By Alan W. Friedman, Charles Rossman
In contrast to many contemporary Joyce experiences, De-familiarizing Readings eschews the theoretical and ideological and in its place vegetation itself on more impregnable floor. Its seven remarkable Joyce students proportion a love of the "stuff" of texts, contexts, and intertexts: information and dates, nutrition and garments, letters and journals, literary allusions, and different quotidian desiderata. Their inductive methods - no matter if to Dubliners, Portrait of the Artist, Ulysses, or Finnegans Wake - are completely researched, argued with meticulous, even nit-picking, precision, and supply the pleasing studying event of forensic research. And in any case they supply the pride of attaining persuasive conclusions that appear either notable and inevitable
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De-familiarizing readings : essays from the Austin Joyce conference
In contrast to many contemporary Joyce experiences, De-familiarizing Readings eschews the theoretical and ideological and as a substitute crops itself on less assailable flooring. Its seven extraordinary Joyce students percentage a love of the "stuff" of texts, contexts, and intertexts: facts and dates, nutrients and garments, letters and journals, literary allusions, and different quotidian desiderata.
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Sample text
This second part is capped off by Gabriel’s falsely sentimental and affected speech. In this part of the story, Molly Ivors resembles an Uncle Tom character, defending the virtue of her nationality. While the tenor’s song would normally appear at this part in the minstrel show, Bartell D’Arcy’s song is delayed (due to his laryngitis) until Part III; instead, the dinner guests talk about famous Irish tenors. In Part III, demarcated again by ellipses, the Joyce “minstrel show” continues into the Afterpiece, including the slapstick of Gabriel’s pacing in a circle as Johnny the horse.
Stephen’s mother appears in a late entry for 26 April, “putting [Stephen’s] new secondhand clothes in order” for his forthcoming trip to the Continent (P 252). Since we know from Ulysses that she dies in June 1903, we can be sure that the diary predates that time, so it cannot be set in March and April 1904, even though the annotation “Dublin 1904” immediately after the diary ends might at first tempt us to suppose that it is. But it also becomes clear from the evidence in Ulysses that Stephen’s stay in Paris, cut short by the summons to his mother’s deathbed, will be brief, covering probably about five weeks.
Ironically, in the minstrel shows, the Jim Crow character is a buffoon who often speaks the truth; Freddy may represent this character when he comments innocently about the Negro chieftain’s grand voice in the panto. And Molly Ivors has “a crow to pluck” with Gabriel. As the story moves to Part II, an Olio performance structure emerges as Mary Jane performs her academy piece, while Gabriel glances up at a Shakespeare scene. The dancing ensues, and then Aunt Julia performs her party piece. This second part is capped off by Gabriel’s falsely sentimental and affected speech.