The original version of Proust, Mann, Joyce in the Modernist Context strove to show how a kindred encyclopedic drive and sacramental sense informed their responses to the epochal trauma, yielding three distinct and monumental visions of the human estate by the 1920s.

This state of the art collection offers fresh perspectives on why intersections between literature, religion, and ethics can address the fault lines of modernity and are not necessarily the cause of modernity's 'faults.' From a diverse cohort of scholars from around the world, with appointments in comparative literature and other disciplines, the essays suggest that the imagined hegemony of a Judeo-Christian Western project is neither exclusively true nor productive. However, the essays also suggest that elements of the Western religious traditions are important vectors for understanding modernity's complicated relationship to the past.

Panepiphanal World is the first in-depth study of the forty short texts James Joyce called “epiphanies.” Composed between 1901 and 1904, at the beginning of Joyce’s writing career, these texts are often dismissed as juvenilia. Sangam MacDuff argues that the epiphanies are an important point of origin for Joyce’s entire body of work, showing how they shaped the structure, style, and language of his later writings. Tracing the ways Joyce incorporates the epiphanies into Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake, MacDuff describes the defining characteristics of the epiphanies—silence and repetition, materiality and reflexivity—as a set of recurrent and inter-related tensions in the development of Joyce’s oeuvre. MacDuff uses fresh archival evidence, including a new typescript of the epiphanies that he discovered, to show the importance of the epiphanies throughout Joyce’s career. MacDuff compares Joyce’s concept of epiphany to classical, biblical, and Romantic revelations, showing that instead of pointing to divine transcendence or the awakening of the sublime, Joyce’s epiphanies are rooted in and focused on language. MacDuff argues that the Joycean epiphany is an apt characterization of modernist literature and that the linguistic forces at play in these early texts are also central to the work of Joyce’s contemporaries including Woolf, Beckett, and Eliot. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles An Open Access edition of this book was published with the support of the Swiss National Science Foundation.

In this book, Kevin Rulo reveals the crucial linkages between satire and modernism. He shows how satire enables modernist authors to evaluate modernity critically and to explore their ambivalence about the modern. Through provocative new readings of familiar texts and the introduction of largely unknown works, Satiric Modernism exposes a larger satiric mentality at work in well-known authors like T.S. Eliot, James Joyce, Wyndham Lewis, Ezra Pound, Virginia Woolf, and Ralph Ellison and in less studied figures like G.S. Street, the Sitwells, J.J. Adams, and Herbert Read, as well as in the literature of migration of Sam Selvon and John Agard, in the films of Paolo Sorrentino, and in the drama of Sarah Kane. In so doing, Rulo remaps the last hundred years as an era marked distinctively by a new kind of satiric critique of and aesthetic engagement with the temporal fissures, logics, and regimes of modernity. This ambitious, expansive study reshapes our understanding of modernist literary history and will be of interest to scholars of twentieth century and contemporary literature as well as of satire.

"The first comprehensive account of the enormous impact of Joyce on German modernist and postmodern writers. An indispensable book on Joyce's 'German' face."—Gerald Gillespie, Stanford University In August 1919, a production of James Joyce's Exiles was mounted at the Munich Schauspielhaus and quickly fell due to harsh criticism. The reception marked the beginning of a dynamic association between Joyce, German-language writers, and literary critics. It is this relationship that Robert Weninger analyzes in The German Joyce. Opening a new dimension of Joycean scholarship, this book provides the premier study of Joyce's impact on German-language literature and literary criticism in the twentieth century. The opening section follows Joyce's linear intrusion from the 1910s to the 1990s by focusing on such prime moments as the first German translation of Ulysses, Joyce's influence on the Marxist Expressionism debate, and the Nazi blacklisting of Joyce's work. Utilizing this historical reception as a narrative backdrop, Weninger then presents Joyce's horizontal diffusion into German culture. Weninger succeeds in illustrating both German readers' great attraction to Joyce's work as well as Joyce's affinity with some of the great German masters, including Goethe and Rilke. He argues that just as Shakespeare was a model of linguistic exuberance for Germans in the eighteenth century, Joyce became the epitome of poetic inspiration in the twentieth. This volume, through Weninger's critiques and repositions, simultaneously revisits the fraught relationship between influence and intertextuality in literary studies and reassesses their value as tools for contemporary comparative criticism today. Robert K. Weninger, emeritus professor of German and comparative literature at King’s College London, is author or editor of over ten books, including Arno Schmidts Joyce-Rezeption 1957-1970: Ein Beitrag zur Poetik Arno Schmidts, and is a past editor of the Journal of Comparative Critical Studies.

This book explores the wilful self-destruction of Ireland since the mid-1990s. It proposes that a Celtic confederation should co-exist with the UK in IONA. The high resource, low population density countries of Ireland and Scotland should reach out to their peers in Wales and England with an offer of belonging. An immense and beautiful new possibility is proposed to replace the current illegal congeries.

This book is the first major study that explores the intrinsic connection between music and myth, as Nietzsche conceived of it in The Birth of Tragedy (1872), in three great works of modern literature: Romain Rolland’s Nobel Prize winning novel Jean-Christophe (1904-12), James Joyce’s modernist epic Ulysses (1922), and Thomas Mann’s late masterpiece Doctor Faustus (1947). Juxtaposing Nietzsche’s conception of the Apollonian and Dionysian with narrative depictions of music and myth, Josh Torabi challenges the common view that the latter half of The Birth of Tragedy is of secondary importance to the first. Informed by a deep knowledge of Nietzsche’s early aesthetics, the book goes on to offer a fresh and original perspective on Ulysses and Doctor Faustus, two world-famous novels that are rarely discussed together, and makes the case for the significance of Jean-Christophe, which has been unfairly neglected in the Anglophone world, despite Rolland’s status as a major figure in twentieth-century intellectual and literary history. This unique study reveals new depths to the work of our most enduring writers and thinkers.

June 16, 2004, was the one hundredth anniversary of Bloomsday, the day that James Joyce's novel Ulysses takes place. To celebrate the occasion, thousands took to the streets in Dublin, following in the footsteps of protagonist Leopold Bloom. The event also was marked by the Bloomsday 100 Symposium, where world-renowned scholars discussed Joyce's seminal work. This volume contains the best, most provocative readings of Ulysses presented at the conference. The contributors to this volume urge a close engagement with the novel. They offer readings that focus variously on the materialist, historical, and political dimensions of Ulysses. The diversity of topics covered include nineteenth-century psychology, military history, Catholic theology, the influence of early film and music hall songs on Joyce, the post-Ulysses evolution of the one-day novel, and the challenge of discussing such a complex work amongst the sea of extant criticism.

This book studies literary epiphany as a modality of character in the British and American novel. Epiphany presents a significant alternative to traditional models of linking the eye, the mind, and subject formation, an alternative that consistently attracts the language of spirituality, even in anti-supernatural texts. This book analyzes how these epiphanies become "spiritual" and how both character and narrative shape themselves like constellations around such moments. This study begins with James Joyce, 'inventor' of literary epiphany, and Martin Heidegger, who used the ancient Greek concepts behind 'epiphaneia' to re-define the concept of Being. Kim then offers readings of novels by Susan Warner, George Eliot, Edith Wharton, Virginia Woolf, and William Faulkner, each addressing a different form of epiphany.

This book follows several major European literary «echoes» still reverberating since the mysterious emergence of such archetypal figures as Faust, Hamlet, Quixote, and Don Juan alongside lingering ancient and medieval protagonists in the Renaissance. Four centuries of attempts to redefine «modern» identity are traced against the evolution of a new genre of totalizing encyclopaedic literature, the «humoristic» tradition which re-weaves the positive and negative strands of the European, and today also New World, «grand narrative.» The book's method, inspired by Joyce, is to «listen» to recurrent motifs in the cultural flow from Humanism to Postmodernism for clues to an identity transcending the personal.