Joyce criticism is a long way from having controlled the treasure trove of manuscript materials in the 63 volume James Joyce Archive. PROBES represents a new effort of incorporating manuscript research into critical concerns demonstrating in a practical manner how genetic work contributes to a fuller and more nuanced appreciation of Joyce's work. The organization of the essays is designed to highlight our two major but interlocking concerns: the nature and theoretical underpinnings of genetic criticism of Joyce and especially of Finnegans Wake, and some of the many ways that theory can be applied to the creative situation reflected in the notes and manuscripts. The questions raised in this volume are both current and important. Like Finnegans Wake itself, the manuscript record, because it is so complete, by stimulating the reader's curiosity and ingenuity, lends itself to a variety of approaches while rewarding specialized knowledge. Here too, as we decipher and transcribe, we are well advised to follow Joyce's advice and wipe [our] glosses with what [we] know. This volume will provide much that is new and of interest for all scholars of Joyce as well as scholars interested in the issues raised by genetic criticism

First published in 1991. James Joyce’s Finnegans Wake: A Case Book was published in order to celebrate the 50th anniversary of Joyce's final work with 14 critical essays and a page-by-page outline of the novel. The book includes critical approaches and interpretations in film, drama, and music. This title will be of interest to students of literature.

The study establishes the nature and aims of Finnegans Wake as Menippean satire and interprets the Wake in that light. McLuhan examines Joyce's use of language, and in particular his use of ten hundred-lettered words (thunderclaps).

This non-academic author presents his key to opening James Joyce s infamously difficult and endlessly playful novel Finnegans Wake. The key was fashioned in Kabbalah, an ancient Jewish mystical tradition that as interpreted by Joyce champions independent individualism as the path to the highest spirituality. Kabbalah images a universe excreted by the ultimate god, a universe that is necessarily finite and limited that came with its own secondary god that is finite and limited, the god presented in Genesis that issues blessing and curses designed to make mankind fearful and dependent- the curse of Kabbalah. Joyce laid this curse in his dream-like "Book of the Night" in the elastic way that the latent or hidden content of a dream distorts the presentation of dream materials. Acting like a black hole, this curse pressures the main character Harold Chimpden Earwicker to "fall," to become fearful and dependent just like everyone else, that is reduced to the mere initials HCE for "Here Comes Everybody." Joyce traces this curse from the myths in Genesis to the primal horde, the first social organization of humans, to the Oedipal Complex and to nation state warfare such as the Battle of Waterloo. In a groundbreaking presentation, Anderson deciphers word by word the first two chapters and part of the last chapter to show how this key opens the lock. He shows, for example, how the joined ending and beginning of Joyce s wisdom book form the Hebrew word for curse and the ending shows confrontation rather than repression of fear of death as the key to life, to your own wake.

Joyce criticism is a long way from having controlled the treasure trove of manuscript materials in the 63 volume James Joyce Archive. PROBES represents a new effort of incorporating manuscript research into critical concerns demonstrating in a practical manner how genetic work contributes to a fuller and more nuanced appreciation of Joyce's work. The organization of the essays is designed to highlight our two major but interlocking concerns: the nature and theoretical underpinnings of genetic criticism of Joyce and especially of Finnegans Wake, and some of the many ways that theory can be applied to the creative situation reflected in the notes and manuscripts. The questions raised in this volume are both current and important. Like Finnegans Wake itself, the manuscript record, because it is so complete, by stimulating the reader's curiosity and ingenuity, lends itself to a variety of approaches while rewarding specialized knowledge. Here too, as we decipher and transcribe, we are well advised to follow Joyce's advice and wipe [our] glosses with what [we] know. This volume will provide much that is new and of interest for all scholars of Joyce as well as scholars interested in the issues raised by genetic criticism.

Examining representations of speech disorders in works of literature, this first collection of its kind founds a new multidisciplinary subfield related but not limited to the emerging fields of disability studies and medical humanities. The scope is wide-ranging both in terms of national literatures and historical periods considered, engaging with theoretical discussions in poststructuralism, disability studies, cultural studies, new historicism, gender studies, sociolinguistics, trauma studies, and medical humanities. The book’s main focus is on the development of an awareness of speech pathology in the literary imaginary from the late-eighteenth century to the present, studying the novel, drama, epic poetry, lyric poetry, autobiography and autopathography, and clinical case studies and guidebooks on speech therapy. The volume addresses a growing interest, both in popular culture and the humanities, regarding the portrayal of conditions such as stuttering, aphasia and mutism, along with the status of the self in relation to those conditions. Since speech pathologies are neither illnesses nor outwardly physical disabilities, critical studies of their representation have tended to occupy a liminal position in relation to other discourses such as literary and cultural theory, and even disability studies. One of the primary aims of this collection is to address this marginalization, and to position a cultural criticism of speech pathology within literary studies.

This book is a critical introduction to Finnegans Wake and its genesis. Finn Fordham provides a survey of critical, scholarly, and theoretical approaches to Joyce's iconic masterpiece. He also analyses in detail the compositional development of certain key passages which describe the artist (Shem) and his project; the river-mother (ALP) and her 'first kiss'; the Oedipal shooting of the universal father (HCE) by the priestly son (Shaun); and the bewitching and curious daughter (Issy). His analyses demonstrate 'genetic' ways of reading the text which illustrate its immense range and playfulness and how these qualities were generated in composition. As well as opening up the densely detailed textuality of the Wake in all its multiplicity, Fordham argues for a relation between the way the text was formed and key aspects of its thematic content: an uprising of particularity and detail against universality, absolutes, and generality. He shows that the proliferation of individuated textual details overwhelms any unitary concept to the text. And this reflects an idealized and utopian uprising as it overcomes centralizing singularity: Finnegans do wake up. As part of this argument he proposes a qualified return to a notion of character - qualified in that characters can be understood in part as reflecting the character of compositional techniques: self-criticism and concealment, expansion and growth, flow and reflection, transferral and transformation. The character of the text's composition as a whole can be, paradoxically, summed up in the force of individuated multitudes: in the people, male and female, young and old, combining to overwhelm syntactic uniformity and singular signification. Quotations from the works of James Joyce reproduced with permission of the Estate of James Joyce, © Estate of James Joyce. We regret that acknowledgement to the James Joyce Estate for permission to include material by James Joyce was not included in the first printing of this book.

This is a collection by diverse hands on the thematic, conceptual and contextual impact of time in and around Joyce's Finnegans Wake. In keeping with the practice of the Zürich James Joyce Foundation workshops, from one of which, over Easter 1992, the collection developed, many essays emphasize the local temporal textures of Finnegans Wake through close readings of individual passages. However, this does not preclude fruitful interaction with wider contexts and theoretical concerns. Two articles are detailed studies of social and political contemporary contexts with which Joyce's last work was in dialogue. Three more explore philosophical, psychological and scientific theories of time which Joyce exploited and transformed in his text. Two essays relate Finnegans Wake to discussions of time in French feminist and deconstructive theory: and finally, four essays concentrate on the temporality of composition - two apiece on each of the chronology of Joyce's early note-taking and draft processes. The collection should prove interesting to all readers and critics of Joyce as well as to critics concerned with the problem of historicizing and contextualising the temporally disruptive texts of high modernism and early postmodernism.

Examines the life and writings of James Joyce, including a biographical sketch, detailed synopses of his works, social and historical influences, and more.