Madame Bovary (1857), and Zola's Thérèse Raquin (1867). An act of marital betrayal lies at the heart of the story, an act which Joyce explores in all its emotional and moral complexity. Other critics (such as David Lloyd) have argued that his condition as an Irish writer obliged Joyce to develop an ‘adulterated’ form of writing – one which refused the precepts of patriarchal authorship, and in so doing contributed significantly to the emergence of the cultural sensibility known as Modernism. This article addresses Joyce's imagination of personal and political betrayal as explored in both the thematic and formal aspects of Ulysses.

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6

Clarke, R. W. "Oliver St John Gogarty." Journal of Laryngology & Otology 111, no. 1 (January 1997): 15–19. http://dx.doi.org/10.1017/s0022215100136333.

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AbstractOliver St John Gogarty – Otolaryngologist to fashionable Edwardian Dublin – was a distinguished poet and a Senator in the fledgling Irish Free State after its establishment in 1922. He numbered amongst his acquaintances the poet William Butler Yeats, the novelist James Joyce and a host of political and literary persona who helped to shape modern Ireland. He was satirised as ‘stately plump Buck Mulligan’ in Joyce's novel Ulysses.

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7

Sopčák, Paul. "`Creation from nothing': a foregrounding study of James Joyce's drafts for Ulysses." Language and Literature: International Journal of Stylistics 16, no. 2 (May 2007): 183–96. http://dx.doi.org/10.1177/0963947007075984.

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In May 2002, previously unknown early drafts of what was to become the third chapter of James Joyce's Ulysses surfaced. Joyce worked these drafts into the manuscript that is now known as the `V.A.3-Buffalo' manuscript, in its turn the antecedent of the fair copy forming part of the so-called Rosenbach manuscript on which the published Gabler edition of Ulysses is based. In the study presented in this article, I chose three passages from the earliest drafts and found their corresponding passages in the V.A.3-Buffalo manuscript, and the published text (amounting to a total of nine text passages). In both manuscripts the first layer (before revisions) was chosen, to have the greatest possible difference between versions. After dividing the texts into roughly sentence-length segments, I conducted a foregrounding analysis on all segments of the nine texts and quantified the foregrounding devices. The objective of the presented study was to investigate whether results of past empirical studies of foregrounding, which have concentrated on poems or fairly straightforward narratives would hold true for such complex texts as James Joyce's Ulysses. To measure reader responses to the foregrounding of the texts, ratings on strikingness and affect, as well as reading times per segment were recorded. These responses proved to correlate significantly with the numerical foregrounding index per segment. Additionally, a salient framework is proposed for the study of manuscript materials.

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8

Castle, Gregory. "Ousted Possibilities: Critical Histories in James Joyce's Ulysses." Twentieth Century Literature 39, no. 3 (1993): 306. http://dx.doi.org/10.2307/441689.

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9

Gabler, H. "Towards an electronic edition of James Joyce's Ulysses." Literary and Linguistic Computing 15, no. 1 (April 1, 2000): 115–20. http://dx.doi.org/10.1093/llc/15.1.115.

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10

Spunt, Nicola Ivy. "Ontotropology: Disfiguration and Unreadability in James Joyce's Ulysses." Oxford Literary Review 33, no. 1 (July 2011): 1–20. http://dx.doi.org/10.3366/olr.2011.0003.

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This paper explores how figures of temporality, disfiguration and orgasm in the ‘Nausicaa’ episode of Joyce's Ulysses come together to allegorise unreadability. I argue that the text's invocation of a ‘contretemps’ to figure a scene of indigestion elicits a temporality of shock, producing a counternarrative that thwarts (vomits up) the ostensible readability it purports. Moreover, the principles of ideality and transparency commonly associated with the sentimental mode are countervailed by the episode's transgressive rhetorical shocks: a public display of onanistic activity and the revelation of Gerty's ‘lame leg’. The text's renderings of Gerty's disfiguration as well as the orgasmic both work to allegorise unreadability; I also suggest that they ramify ontologically. Drawing on Jacques Derrida and Jean-Luc Nancy, I investigate the co-articulation of ontology and tropology in ‘Nausicaa’ to adumbrate a theory of ‘ontotropology’ — the figuration of ontology as an undecidable condition of tropological surfeit born out of temporal disjunction.

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11

Alagappan, Serena. "Bloomsday and the Religion of James Joyce's Ulysses." James Joyce Quarterly 57, no. 3-4 (2020): 411–18. http://dx.doi.org/10.1353/jjq.2020.0013.

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12

Pollack, Howard. "Samuel Barber's "Solitary Hotel" and James Joyce's Ulysses." James Joyce Quarterly 58, no. 3 (2021): 315–28. http://dx.doi.org/10.1353/jjq.2021.0012.

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13

Tall, Emily. "Behind the Scenes: How Ulysses Was Finally Published in the Soviet Union." Slavic Review 49, no. 2 (1990): 183–99. http://dx.doi.org/10.2307/2499479.

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Mikhail Gorbachev's policy of glasnost has resulted in an astounding flood of hitherto forbidden foreign classics. Aldous Huxley's Brave New World, George Orwell's 1984 and Animal Farm, Arthur Koestler's Darkness at Noon, Isaac Bashevis Singer's short stories, and James Joyce's Ulysses were all published during 1988-1989, and D. H. Lawrence's Lady Chatterley's Lover, Saul Bellow's Herzog, and the poetry of Ezra Pound, Chaim Nachum Bialik, and Czeslaw Milosz have all been promised for 1990.' It is as if permission were given, a list of forbidden books were consulted, translations were commissioned, and the books were published. In the case of Joyce, for example, Gorbachev came to power in 1985 and Ulysses was published in 1989. Surely, it would seem, the Russian Ulysses was a child of glasnost.

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14

Crowley, Ronan, and Joshua Schäuble. "Modernism on the Punch Tape: Editing the 1984 Ulysses." Modernist Cultures 15, no. 1 (February 2020): 29–47. http://dx.doi.org/10.3366/mod.2020.0278.

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This article explores the set of interlocking and overlapping institutional, pedagogical, and commercial developments that led to the critical editing of James Joyce's Ulysses by Hans Walter Gabler in the late 1970s and early 1980s. While the polarised reception of Ulysses: A Critical and Synoptic Edition in the late 1980s is well known, we reconstruct the material and technological conditions of digital scholarly editing that gave rise to this major edition of a canonical modernist work.

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15

OSMOND-SMITH, DAVID. "Here comes nobody: a dramaturgical exploration of Luciano Berio's Outis." Cambridge Opera Journal 12, no. 2 (July 2000): 163–78. http://dx.doi.org/10.1017/s0954586700001634.

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This study, intended as a seventy-fifth birthday tribute for Luciano Berio, examines the dramaturgy of his most radical theatrical work, Outis (1995–6). To a greater extent than any of his previous operatic works, Outis dispenses with linear narrative. Instead, it constructs an associative network of images – visual, verbal and musical – upon a cyclic frame. A recurrent source for these images is the story of Odysseus/Ulysses, the wanderer, and the many different texts that stem from that tradition. These include Ulysses by James Joyce – whose work has long been a source of inspiration for Berio. This essay suggests, however, that it is rather the techniques and aspirations of Joyce's Finnegan's Wake that provide the most telling analogue for what Berio here seeks to achieve.

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16

Nesterova, Natalya M., and Evgeniya A. Naugolnykh. "The Deformation of Language in James Joyce’s Literary Works: Interpretation and Translation Challenges." Russian Journal of Linguistics 23, no. 2 (December 15, 2019): 460–72. http://dx.doi.org/10.22363/2312-9182-2019-23-2-460-472.

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The paper deals with studying language deviations of different types in James Joyce’s Ulysses and Finnegans Wake . Deviations in general are known to be a departure from a norm or accepted standard; in linguistics deviations are viewed as an artistic device that can be applied in different forms and at various textual levels. The author’s language deformation is analyzed as a form of deviation used for expressing the writer’s language knowledge. It is concluded that in Ulysses the destruction of the language is thoroughly thought out and multi-aimed. For instance, occasional compound units that dominate the novel imitate the style of Homer, reviving the ancient manner in contemporary language. Despite the use of conventional word-building patterns, rich semantic abundance being the basic principle of Joyce's poetics seriously complicates interpretation of the new words in the source language. The attempt is also made to systematize deviation techniques in Finnegans Wake . In particular, multilinguality is found to be the base of the lexical units created by J. Joyce. Such hybrid nonce words produce the polyphony effect and trigger the mechanism of polysemantism together with unlimited associativity of the textual material, broadening the boundaries of linguistic knowledge as a whole. Additionally, certain results of a deeper comparative analysis of the ways to translate the author’s deviations into Russian are given. The analysis of three Russian versions of Ulysses and the experimental fragmentary translation of Finnegans Wake show that there exists some regularity in the choice of translation method, particularly its dependence on the structural similarities/ differences of the source and the target languages, as well as the language levels affected by J. Joyce in the process of lingual destruction. The impossibility of complete conveyance of the semantic depth of the text and stylistic features in the target language is noted.

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17

Crispi, Luca. "Some Textual and Factual Discrepancies in James Joyce's Ulysses:." Variants, no. 12-13 (December 31, 2016): 104–24. http://dx.doi.org/10.4000/variants.330.

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18

Manista, Frank C. "James Joyce's Sacrificial Narrative: A Girardian Reading of "Ulysses"." Canadian Journal of Irish Studies 24, no. 2 (1998): 47. http://dx.doi.org/10.2307/25515250.

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19

Lawley, Paul, Brook Thomas, and Bernard Benstock. "James Joyce's 'Ulysses': A Book of Many Happy Returns." Modern Language Review 82, no. 1 (January 1987): 187. http://dx.doi.org/10.2307/3729939.

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20

Downing, Gregory M. "Life Lessons from Untimely Death in James Joyce's Ulysses." Literature and Medicine 19, no. 2 (2000): 182–204. http://dx.doi.org/10.1353/lm.2000.0022.

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21

Blum, B. "Ulysses as Self-Help Manual? James Joyce's Strategic Populism." Modern Language Quarterly 74, no. 1 (January 1, 2013): 67–93. http://dx.doi.org/10.1215/00267929-1892726.

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22

Clukey, Amy. "Dreaming of Palestine: James Joyce's Ulysses and Plantation Modernism." Modernism/modernity 26, no. 1 (2019): 167–84. http://dx.doi.org/10.1353/mod.2019.0007.

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23

Groden, Michael. "Introduction to "James Joyce's Ulysses in Hypermedia"." Journal of Modern Literature 24, no. 3 (2001): 359–62. http://dx.doi.org/10.1353/jml.2001.0004.

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24

Chace, W. M. "The Most Dangerous Book: The Battle for James Joyce's "Ulysses"." Common Knowledge 21, no. 2 (January 1, 2015): 336–37. http://dx.doi.org/10.1215/0961754x-2872642.

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25

Nash, J. "Review: Recent Criticism of James Joyce's Ulysses: An Analytical Review." Review of English Studies 53, no. 212 (November 1, 2002): 586–87. http://dx.doi.org/10.1093/res/53.212.586.

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26

Ulin, Julieann. ""Famished Ghosts": Famine Memory in James Joyce's Ulysses." Joyce Studies Annual 2011, no. 1 (2011): 20–63. http://dx.doi.org/10.1353/joy.2011.0015.

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27

Lee, Jerry Won. "Rudy and the Hallucination of “Culture” in James Joyce's ULYSSES." Explicator 71, no. 4 (October 2013): 292–97. http://dx.doi.org/10.1080/00144940.2013.842149.

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28

Joseph, Sarah. "Anthropomorphism and Other Figures of Speech in James Joyce's "Ulysses"." Modern Language Review 99, no. 3 (July 2004): 584. http://dx.doi.org/10.2307/3738988.

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29

Powell, Mason Whitehorn. ""Ulysses": A Revised And Expanded Stage Adaptation Of Joyce'S Novel by James Joyce." James Joyce Quarterly 54, no. 3-4 (2017): 460–64. http://dx.doi.org/10.1353/jjq.2017.0022.

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30

Степура, С. Н. "SPECIAL LANGUAGE MEANS IN BY JAMES JOYCE." НАУЧНЫЙ ЖУРНАЛ СОВРЕМЕННЫЕ ЛИНГВИСТИЧЕСКИЕ И МЕТОДИКО-ДИДАКТИЧЕСКИЕ ИССЛЕДОВАНИЯ, no. 2(50) (June 16, 2021): 42–54. http://dx.doi.org/10.36622/vstu.2021.86.45.003.

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Постановка задачи. В статье рассматриваются средства выразительности в романе Дж. Джойса «Улисс», в тексте которого присутствуют практически все возможные стилистические приемы и фигуры речи. Базируясь на семантической двуплановости как отличительном признаке большинства образных средств, автор пытается проследить механизмы формирования языкового инструментария, характерного для модернистского произведения. Производится попытка понять, как происходит процесс порождения знаков в «Улиссе» и как их интерпретировать. Для этого особое внимание уделяется группе слов с большим семиотическим потенциалом. Результаты. Установлены некоторые языковые средства выразительности, характерные для романа «Улисс». Их отличительной особенностью является авторская индивидуальность, усиленная специфичностью романа «потока сознания», когда потенциал языка используется по-новому. Выводы. Образные средства способны придавать фигуральность любому художественному тексту. Однако создание модернистского романа «Улисс» потребовало от Джойса особых усилий в формировании языковых средств. Характерный признак данного произведения, поток сознания, спровоцировал использование лингвистического резерва несколько иным способом - бесконечными парадоксами, запутанными символами и ассоциациями. Нередко последнее связано с изменением семиозиса. Так, специфические средства создания образности в «Улиссе», заключающиеся в гротескности и эксцентричности, основываются на нарушении нормы языка, что приводит к многократному усилению эстетико-художественного эффекта в романе. Statement of the problem. The article examines the means of expression in J. Joyce's novel Ulysses , which contains virtually all possible stylistic devices: phonological, morphological, grammatical, syntactic and lexical. Based on the semantic duality as a distinctive feature of the majority of figurative means, the author tries to trace the mechanisms of the linguistic tools formation that could be characteristic of a modernist work. An attempt is made to understand how the process of generating signs in Ulysses takes place and thus how it can be interpreted. For this, special attention is paid to a group of words with great semiotic potential. Results. Some linguistic means of expressiveness characteristic of the novel Ulysses have been identified. Their main feature is the author's individuality reinforced by the specificity of the "stream of consciousness" novel, when the potential of the language is used in a new way. Conclusion. Different stylistic devices and expressive language means are able to make an impression and add figurativeness to any literary text. However, the creation of the modernist novel Ulysses required special efforts from Joyce in the formation of linguistic means. A distinctive feature of this work, the stream of consciousness, provoked the use of the linguistic potential in a slightly different way creating endless paradoxes, confusing symbols and associations. Often the latter is associated with the change in semiosis generation. Thus, the specific means of creating imagery in Ulysses lead to the language norm violation. In its turn, the grotesque and eccentricity bring multiple increase in the aesthetic and artistic effect in the novel.

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31

McGuigan, John. "To Go and Sin Once More: Confession and Joyce's ‘Nausicaa’ Episode." Modernist Cultures 10, no. 2 (July 2015): 201–26. http://dx.doi.org/10.3366/mod.2015.0109.

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While critics note the saturation of Gerty MacDowell's mind with British commercial culture in the ‘Nausicaa’ episode of James Joyce's Ulysses, less well noted is the language and logic of Ireland's other master, Rome. In addition to the Marian images of piety and purity Gerty would have learned through religious societies like the Children of Mary, one finds elements of the Roman Catholic Sacrament of Reconciliation. Joyce's rejection of the Catholic Church being common knowledge, it is surprising to find that the language and logic of confession which pervades much of Gerty's narrative and thought is not the repressive force one might expect. Instead, the logic of sin and redemption becomes a means for Gerty to embrace and explore her sexuality, to indulge her sexual desire, enhancing her enjoyment while allowing her to defer moral judgment. Through Gerty, Joyce diagnoses confession's functional importance in the mental, social, and sexual lives of many Irish of his day, complicating our assessments of modernist attitudes towards organized religion.

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32

Đurić, Sonja. "Family medical history as inspiration for a masterpiece: James Joyce's Ulysses." Engrami 40, no. 1 (2018): 20–27. http://dx.doi.org/10.5937/engrami1801020d.

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33

Uszkalo, Kirsten C. "The Memoirs of Dolly Morton: Possible Source for James Joyce's Ulysses?" Notes and Queries 55, no. 4 (October 24, 2008): 510–14. http://dx.doi.org/10.1093/notesj/gjn181.

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34

Jung, Yeonsik. "“Dead treasure, hollow shells”: Money and Ideology in James Joyce's ULYSSES." Explicator 75, no. 4 (October 2, 2017): 220–24. http://dx.doi.org/10.1080/00144940.2017.1379461.

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35

Colangelo, Jeremy. "The Necessary Fiction: Life with James Joyce's Ulysses by Michael Groden." ESC: English Studies in Canada 44, no. 3 (2018): 120–23. http://dx.doi.org/10.1353/esc.2018.0017.

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36

Hartman, Kasper, and Brian Cosgrove. "James Joyce's Negations: Irony, Indeterminacy and Nihilism in "Ulysses" and Other Writings." Canadian Journal of Irish Studies 33, no. 2 (2007): 73. http://dx.doi.org/10.2307/25515688.

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37

Klitgard, Ida. "The Danish Translation of the Anthology of Styles in James Joyce's Ulysses." Orbis Litterarum 60, no. 1 (February 2005): 54–69. http://dx.doi.org/10.1111/j.1600-0730.2004.10820.x.

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38

Vasylenko, Roman. "James Joyce's Play with Dramatic Conventions in Ulysses (1922): Episode 15 (Circe)." New Horizons in English Studies 4 (September 13, 2019): 90–101. http://dx.doi.org/10.17951/nh.2019.4.90-101.

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39

Eide, Marian. ""Ulysses" In West Britain: James Joyce's Dublin and Dubliners by Michael Murphy." James Joyce Quarterly 57, no. 1-2 (2019): 178–82. http://dx.doi.org/10.1353/jjq.2019.0087.

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40

Campbell, Hugh. "The emergence of modern Dublin: reality and representation." Architectural Research Quarterly 2, no. 4 (1997): 44–53. http://dx.doi.org/10.1017/s1359135500001585.

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This paper challenges the predominant reading of Dublin's architectural history whereby the eighteenth century is a golden age of rational urbanism and the nineteenth century represents a collapse into confusion and stasis. It emphasises the different ways in which the city continued to change in the nineteenth century. An examination of James Joyce's changing representation of Dublin - from the ‘scrupulous meanness’ of Dubliners to the exuberance of Ulysses - suggests how an equivalent shift in architectural strategies, from a nostalgia for the formal certainties of Georgian Dublin towards an appreciation of the heterogeneous nineteenth-century city, might produce a new kind of urbanism.

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41

Spoo, Robert. "Copyright Protectionism and Its Discontents: The Case of James Joyce's "Ulysses" in America." Yale Law Journal 108, no. 3 (December 1998): 633. http://dx.doi.org/10.2307/797499.

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42

Fischer, Tiana M. ""Ulysses" Quotīdiānus: James Joyce's Inverse Histories of the Everyday by Jibu Mathew George." James Joyce Quarterly 54, no. 1-2 (2016): 192–96. http://dx.doi.org/10.1353/jjq.2016.0042.

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43

Zimmerman, Nadya. "Musical Form as Narrator: The Fugue of the Sirens in James Joyce's Ulysses." Journal of Modern Literature 26, no. 1 (2002): 108–18. http://dx.doi.org/10.1353/jml.2004.0013.

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44

Heininger, Joseph. "The "Ulysses" Guide: Tours through Joyce's Dublin, and: James Joyce's Italian Connection, and: Joyce and Prose: An Exploration of the Language of "Ulysses", and: James Joyce and His Contemporaries (review)." MFS Modern Fiction Studies 36, no. 2 (1990): 273–76. http://dx.doi.org/10.1353/mfs.0.0292.

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45

Davison, S. "BRIAN COSGROVE. James Joyce's Negations: Irony, Indeterminacy and Nihilism in Ulysses and Other Writings." Review of English Studies 61, no. 252 (August 12, 2010): 834–36. http://dx.doi.org/10.1093/res/hgp100.

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Garland-Thomson, Rosemarie. "Representing the Erotic Life of Disabled Women: Jennifer Egan's Manhattan Beach and Anne Finger's A Woman, in Bed." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 378–83. http://dx.doi.org/10.1632/pmla.2019.134.2.378.

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Disabled women in literature seldom have erotic lives. Think of poor, crippled laura wingfield in Tennessee Williams's The Glass Menagerie, waiting passively alongside her anxious mother to be taken up by a man. Or consider Gertie McDowell in James Joyce's Ulysses, the object of Leopold Bloom's voyeuristic fantasies, limping along, herself sexually blank. Even Eva Peace, the one-legged crone goddess in Toni Morrison's Sula, is done with sex. There is something at least untoward and at most perverse about representing disabled women as erotic. In The Sexual Politics of Disability, the sociologist Tom Shakespeare and his coauthors detail a long history of disability as a sexual disqualifier or as an occasion for perversity for both men and women in narrative representation.

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Kevin J. H. Dettmar. "James Joyce's Negations: Irony, Indeterminacy and Nihilism in "Ulysses" and Other Writings (review)." James Joyce Quarterly 46, no. 3-4 (2008): 592–98. http://dx.doi.org/10.1353/jjq.2008.0043.

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Smith, Eric D. "A Slow and Dark Birth: Aesthetic Maturation and the Entelechic Narrative in James Joyce's Ulysses." MFS Modern Fiction Studies 47, no. 4 (2001): 753–73. http://dx.doi.org/10.1353/mfs.2001.0106.

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Emery, Jacob. "Kinship and Figure in Andrey Bely's Petersburg." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 76–91. http://dx.doi.org/10.1632/pmla.2008.123.1.76.

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Andrey Bely's novel Petersburg (one of the high points of Russian literary modernism and a rough analogue to James Joyce's Ulysses) repeatedly claims that parent and child, being of the same flesh and blood, share an ambivalent identity. At the same time, because the novel opens by invoking a major character's genealogical relation to Adam, the book implies that this kin identity is universal and can be applied to the entire human race. This essay analyzes the role of kinship metaphor in Petersburg, demonstrating that tropes of parent-child identity facilitate the novel's dizzying metaphoric conflation, that they form a kind of metafictional mirror in which the novel probes its own nature as a work of the imagination, and that Bely's theory and practice of metaphor touch on broader philosophical issues of figure and fictionality.

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Goloubeva, Irina Rasmussen. ""That's the Music of the Future": James Joyce's Ulysses and the Writing of a Difficult History." Modernism/modernity 20, no. 4 (2013): 685–708. http://dx.doi.org/10.1353/mod.2013.0105.

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