James Joyce

James Joyce
This article is about the 20th-century writer. For other
people with the same name, see James Joyce (disambiguation).
James Augustine[1] Aloysius Joyce (2 February 1882
Belvedere, despite the chaotic family life imposed by his
father’s alcoholism and unpredictable finances. He went
on to attend University College Dublin.
In 1904, in his early twenties he emigrated permanently to
continental Europe with his partner Nora Barnacle. They
lived in Trieste, Paris, and Zurich. Though most of his
adult life was spent abroad, Joyce’s fictional universe centres on Dublin, and is populated largely by characters who
closely resemble family members, enemies and friends
from his time there; Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly
after the publication of Ulysses he elucidated this preoccupation somewhat, saying, “For myself, I always write
about Dublin, because if I can get to the heart of Dublin
I can get to the heart of all the cities of the world. In the
particular is contained the universal.”[2]
1 Biography
1.1 1882–1904: Dublin
Joyce in Zurich, c. 1918
– 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the
modernist avant-garde of the early 20th century.
Joyce is best known for Ulysses (1922), a landmark work
in which the episodes of Homer's Odyssey are paralleled
in an array of contrasting literary styles, perhaps most
prominent among these the stream of consciousness technique he utilized. Other well-known works are the shortstory collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans
Wake (1939). His other writings include three books of
poetry, a play, occasional journalism, and his published
letters.
Joyce’s birth and baptismal certificate
James Augustine Aloysius Joyce was born on 2 February
1882 to John Stanislaus Joyce and Mary Jane “May” Murray, in the Dublin suburb of Rathgar. He was baptized according to the Rites of the Catholic Church in the nearby
St Joseph’s Church in Terenure on 5 February by Rev.
Joyce was born in 41 Brighton Square, Rathgar, Dublin— John O'Mulloy. His godparents were Philip and Ellen
a kilometre from his mother’s birthplace in Terenure— McCann. He was the eldest of ten surviving children; two
into a middle-class family on the way down. A brilliant of his siblings died of typhoid. His father’s family, origistudent, he excelled at the Jesuit schools Clongowes and nally from Fermoy in Cork, had once owned a small salt
1
2
and lime works. Joyce’s father and paternal grandfather
both married into wealthy families, though the family’s
purported ancestor, Seán Mór Seoighe (fl. 1680) was a
stonemason from Connemara.[3] In 1887, his father was
appointed rate collector (i.e., a collector of local property
taxes) by Dublin Corporation; the family subsequently
moved to the fashionable adjacent small town of Bray 12
miles (19 km) from Dublin. Around this time Joyce was
attacked by a dog, which engendered in him a lifelong
cynophobia. He also suffered from astraphobia, as a superstitious aunt had described thunderstorms to him as a
sign of God’s wrath.[4]
In 1891 Joyce wrote a poem on the death of Charles Stewart Parnell. His father was angry at the treatment of Parnell by the Catholic church and at the resulting failure to
secure Home Rule for Ireland. The elder Joyce had the
poem printed and even sent a part to the Vatican Library.
In November of that same year, John Joyce was entered
in Stubbs Gazette (a publisher of bankruptcies) and suspended from work. In 1893, John Joyce was dismissed
with a pension, beginning the family’s slide into poverty
caused mainly by John’s drinking and general financial
mismanagement.[5]
1 BIOGRAPHY
the Sodality of Our Lady by his peers at Belvedere.[6] The
philosophy of Thomas Aquinas continued to have a strong
influence on him for most of his life.[7]
Joyce enrolled at the recently established University College Dublin (UCD) in 1898, studying English, French
and Italian. He also became active in theatrical and literary circles in the city. In 1900 his laudatory review
of Henrik Ibsen's When We Dead Awaken was published
in Fortnightly Review; it was his first publication and, after learning basic Norwegian to send a fan letter to Ibsen, he received a letter of thanks from the dramatist.
Joyce wrote a number of other articles and at least two
plays (since lost) during this period. Many of the friends
he made at University College Dublin appeared as characters in Joyce’s works. His closest colleagues included
leading figures of the generation, most notably, Thomas
Kettle, Francis Sheehy-Skeffington and Oliver St. John
Gogarty. Joyce was first introduced to the Irish public by
Arthur Griffith in his newspaper, The United Irishman,
in November 1901. Joyce had written an article on the
Irish Literary Theatre and his college magazine refused
to print it. Joyce had it printed and distributed locally.
Griffith himself wrote a piece decrying the censorship of
the student James Joyce.[8][9] In 1901, the National Census of Ireland lists James Joyce (19) as an English- and
Irish-speaking scholar living with his mother and father,
six sisters and three brothers at Royal Terrace (now Inverness Road), Clontarf, Dublin.[10]
After graduating from UCD in 1902, Joyce left for Paris
to study medicine, but he soon abandoned this after finding the technical lectures in French too difficult. He
stayed on for a few months, appealing for finance his family could ill afford and reading late in the Bibliothèque
Sainte-Geneviève. When his mother was diagnosed with
cancer, his father sent a telegram which read, “NOTHER
[sic] DYING COME HOME FATHER”.[11] Joyce returned to Ireland. Fearing for her son’s impiety, his
mother tried unsuccessfully to get Joyce to make his confession and to take communion. She finally passed into a
coma and died on 13 August, James and Stanislaus having refused to kneel with other members of the family
praying at her bedside.[12] After her death he continued
to drink heavily, and conditions at home grew quite appalling. He scraped a living reviewing books, teaching,
and singing—he was an accomplished tenor, and won the
bronze medal in the 1904 Feis Ceoil.[13][14]
Joyce at age six, 1888
Joyce had begun his education at Clongowes Wood College, a Jesuit boarding school near Clane, County Kildare, in 1888 but had to leave in 1892 when his father
could no longer pay the fees. Joyce then studied at home
and briefly at the Christian Brothers O'Connell School on
North Richmond Street, Dublin, before he was offered a
place in the Jesuits’ Dublin school, Belvedere College, in
1893. In 1895, Joyce, now aged 13, was elected to join
On 7 January 1904 he attempted to publish A Portrait of
the Artist, an essay-story dealing with aesthetics, only to
have it rejected from the free-thinking magazine Dana.
He decided, on his twenty-second birthday, to revise the
story into a novel he called Stephen Hero. It was a fictional
rendering of Joyce’s youth, but he eventually grew frustrated with its direction and abandoned this work. It was
never published in this form, but years later, in Trieste,
Joyce completely rewrote it as A Portrait of the Artist as a
Young Man. The unfinished Stephen Hero was published
after his death.[15]
1.2
1904–20: Trieste and Zurich
3
rumoured to be a Jew and to have an unfaithful wife, and
would serve as one of the models for Leopold Bloom, the
protagonist of Ulysses.[18] He took up with medical student Oliver St John Gogarty, who formed the basis for
the character Buck Mulligan in Ulysses. After staying for
six nights in the Martello Tower that Gogarty was renting in Sandycove, he left in the middle of the night following an altercation which involved another student he
lived with, the unstable Dermot Chenevix Trench (Haines
in Ulysses), firing a pistol at some pans hanging directly
over Joyce’s bed.[19] He walked the 13 kilometres back
to Dublin to stay with relatives for the night, and sent a
friend to the tower the next day to pack his trunk. Shortly
thereafter he eloped to the continent with Nora.
1.2 1904–20: Trieste and Zurich
Bust of Joyce in St. Stephen’s Green, Dublin
The same year he met Nora Barnacle, a young woman
from Galway City who was working as a chambermaid. Joyce in 1915
On 16 June 1904, they first stepped out together, an event
which would be commemorated by providing the date for Joyce and Nora went into self-imposed exile, moving first
the action of Ulysses.
to Zurich in Switzerland, where he had supposedly acJoyce remained in Dublin for some time longer, drinking quired a post to teach English at the Berlitz Language
heavily. After one of these drinking binges, he got into a School through an agent in England. It turned out that
fight over a misunderstanding with a man in St Stephen’s the agent had been swindled; the director of the school
Green;[16] he was picked up and dusted off by a minor ac- sent Joyce on to Trieste, which was then part of Austriaquaintance of his father, Alfred H. Hunter, who brought Hungary (until World War I), and is today part of Italy.
him into his home to tend to his injuries.[17] Hunter was Once again, he found there was no position for him, but
4
with the help of Almidano Artifoni, director of the Trieste Berlitz school, he finally secured a teaching position
in Pola, then also part of Austria-Hungary (today part
of Croatia). He stayed there, teaching English mainly
to Austro-Hungarian naval officers stationed at the Pola
base, from October 1904 until March 1905, when the
Austrians—having discovered an espionage ring in the
city—expelled all aliens. With Artifoni’s help, he moved
back to Trieste and began teaching English there. He remained in Trieste for most of the next ten years.[20]
1 BIOGRAPHY
queries from Joyce.[27] While living in Trieste, Joyce was
first beset with eye problems that ultimately required over
a dozen surgical operations.[28]
Joyce concocted a number of money-making schemes
during this period, including an attempt to become a cinema magnate in Dublin. He also frequently discussed but
ultimately abandoned a plan to import Irish tweed to Trieste. Correspondence relating to that venture with the
Irish Woollen Mills were for a long time displayed in the
windows of their premises in Dublin. Joyce’s skill at borLater that year Nora gave birth to their first child, Gior- rowing money saved him from indigence. What income
gio. Joyce then managed to talk his brother, Stanislaus, he had came partially from his position at the Berlitz
into joining him in Trieste, and secured him a position school and partially from teaching private students.
teaching at the school. Joyce’s ostensible reasons were
desire for Stanislaus’s company and the hope of offering
him a more interesting life than that of his simple clerking
job in Dublin. Joyce also hoped to augment his family’s
meagre income with his brother’s earnings.[21] Stanislaus
and Joyce had strained relations throughout the time they
lived together in Trieste, with most arguments centring
on Joyce’s drinking habits and frivolity with money.[22]
Joyce became frustrated with life in Trieste and moved
to Rome in late 1906, having secured employment as
a letter-writing clerk in a bank. He intensely disliked
Rome, and moved back to Trieste in early 1907. His
daughter Lucia was born later that year.[23]
Joyce returned to Dublin in mid-1909 with George, to
visit his father and work on getting Dubliners published.
He visited Nora’s family in Galway and liked Nora’s
mother very much.[24] While preparing to return to Trieste he decided to take one of his sisters, Eva, back with
him to help Nora run the home. He spent only a month in
Trieste before returning to Dublin, this time as a representative of some cinema owners and businessmen from
Trieste. With their backing he launched Ireland’s first cinema, the Volta Cinematograph, which was well-received,
but fell apart after Joyce left. He returned to Trieste in
January 1910 with another sister, Eileen, in tow.[25] Eva
became homesick for Dublin and returned there a few
years later, but Eileen spent the rest of her life on the continent, eventually marrying Czech bank cashier Frantisek
Schaurek.[26]
Joyce returned to Dublin again briefly in mid-1912 during
his years-long fight with Dublin publisher George Roberts
over the publication of Dubliners. His trip was once again
fruitless, and on his return he wrote the poem “Gas from a
Burner”, an invective against Roberts. After this trip, he
never again came closer to Dublin than London, despite
many pleas from his father and invitations from fellow
Irish writer William Butler Yeats.
One of his students in Trieste was Ettore Schmitz, better
known by the pseudonym Italo Svevo. They met in 1907
and became lasting friends and mutual critics. Schmitz
was a Catholic of Jewish origin and became a primary
model for Leopold Bloom; most of the details about the
Jewish faith in Ulysses came from Schmitz’s responses to
The so-called James-Joyce-Kanzel (plateau) at the confluence of
the Sihl and Limmat rivers in Zurich where Joyce loved to relax
In 1915, after most of his students in Trieste were conscripted to fight in World War I, Joyce moved to Zurich.
Two influential private students, Baron Ambrogio Ralli
and Count Francesco Sordina, petitioned officials for an
exit permit for the Joyces, who in turn agreed not to take
any action against the emperor of Austria-Hungary during the war.[29] In Zurich, Joyce met one of his most enduring and important friends, the English socialist painter
Frank Budgen, whose opinion Joyce constantly sought
through the writing of Ulysses and Finnegans Wake. It
was also here that Ezra Pound brought him to the attention
of English feminist and publisher Harriet Shaw Weaver,
who would become Joyce’s patron, providing him with
thousands of pounds over the next 25 years and relieving him of the burden of teaching to focus on his writing.
While in Zurich he wrote Exiles, published A Portrait...,
and began serious work on Ulysses. Zurich during the war
was home to exiles and artists from across Europe, and its
bohemian, multilingual atmosphere suited him. Nevertheless, after four years he was restless, and after the war
he returned to Trieste as he had originally planned. He
found the city had changed, and some of his old friends
noted his maturing from teacher to artist. His relations
with his brother Stanislaus (who had been interned in an
Austrian prison camp for most of the war due to his proItalian politics) were more strained than ever. Joyce went
to Paris in 1920 at an invitation from Ezra Pound, sup-
1.4
Joyce and religion
5
posedly for a week, but the family ended up living there
for the next twenty years.
1.3
1920–41: Paris and Zurich
Grave of James Joyce in Zurich-Fluntern
perforated ulcer. While he at first improved, he relapsed
the following day, and despite several transfusions, fell
In Paris, 1924. Portrait by Patrick Tuohy.
into a coma. He awoke at 2 a.m. on 13 January 1941, and
asked for a nurse to call his wife and son, before losing
Joyce set himself to finishing Ulysses in Paris, delighted consciousness again. They were still on their way when
to find that he was gradually gaining fame as an avant- he died 15 minutes later.
garde writer. A further grant from Miss Shaw Weaver
meant he could devote himself full-time to writing again, Joyce’s body was interred in the Fluntern Cemetery near
as well as consort with other literary figures in the city. Zurich Zoo. Swiss tenor Max Meili sang Addio terra, adDuring this era, Joyce’s eyes began to give him more and dio cielo from Monteverdi's L'Orfeo at the burial service.
more problems. He was treated by Dr Louis Borsch in Although two senior Irish diplomats were in Switzerland
Paris, undergoing nine operations before Borsch’s death at the time, neither attended Joyce’s funeral, and the Irish
in 1929. Throughout the 1930s he travelled frequently to government later declined Nora’s offer to permit the repaSwitzerland for eye surgeries and for treatments for his triation of Joyce’s remains. Nora, who had married Joyce
daughter Lucia, who, according to the Joyces, suffered in London in 1931, survived him by 10 years. She is
from schizophrenia. Lucia was analysed by Carl Jung at buried by his side, as is their son Giorgio, who died in
the time, who after reading Ulysses, is said to have con- 1976.
cluded that her father had schizophrenia.[30] Jung said she
and her father were two people heading to the bottom
1.4 Joyce and religion
of a river, except that Joyce was diving and Lucia was
sinking.[31][32][33]
The issue of Joyce’s relationship with religion is someIn Paris, Maria and Eugene Jolas nursed Joyce during what controversial. Early in life, he lapsed from Catholihis long years of writing Finnegans Wake. Were it not cism, according to first-hand testimonies coming from
for their support (along with Harriet Shaw Weaver’s con- himself, his brother Stanislaus Joyce, and his wife:
stant financial support), there is a good possibility that
his books might never have been finished or published.
My mind rejects the whole present social
In their literary magazine "Transition,” the Jolases puborder and Christianity—home, the recognised
lished serially various sections of Finnegans Wake under
virtues, classes of life, and religious doctrines.
the title Work in Progress. Joyce returned to Zurich in
[...] Six years ago I left the Catholic church,
late 1940, fleeing the Nazi occupation of France.
hating it most fervently. I found it impossible
On 11 January 1941, he underwent surgery in Zurich for a
for me to remain in it on account of the im-
6
1 BIOGRAPHY
Blue plaque, 28 Campden Grove, Kensington, London
pulses of my nature. I made secret war upon it
when I was a student and declined to accept the
positions it offered me. By doing this I made
myself a beggar but I retained my pride. Now I
make open war upon it by what I write and say
and do.[34]
My brother’s breakaway from Catholicism
was due to other motives. He felt it was imperative that he should save his real spiritual life
from being overlaid and crushed by a false one
that he had outgrown. He believed that poets in
the measure of their gifts and personality were
the repositories of the genuine spiritual life of
their race and the priests were usurpers. He
detested falsity and believed in individual freedom more thoroughly than any man I have ever
known. [...] The interest that my brother always retained in the philosophy of the Catholic
Church sprang from the fact that he considered
Catholic philosophy to be the most coherent attempt to establish such an intellectual and material stability.[35]
than reconciling with the faith, Joyce never left it.[39]
Critics holding this view insist that Stephen, the protagonist of the semi-autobiographical A Portrait of the
Artist as a Young Man as well as Ulysses, is not Joyce.[39]
Somewhat cryptically, in an interview after completing
Ulysses, in response to the question “When did you leave
the Catholic Church”, Joyce answered, “That’s for the
Church to say.”[40] Eamonn Hughes maintains that Joyce
takes a dialectic approach, both affirming and denying,
saying that Stephen’s much noted non-serviam is qualified
– “I will not serve that which I no longer believe...”, and
that the non-serviam will always be balanced by Stephen’s
“I am a servant...” and Molly’s “yes”.[41] It is also known
from first hand testimonies and his own writing that Joyce
attended Catholic Mass and Orthodox Sacred Liturgy,
especially during Holy Week, purportedly for aesthetic
reasons.[42] His sisters also noted his Holy Week attendance and that he did not seek to dissuade them.[42]
One friend witnessed him cry “secret tears” upon hearing Jesus’ words on the cross and another accused him
of being a “believer at heart” because of his frequency in
church.[42]
Umberto Eco compares Joyce to the ancient episcopi vagantes (stray bishops) in the Middle Ages. They left a
discipline, not a cultural heritage or a way of thinking.
Like them, the writer retains the sense of blasphemy held
as a liturgical ritual.[43]
Some critics and biographers have opined along the lines
of Andrew Gibson: “The modern James Joyce may have
vigorously resisted the oppressive power of Catholic tradition. But there was another Joyce who asserted his allegiance to that tradition, and never left it, or wanted to
leave it, behind him.” Gibson argues that Joyce “remained
a Catholic intellectual if not a believer” since his thinking remained influenced by his cultural background, even
though he dissented from that culture.[44] His relationship with religion was complex and not easily understood,
even perhaps by himself. He acknowledged the debt he
owned to his early Jesuit training. Joyce told the sculptor August Suter, that from his Jesuit education, he had
'learnt to arrange things in such a way that they become
easy to survey and to judge.'[45]
When the arrangements for Joyce’s burial were being
made, a Catholic priest offered a religious service, which 1.5 Joyce and music
Joyce’s wife Nora declined, saying: “I couldn't do that to
Music is central to Joyce’s biography and to the underhim.”[36]
[46]
In turn, Joyce’s poetry and
However, L. A. G. Strong, William T. Noon, Robert standing of his writings.
prose
became
an
inspiration
for composers and musiBoyle and others have argued that Joyce, later in life,
cians.
There
are
at
least
five
aspects
to consider:
reconciled with the faith he rejected earlier in life and
that his parting with the faith was succeeded by a not so
obvious reunion, and that Ulysses and Finnegans Wake
are essentially Catholic expressions.[37] Likewise, Hugh
Kenner and T.S. Eliot saw between the lines of Joyce’s
work the outlook of a serious Christian and that beneath
the veneer of the work lies a remnant of Catholic belief and attitude.[38] Kevin Sullivan maintains that, rather
1. Joyce’s musicality: Joyce had considerable musical
talent, which expressed itself in his singing, piano and
guitar playing, as well as in a melody that he composed.
His own musicality (which once made him consider music as a profession) is the root of his strong adoption of
music as a major driving force in his fiction, in addition
to his own experience of music in Ireland before he left
7
in 1904. Joyce had a light tenor voice; he was taught by 2 Major works
Vincent O'Brien and Benedetto Palmieri; in 1904 won a
bronze medal at the competitive music festival Feis Ceoil.
2.1 Dubliners
His only composition is a melody to his poem Bid adieu,
to which a piano accompaniment was added in the 1920s
Main article: Dubliners
in Paris by the American composer Edmund Pendleton
Joyce’s Irish experiences constitute an essential element
(1899–1987).
2. The music Joyce knew: Music frequently found its
way into Joyce’s poetry and prose. Often this happens
in the form of allusions to (or partial quotations from)
texts of Irish traditional songs, popular ballads, Roman
Catholic chant and opera arias. His operatic references
include works by Balfe, Wallace and Arthur Sullivan,
in addition to Meyerbeer, Mozart, and Wagner (among
many others). Joyce also makes frequent use of the Irish
Melodies of Thomas Moore and ballads such as George
Barker’s Dublin Bay and J.L. Molloy's Love’s Old Sweet
Song.
3. Opera as a genre:Joyce had a lifelong preoccupation with opera as a generic precedent for his own fiction.
Although Joyce scholarship has long identified an explicit
recourse to musical structures in Ulysses (in particular the
'Sirens’ episode) and Finnegans Wake, more recent criticism has established a decisive reliance on Wagner’s Ring
in Finnegans Wake[47] and an attempt to adapt the structures of opera and oratorio to the medium of fiction, notably in the 'Cyclops’ episode of Ulysses.[48] George Antheil's unfinished setting of 'Cyclops’ as an opera attests
this attempt.
4. Music to Joyce’s words: Music that uses Joyce’s
texts most frequently appear as settings of his poems in
songs, and occasionally as excerpts from prose works.
Irish composers were among the first to set Joyce’s poetry, including Geoffrey Molyneux Palmer (1882–1957),
Herbert Hughes (1882–1937) and Brian Boydell (1917–
2000),[49] but the musical qualities of Joyce’s verse also
attracted European and North American composers, with
early settings by Karol Szymanowski (Songs to Words by
James Joyce op. 54, 1926) and Samuel Barber (Three
Songs op. 10, 1936) in addition to settings by major exponents of the 1950s and '60s avant-garde such as Elliot
Carter (String Quartet No. 1, 1951) and Luciano Berio (Chamber Music, 1953; Thema (Ommagio a Joyce),
1958; etc.).
5. Music inspired by Joyce: Often, instrumental music was also inspired by Joyce’s writings, including works
by Pierre Boulez, Klaus Huber, Rebecca Saunders, Toru
Takemitsu and Gerard Victory. With Berio’s Thema
(Ommagio a Joyce) (1958) there is also a key work in the
development of electro-acoustic music. In 2014 the English composer Stephen Crowe set Joyce’s explicit letters
to Nora as a song-cycle for tenor and ensemble.
The title page of the first edition of Dubliners
of his writings, and provide all of the settings for his fiction and much of its subject matter. His early volume
of short stories, Dubliners, is a penetrating analysis of the
stagnation and paralysis of Dublin society. The stories incorporate epiphanies, a word used particularly by Joyce,
by which he meant a sudden consciousness of the “soul”
of a thing.
2.2
A Portrait of the Artist as a Young Man
Main article: A Portrait of the Artist as a Young Man
A Portrait of the Artist as a Young Man is a nearly complete rewrite of the abandoned novel Stephen Hero. Joyce
attempted to burn the original manuscript in a fit of rage
Joyce himself took a keen interest in musical settings of
during an argument with Nora, though to his subsequent
his work, performed some of them himself, and correrelief it was rescued by his sister. A Künstlerroman, Porsponded with many of the composers in question. He was
trait is a heavily autobiographical[50] coming-of-age novel
particularly fond of the early settings by Palmer.
depicting the childhood and adolescence of protagonist
8
2
MAJOR WORKS
Stephen Dedalus and his gradual growth into artistic selfconsciousness. Some hints of the techniques Joyce frequently employed in later works, such as stream of consciousness, interior monologue, and references to a character’s psychic reality rather than to his external surroundings, are evident throughout this novel.[51] Joseph Strick
directed a film of the book in 1977 starring Luke Johnston, Bosco Hogan, T. P. McKenna and John Gielgud.
2.3
Exiles and poetry
Main articles: Pomes Penyeach and Chamber Music
(book)
Despite early interest in the theatre, Joyce published only
one play, Exiles, begun shortly after the outbreak of
World War I in 1914 and published in 1918. A study
of a husband and wife relationship, the play looks back
to The Dead (the final story in Dubliners) and forward to
Ulysses, which Joyce began around the time of the play’s
composition.
Joyce also published a number of books of poetry. His
first mature published work was the satirical broadside
“The Holy Office” (1904), in which he proclaimed himself to be the superior of many prominent members of
the Celtic revival. His first full-length poetry collection
Chamber Music (1907) (referring, Joyce joked, to the
sound of urine hitting the side of a chamber pot) consisted of 36 short lyrics. This publication led to his inclusion in the Imagist Anthology, edited by Ezra Pound,
who was a champion of Joyce’s work. Other poetry Joyce
published in his lifetime includes “Gas From A Burner”
(1912), Pomes Penyeach (1927) and “Ecce Puer” (written
in 1932 to mark the birth of his grandson and the recent
death of his father). It was published by the Black Sun
Press in Collected Poems (1936).
2.4
Ulysses
Main article: Ulysses (novel)
As he was completing work on Dubliners in 1906, Joyce
considered adding another story featuring a Jewish advertising canvasser called Leopold Bloom under the title
Ulysses. Although he did not pursue the idea further at
the time, he eventually commenced work on a novel using both the title and basic premise in 1914. The writing was completed in October 1921. Three more months
were devoted to working on the proofs of the book before
Joyce halted work shortly before his self-imposed deadline, his 40th birthday (2 February 1922).
Announcement of the initial publication of Ulysses.
erature. Unfortunately, this publication encountered censorship problems in the United States; serialisation was
halted in 1920 when the editors were convicted of publishing obscenity.[52] Although the conviction was based
on the “Nausicaä" episode of Ulysses, The Little Review
had fuelled the fires of controversy with dada poet Elsa
von Freytag-Loringhoven's defence of Ulysses in an essay “The Modest Woman.”[53] Joyce’s novel was not published in the United States until 1933.[54]
Partly because of this controversy, Joyce found it difficult to get a publisher to accept the book, but it was published in 1922 by Sylvia Beach from her well-known Rive
Gauche bookshop, Shakespeare and Company. An English edition published the same year by Joyce’s patron,
Harriet Shaw Weaver, ran into further difficulties with
the United States authorities, and 500 copies that were
shipped to the States were seized and possibly destroyed.
The following year, John Rodker produced a print run
of 500 more intended to replace the missing copies, but
these were burned by English customs at Folkestone. A
further consequence of the novel’s ambiguous legal status
as a banned book was that a number of “bootleg” versions
appeared, most notably a number of pirate versions from
the publisher Samuel Roth. In 1928, a court injunction
against Roth was obtained and he ceased publication.
Thanks to Ezra Pound, serial publication of the novel in
the magazine The Little Review began in 1918. This magazine was edited by Margaret Anderson and Jane Heap, With the appearance of both Ulysses and T. S. Eliot's
with the backing of John Quinn, a New York attorney poem, The Waste Land, 1922 was a key year in the hiswith an interest in contemporary experimental art and lit- tory of English-language literary modernism. In Ulysses,
2.5
Finnegans Wake
Joyce employs stream of consciousness, parody, jokes,
and virtually every other established literary technique to
present his characters.[55] The action of the novel, which
takes place in a single day, 16 June 1904, sets the characters and incidents of the Odyssey of Homer in modern Dublin and represents Odysseus (Ulysses), Penelope
and Telemachus in the characters of Leopold Bloom, his
wife Molly Bloom and Stephen Dedalus, parodically contrasted with their lofty models. The book explores various areas of Dublin life, dwelling on its squalor and
monotony. Nevertheless, the book is also an affectionately detailed study of the city, and Joyce claimed that if
Dublin were to be destroyed in some catastrophe it could
be rebuilt, brick by brick, using his work as a model.[56]
To achieve this level of accuracy, Joyce used the 1904
edition of Thom’s Directory—a work that listed the owners and/or tenants of every residential and commercial
property in the city. He also bombarded friends still living there with requests for information and clarification.
9
2.5
Finnegans Wake
Main article: Finnegans Wake
Having completed work on Ulysses, Joyce was so ex-
Joyce as depicted on the Irish £10 banknote, issued 1993–2002
hausted that he did not write a line of prose for a year.[59]
On 10 March 1923 he informed a patron, Harriet Weaver:
“Yesterday I wrote two pages—the first I have since the
final Yes of Ulysses. Having found a pen, with some difficulty I copied them out in a large handwriting on a double
sheet of foolscap so that I could read them. Il lupo perde
il pelo ma non il vizio, the Italians say. 'The wolf may lose
his skin but not his vice' or 'the leopard cannot change his
spots.'"[60] Thus was born a text that became known, first,
as Work in Progress and later Finnegans Wake.
By 1926 Joyce had completed the first two parts of the
book. In that year, he met Eugene and Maria Jolas who
offered to serialise the book in their magazine transition.
For the next few years, Joyce worked rapidly on the new
book, but in the 1930s, progress slowed considerably.
This was due to a number of factors, including the death
of his father in 1931, concern over the mental health of
his daughter Lucia and his own health problems, including failing eyesight. Much of the work was done with the
assistance of younger admirers, including Samuel Beckett. For some years, Joyce nursed the eccentric plan of
Joyce talking with publishers Sylvia Beach and Adrienne Monnier
turning over the book to his friend James Stephens to
at Shakespeare & Co., Paris, 1920
complete, on the grounds that Stephens was born in the
same hospital as Joyce exactly one week later, and shared
the first name of both Joyce and of Joyce’s fictional alter[61]
The book consists of 18 chapters, each covering roughly ego, an example of Joyce’s superstitions.
one hour of the day, beginning around 8 a.m. and end- Reaction to the work was mixed, including negative coming sometime after 2 a.m. the following morning. Each ment from early supporters of Joyce’s work, such as
chapter employs its own literary style, and parodies a spe- Pound and the author’s brother, Stanislaus Joyce.[62] To
cific episode in Homer’s Odyssey. Furthermore, each counteract this hostile reception, a book of essays by supchapter is associated with a specific colour, art or sci- porters of the new work, including Beckett, William Carence, and bodily organ. This combination of kaleido- los Williams and others was organised and published in
scopic writing with an extreme formal schematic struc- 1929 under the title Our Exagmination Round His Factifiture renders the book a major contribution to the de- cation for Incamination of Work in Progress. At his 57th
velopment of 20th-century modernist literature.[57] The birthday party at the Jolases’ home, Joyce revealed the fiuse of classical mythology as an organising framework, nal title of the work and Finnegans Wake was published in
the near-obsessive focus on external detail, and the oc- book form on 4 May 1939. Later, further negative comcurrence of significant action within the minds of char- ments surfaced from doctor and author Hervey Cleckley,
acters have also contributed to the development of liter- who questioned the significance others had placed on the
ary modernism. Nevertheless, Joyce complained that, “I work. In his book, The Mask of Sanity, Cleckley refers to
may have oversystematised Ulysses,” and played down the Finnegans Wake as “a 628-page collection of erudite gibmythic correspondences by eliminating the chapter titles berish indistinguishable to most people from the familiar
that had been taken from Homer.[58] A first edition copy word salad produced by hebephrenic patients on the back
of Ulysses is on display at The Little Museum of Dublin wards of any state hospital.”[63]
10
3
LEGACY
Joyce’s method of stream of consciousness, literary allusions and free dream associations was pushed to the limit
in Finnegans Wake, which abandoned all conventions of
plot and character construction and is written in a peculiar
and obscure language, based mainly on complex multilevel puns. This approach is similar to, but far more extensive than that used by Lewis Carroll in Jabberwocky.
This has led many readers and critics to apply Joyce’s oftquoted description in the Wake of Ulysses as his “usylessly unreadable Blue Book of Eccles”[64] to the Wake
itself. However, readers have been able to reach a consensus about the central cast of characters and general
plot.
Much of the wordplay in the book stems from the use
of multilingual puns which draw on a wide range of languages. The role played by Beckett and other assistants
included collating words from these languages on cards
for Joyce to use and, as Joyce’s eyesight worsened, of
writing the text from the author’s dictation.[65]
The view of history propounded in this text is very
strongly influenced by Giambattista Vico, and the metaphysics of Giordano Bruno of Nola are important to the
interplay of the “characters.” Vico propounded a cyclical view of history, in which civilisation rose from chaos,
passed through theocratic, aristocratic, and democratic
phases, and then lapsed back into chaos. The most obvious example of the influence of Vico’s cyclical theory of
history is to be found in the opening and closing words of
the book. Finnegans Wake opens with the words “riverrun, past Eve and Adam’s, from swerve of shore to bend
of bay, brings us by a commodius vicus of recirculation
back to Howth Castle and Environs.” (“vicus” is a pun on
Vico) and ends “A way a lone a last a loved a long the.”
In other words, the book ends with the beginning of a
sentence and begins with the end of the same sentence,
turning the book into one great cycle.[66] Indeed, Joyce
said that the ideal reader of the Wake would suffer from
“ideal insomnia”[67] and, on completing the book, would
turn to page one and start again, and so on in an endless
cycle of reading.
3
Legacy
Joyce’s work has been subject to intense scrutiny by
scholars of all types. He has also been an important influence on writers and scholars as diverse as
Samuel Beckett,[68] Seán Ó Ríordáin,[69] Jorge Luis
Borges,[70] Flann O'Brien,[71] Salman Rushdie,[72] Robert
Anton Wilson,[73] John Updike,[74] David Lodge[75]
and Joseph Campbell.[76] Ulysses has been called “a
demonstration and summation of the entire [Modernist]
movement”.[77] French literary theorist Julia Kristéva
characterised Joyce’s novel writing as “polyphonic” and
a hallmark of postmodernity alongside poets Mallarmé
and Rimbaud.[78]
Statue of James Joyce on North Earl Street, Dublin.
Some scholars, most notably Vladimir Nabokov, have
mixed feelings on his work, often championing some of
his fiction while condemning other works. In Nabokov’s
opinion, Ulysses was brilliant,[79] Finnegans Wake
horrible[80] —an attitude Jorge Luis Borges shared.[81]
11
Joyce’s influence is also evident in fields other than lit• Collected Poems (poems, 1936, which includes
erature. The sentence “Three quarks for Muster Mark!"
Chamber Music, Pomes Penyeach, and other previin Joyce’s Finnegans Wake[82] is the source of the word
ously published works)
"quark", the name of one of the elementary particles, pro• Finnegans Wake (novel, 1939)
posed by the physicist, Murray Gell-Mann in 1963.[83]
The French philosopher Jacques Derrida has written a
book on the use of language in Ulysses, and the Ameri- Posthumous publications
can philosopher Donald Davidson has written similarly on
• Stephen Hero (precursor to A Portrait; written 1904–
Finnegans Wake in comparison with Lewis Carroll. Psy06, published 1944)
choanalyst Jacques Lacan used Joyce’s writings to explain
his concept of the sinthome. According to Lacan, Joyce’s
• Giacomo Joyce (written 1907, published 1968)
writing is the supplementary cord which kept Joyce from
• Letters of James Joyce Vol. 1 (Ed. Stuart Gilbert,
psychosis.[84]
1957)
In 1999, Time Magazine named Joyce one of the 100
[85]
Most Important People of the 20th century, and stated;
• The Critical Writings of James Joyce (Eds. Ellsworth
“Joyce ... revolutionised 20th century fiction”.[86] In
Mason and Richard Ellmann, 1959)
1998, the Modern Library, US publisher of Joyce’s
• The Cat and the Devil (London: Faber and Faber,
works, ranked Ulysses No. 1, A Portrait of the Artist as
1965)
a Young Man No. 3, and Finnegans Wake No. 77, on its
list of the 100 best English-language novels of the 20th
• Letters of James Joyce Vol. 2 (Ed. Richard Ellmann,
century.[87]
1966)
The work and life of Joyce is celebrated annually on 16
June, known as Bloomsday, in Dublin and in an increasing number of cities worldwide, and critical studies in
scholarly publications, such as the James Joyce Quarterly,
continue. Both popular and academic uses of Joyce’s
work were hampered by restrictions placed by Stephen
J. Joyce, Joyce’s grandson and executor of his literary
estate.[88] On 1 January 2012, those restrictions were lessened by the expiry of copyright protection for much of the
published work of James Joyce.[89][90]
In April 2013 the Central Bank of Ireland issued a silver
€10 commemorative coin in honour of Joyce that misquoted a famous line from his masterwork Ulysses[91] despite being warned on at least two occasions by the Department of Finance over difficulties with copyright and
design.[92]
On 9 July 2013 it was announced that the second ship
of the Samuel Beckett-class offshore patrol vessel (OPV)
would be named in Joyce’s honour.[93] The LÉ James
Joyce (P62) is due to be delivered to the Irish Naval Service in May 2015.[94]
4
Bibliography
• Chamber Music (poems, 1907)
• Dubliners (short-story collection, 1914)
• A Portrait of the Artist as a Young Man (novel, 1916)
• Exiles (play, 1918)
• Ulysses (novel, 1922)
• Pomes Penyeach (poems, 1927)
• Letters of James Joyce Vol. 3 (Ed. Richard Ellman,
1966)
• Selected Letters of James Joyce (Ed. Richard Ellmann, 1975)
• The Cats of Copenhagen (Ithys Press, 2012)
• Finn’s Hotel (Ithys Press, 2013)
5 Notes
[1] The second name was mistakenly registered as “Augusta”.
Joyce was actually named and baptized James Augustine
Joyce, for his paternal grandfather, Costello (1992) p. 53,
and the Birth and Baptismal Certificate reproduced in the
article also shows “Augustine”. Ellman says: “The second
child, James Augusta (as the birth was incorrectly registered) ...”. Ellmann (1982) p. 21.
[2] Ellman, p. 505, citing Power, From an Old Waterford
House (London, n.d.), pp. 63–64
[3] Jackson, John Wyse; Costello, Peter (July 1998). “John
Stanislaus Joyce: the voluminous life and genius of James
Joyce’s father” (book excerpt). excerpt appearing in the
New York Times (New York: St. Martin’s Press). ch.1
“Ancestral Joyces”. ISBN 9780312185992. OCLC
38354272. Retrieved 25 September 2012. To find the
missing link in the chain it is necessary to turn south to
County Kerry. Some time about 1680, William FitzMaurice, nineteenth of the Lords of Kerry ... required a new
steward for the household at his family seat at Lixnaw on
the Brick river, a few miles south-west of Listowel in the
Barony of Clanmaurice in North Kerry. He found Seán
Mór Seoighe (Big John Joyce) ... Seán Mór Seoighe came
from Connemara, most likely from in or near the Irishspeaking Joyce Country itself, in that wild area south of
Westport, County Mayo.
12
[4] "'Why are you so afraid of thunder?' asked [Arthur]
Power, 'your children don't mind it.' 'Ah,' said Joyce contemptuously, 'they have no religion.' Joyce’s fears were
part of his identity, and he had no wish, even if he had had
the power, to slough any of them off.” (Ellmann (1982),
p. 514, citing Power, From an Old Waterford House (London, n.d.), p. 71
[5] Ellmann (1982), pp. 32–34.
[6] Themodernworld.com
[7] Ellmann (1982), pp. 60, 190, 340, 342; Cf. Portrait of the
Artist as a Young Man, Wordsworth 1992, Intro. & Notes
J. Belanger, 2001, 136, n. 309: "Synopsis Philosophiae ad
mentem D. Thomae This appears to be a reference to Elementa Philosophiae ad mentem D. Thomae Aquinatis, a selection of Thomas Aquinas’s writings edited and published
by G. M. Mancini,” professor of theology at the Pontifical
University of Saint Thomas Aquinas, Angelicum in Rome
(see The Irish Ecclesiastical Record, Vol V, Year 32, No.
378, June 1899, p. 570
[8] Jordan, Anthony, “An Irishman’s Diary”, Irish Times, 20
February 2012
[9] Arthur Griffith with James Joyce & WB Yeats- Liberating Ireland by Anthony J. Jordan p. 53. Westport Books
2013. ISBN 978-0-957622906
[10] “Residents of a house 8.1 in Royal Terrace (Clontarf West,
Dublin)". National Archives of Ireland. 1901. Retrieved
16 May 2012.
[11] She was originally diagnosed with cirrhosis of the liver,
but this proved incorrect, and she was diagnosed with cancer in April 1903. Ellmann (1982), pp. 128–129
[12] Ellmann (1982), pp. 129, 136
[13] History of the Feis Ceoil Association at the Wayback Machine (archived 1 April 2007). Siemens Feis Ceoil Association. 1 April 2007 version retrieved from the Internet
archive on 9 November 2009.
5 NOTES
[23] Williams, Bob. Joycean Chronology. The Modern World,
6 November 2002, Retrieved on 9 November 2009.
[24] Beja, Morris (1992). James Joyce: A Literary Life.
Columbus, Ohio: Ohio State University Press. p. 54.
ISBN 0-8142-0599-2.
[25] Ellmann (1982), pp. 300–03, 308, 311.
[26] Ellmann (1982), pp. 384–85.
[27] Ellmann (1982), p. 272.
[28] Ellmann (1982), pp. 268, 417.
[29] Ellman (1982), p. 386.
[30] Shloss, p. 278.
[31] Pepper, Tara
[32] Shloss p. 297.
[33] The literary executor of the Joyce estate, Stephen J. Joyce,
burned letters written by Lucia that he received upon Lucia’s death in 1982.(Stanley, Alessandra. "Poet Told All;
Therapist Provides the Record,” The New York Times, 15
July 1991. Retrieved 9 July 2007). Stephen Joyce stated
in a letter to the editor of The New York Times that “Regarding the destroyed correspondence, these were all personal letters from Lucia to us. They were written many
years after both Nonno and Nonna [i.e. Mr and Mrs
Joyce] died and did not refer to them. Also destroyed
were some postcards and one telegram from Samuel Beckett to Lucia. This was done at Sam’s written request.”
Joyce, Stephen (31 December 1989). “The Private Lives
of Writers” (Letter to the Editor). The New York Times.
Retrieved 9 November 2009.
[34] Letter to Nora Barnacle. 29 August 1904. In Selected
Letters of James Joyce. Richard Ellmann, ed. London:
Faber and Faber, 1975. ISBN 0-571-09306-X pp. 25–26
[35] Joyce, Stanislaus. My Brother’s Keeper. Faber and Faber.
London, 1982. ISBN 0-571-11803-8 p. 120
[14] http://www.irishtimes.com/life-and-style/
[36] Ellmann (1982), p. 742, citing a 1953 interview with
homes-and-property/fine-art-antiques/
George (“Giorgio”) Joyce.
michael-flatley-confirms-he-owns-medal-won-by-james-joyce-1.
1833446
[37] Segall, Jeffrey Joyce in America: cultural politics and the
trials of Ulysses, p. 140, University of California Press
[15] “Joyce – Other works”. The James Joyce Centre. Re1993
trieved 22 February 2010.
[38] Segall, Jeffrey Joyce in America: cultural politics and the
[16] “On this day...30 September”
trials of Ulysses, p. 142, University of California Press
1993
[17] Ellmann (1982), pp. 161–62.
[18] Ellmann (1982), p. 230.
[19] Ellmann, p. 175.
[39] Segall, Jeffrey Joyce in America: cultural politics and the
trials of Ulysses, p. 160, University of California Press
1993
[21] According to Ellmann, Stanislaus allowed Joyce to collect
his pay, “to simplify matters” (p. 213).
[40] Davison, Neil R., James Joyce, Ulysses, and the Construction of Jewish Identity: Culture, Biography, and 'the Jew'
in Modernist Europe , p. 78, Cambridge University Press,
1998
[22] The worst of the conflicts were during July 1910 (Ellmann
(1982), pp. 311–13).
[41] Hughs, Eamonn in Robert Welch’s Irish writers and religion , pp.116–137, Rowman & Littlefield 1992
[20] McCourt 2001.
13
[42] R.J. Schork, “James Joyce and the Eastern Orthodox
Church” in Journal of Modern Greek Studies, vol. 17,
1999
[43] Free translation from: Eco, Umberto. Las poéticas de
Joyce. Barcelona: DeBolsillo, 2011. ISBN 978-84-9989253-5, p. 17
[44] Gibson, Andrew, James Joyce, p. 41, Reaktion Books
2006
[60] Joyce, James. Ulysses: The 1922 Text. Oxford University
Press, 1998, p. xlvii.
[61] Ellmann (1982), pp. 591–592.
[62] Ellmann (1982), pp. 577–85.
[63] Cleckley, Hervey (1982). The Mask of Sanity. Revised
Edition. Mosby Medical Library. ISBN 0-452-25341-1.
[64] Finnegans Wake, 179.26–27.
[45] http://www.catholicireland.net/
james-joyce-and-the-jesuits-a-sort-of-homecoming/
[65] Gluck, p. 27.
[46] See, among others, Martin Ross: Music and James Joyce
(Chicago, 1936); Matthew J.C. Hodgart & Mabel P. Worthington: Songs in the Works of James Joyce (New York,
1959); Zack R. Bowen: Musical Allusions in the Works of
James Joyce: Early Poetry Through Ulysses (New York,
1975); Ruth Bauerle (ed.): Picking up Airs: Hearing the
Music in Joyce’s Text (Gainesville, Florida, 1993); M.J.C.
Hodgart & R. Bauerle: Joyce’s Grand Operoar: Opera in
Finnegan’s Wake (Urbana, Illinois, 1997); Sebastian D.G.
Knowles (ed.): Bronze by Gold: The Music of Joyce (New
York, 1999); see also http://www.james-joyce-music.
com.
[67] Finnegans Wake, 120.9–16.
[47] Timothy P. Martin: Joyce and Wagner. A Study of Influence (Cambridge, 1991)
[48] Harry White: “The 'Thought-Tormented Music' of James
Joyce”, in: H. White: Music and the Irish Literary Imagination (Oxford, 2008)
[49] Axel Klein: "'The Distant Music Mournfully Murmereth':
The Influence of James Joyce on Irish Composers”, in:
Ars Lyrica 14 (2004), p. 71–94.
[50] MacBride, p. 14.
[51] Deming, p. 749.
[52] Gillers, pp. 251–62.
[53] Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002, 253.
[54] The fear of prosecution for publication ended with the
court decision of United States v. One Book Called
Ulysses, 5 F.Supp. 182 (S.D.N.Y. 1933). Ellman, pp.
666–67.
[55] Examined at length in Vladimir Nabokov's Lectures on
Ulysses. A Facsimile of the Manuscript. Bloomfield
Hills/Columbia: Bruccoli Clark, 1980.
[56] Adams, David. Colonial Odysseys: Empire and Epic in the
Modernist Novel. Cornell University Press, 2003, p. 84.
[57] Sherry, Vincent B. James Joyce: Ulysses. Cambridge University Press, 2004, p. 102.
[58] Dettmar, Kevin J. H. Rereading the New: A Backward
Glance at Modernism. University of Michigan Press,
1992, p. 285.
[59] Bulson, Eric. The Cambridge Introduction to James Joyce.
Cambridge University Press, 2006, p. 14.
[66] Shockley, Alan (2009). “Playing the Square Circle: Musical Form and Polyphony in the Wake". In Friedman,
Alan W.; Rossman, Charles. De-Familiarizing Readings:
Essays from the Austin Joyce Conference. European Joyce
Studies 18. Amsterdam: Editions Rodopi. p. 104. ISBN
978-90-420-2570-7.
[68] Friedman, Melvin J. A review of Barbara Reich Gluck’s
Beckett and Joyce: friendship and fiction, Bucknell University Press (June 1979), ISBN 0-8387-2060-9. Retrieved 3 December 2006.
[69] Sewell, Frank (2000). Modern Irish Poetry: A New Alhambra. Oxford University Press. pp. Introduction p3.
ISBN 9780198187370. Retrieved 26 May 2012.
[70] Williamson, pp. 123–124, 179, 218.
[71] For example, Hopper, p. 75, says “In all of O'Brien’s work
the figure of Joyce hovers on the horizon ...”.
[72] Interview of Salman Rushdie, by Margot Dijkgraaf for
the Dutch newspaper NRC Handelsblad, translated by K.
Gwan Go. Retrieved 3 December 2006.
[73] Edited transcript of an 23 April 1988 interview of Robert
Anton Wilson by David A. Banton, broadcast on HFJC,
89.7 FM, Los Altos Hills, California. Retrieved 3 December 2006.
[74] Updike has referred to Joyce as influential in a number
of interviews and essays. The most recent of such references is in the foreword to The Early Stories:1953–1975
(London: Hamish Hamilton, 2003),p. x. John Collier
wrote favorably of “that city of modern prose,” and added,
“I was struck by the great number of magnificent passages in which words are used as they are used in poetry, and in which the emotion which is originally Other
instances include an interview with Frank Gado in First
Person:Conversations with Writers and their Writing (New
York:Union College Press, 1973), p.92, and James Plath’s
Conversations with John Updike (Jackson:University of
Mississippi Press, 1994), p.197 and p.223.
[75] Guignery, Vanessa; François Gallix (2007). Pre and Postpublication Itineraries of the Contemporary Novel in English. Publibook. p. 126. ISBN 9782748335101. Retrieved 26 May 2012.
[76] “About Joseph Campbell” at the Wayback Machine
(archived 1 January 2007), Joseph Campbell Foundation.
1 January 2007 version retrieved from the Internet archive
on 9 November 2009.
14
[77] Beebe, p. 176.
[78] Julia Kristéva, La Révolution du langage poétique, Paris,
Seuil, 1974.
[79] “When I want good reading I reread Proust’s A la
Recherche du Temps Perdu or Joyce’s Ulysses" (Nabokov,
letter to Elena Sikorski, 3 August 1950, in Nabokov’s Butterflies: Unpublished and Uncollected Writings [Boston:
Beacon, 2000], pp. 464–465). Nabokov put Ulysses at the
head of his list of the “greatest twentieth century masterpieces” (Nabokov, Strong Opinions [New York: McGrawHill, 1974] excerpt).
[80] “Of course, it would have been unseemly for a monarch
to appear in the robes of learning at a university lectern
and present to rosy youths Finnigan’s Wake [sic] as a
monstrous extension of Angus MacDiarmid's “incoherent transactions” and of Southey's Lingo-Grande. . .”
(Nabokov, Pale Fire [New York: Random House, 1962],
p. 76). The comparison is made by an unreliable narrator, but Nabokov in an unpublished note had compared
“the worst parts of James Joyce” to McDiarmid and to
Swift's letters to Stella (quoted by Brian Boyd, “Notes”
in Nabokov’s Novels 1955–1962: Lolita / Pnin / Pale Fire
[New York: Library of America, 1996], 893).
[81] Borges, p. 195.
[82] Three quarks for Muster Mark! Text of Finnegans Wake
at Trent University, Peterborough, Ontario. Retrieved 11
June 2011.
[83] “quark” at the Wayback Machine (archived 2 July 2007),
American Heritage Dictionary of the English Language,
Fourth Edition 2000. 2 July 2007 version retrieved from
the Internet archive on 9 November 2009.
[84] Evans, Dylan, An Introductory Dictionary of Lacanian
Psychoanalysis, Routledge, 1996, p.189
[85] “TIME 100 Persons of the Century”. Time. 14 June 1999.
Retrieved 11 January 2010.
[86] “James Joyce – Time 100 People of the Century”. Time.
8 June 1998. Retrieved 11 January 2010.
[87] “100 Best Novels”. Random House. 1999. Retrieved 11
January 2010. This ranking was by the Modern Library
Editorial Board of authors.
[88] Max, D.T. (19 June 2006). “The Injustice Collector”. The
New Yorker.
[89] Kileen, Terence (16 June 2011). “Joyce enters the public
domain”. The Irish Times. Archived from the original on
4 January 2012. Retrieved 4 January 2012.
[90] Kileen, Terence (31 December 2011). “EU copyright on
Joyce works ends at midnight”. The Irish Times. Archived
from the original on 4 January 2012. Retrieved 4 January
2012.
[91] “Error in Ulysses line on special €10 coin issued by Central Bank”. RTÉ News. 10 April 2013.
[92] “Bank alerted to Joyce coin risk”. Evening Herald. 25
May 2013.
6
REFERENCES
[93] “Houses of the Oireachtas - Naval Service Vessels”.
Oireachtas (Hansard).
[94] “Navy to use drones to improve surveillance”. Irish Examiner. Retrieved 30 September 2014.
6 References
• Beebe, Maurice (Fall 1972). "Ulysses and the Age
of Modernism”. James Joyce Quarterly (University
of Tulsa) 10 (1): 172–88
• Beja, Morris. James Joyce: A Literary Life. Columbus: Ohio State University Press, 1992. ISBN 08142-0599-2.
• Borges, Jorge Luis, (ed.) Eliot Weinberger, Borges:
Selected Non-Fictions, Penguin (31 October 2000).
ISBN 0-14-029011-7.
• Bulson, Eric. The Cambridge Introduction to James
Joyce. Cambridge and New York: Cambridge University Press, 2006. ISBN 978-0-521-84037-8.
• Cavanaugh, Tim, “Ulysses Unbound: Why does a
book so bad it “defecates on your bed” still have so
many admirers?", reason, July 2004.
• Costello, Peter. James Joyce: the years of growth,
1892–1915. New York: Pantheon Books, a division
of Random House, 1992. ISBN 0-679-42201-3.
• Deming, Robert H. James Joyce: The Critical Heritage. Routledge, 1997.
• Ellmann, Richard, James Joyce. Oxford University Press, 1959, revised edition 1982. ISBN 0-19503103-2.
• Gammel, Irene. Baroness Elsa: Gender, Dada and
Everyday Modernity. Cambridge, MA: MIT Press,
2002, 253.
• Gillers, Stephen (2007). “A Tendency to Deprave
and Corrupt: The Transformation of American Obscenity Law from Hicklin to Ulysses". Washington
University Law Review 85 (2): 215–96. Retrieved 5
October 2009.
• Gluck, Barbara Reich. Beckett and Joyce: Friendship and Fiction. Bucknell University Press, 1979.
• Hopper, Keith, Flann O'Brien: A Portrait of the
Artist as a Young Post-Modernist, Cork University
Press (May 1995). ISBN 1-85918-042-6.
• Joyce, Stanislaus, My Brother’s Keeper, New York:
Viking Press, 1969.
• MacBride, Margaret. Ulysses and the Metamorphosis of Stephen Dedalus. Bucknell University Press,
2001.
15
• McCourt, John, The Years of Bloom: James Joyce in
Trieste, 1904–1920, The Lilliput Press, May 2001.
ISBN 1-901866-71-8.
8 External links
• James Joyce Centre (Dublin)
• McCourt, John, ed. James Joyce in Context. Cambridge and New York: Cambridge University Press, Joyce Papers
2009. ISBN 978-0-521-88662-8.
• The Joyce Papers 2002, c.1903–1928 from the
• Pepper, Tara. “Portrait of the Daughter: Two
National Library of Ireland.
works seek to reclaim the legacy of Lucia Joyce.”
Newsweek International . 8 March 2003.
• The James Joyce – Paul Léon Papers, 1930–1940
from the National Library of Ireland.
• Shloss, Carol Loeb. Lucia Joyce: To Dance in
the Wake. London: Bloomsbury Publishing, 2004.
• Hans E. Jahnke Bequest at the Zurich James Joyce
ISBN 0-374-19424-6.
Foundation online at the National Library Of Ireland, 2014 from the National Library of Ireland.
• Williamson, Edwin, Borges: A Life, Viking Adult (5
August 2004). ISBN 0-670-88579-7.
Resources
7
Further reading
• Burgess, Anthony, Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader,
Faber & Faber (1965). (Published in America as Re
JoyceHamlyn Paperbacks Rev. ed edition (1982)).
ISBN 0-600-20673-4.
• Burgess, Anthony, Joysprick: An Introduction to the
Language of James Joyce (1973), Harcourt (March
1975). ISBN 0-15-646561-2.
• Clark, Hilary, The Fictional Encyclopaedia: Joyce,
Pound, Sollers. Taylor & Francis, 1990.
• Fennell, Conor. A Little Circle of Kindred Minds:
Joyce in Paris. Green Lamp Editions, 2011.
• Levin, Harry (ed. with introduction and notes). The
Essential James Joyce. Cape, 1948. Revised edition
Penguin in association with Jonathan Cape, 1963.
• Archival material relating to James Joyce listed at
the UK National Archives
• The James Joyce Scholars’ Collection from the
University of Wisconsin Digital Collections Center.
• The James Joyce Collection from the University at
Buffalo Libraries.
• James Joyce from Dublin to Ithaca Exhibition from
the collections of Cornell University
• Bibliography of Joycean Scholarship and Literary
Criticism
• The James Joyce Checklist: A Bibliography of Primary and Secondary Materials from the Harry Ransom Center, The University of Texas at Austin.
• Works by James Joyce at Project Gutenberg
• Works by or about James Joyce at Internet Archive
• Jordan, Anthony J, 'Arthur Griffith with James Joyce
& WB Yeats. Liberating Ireland'. Westport Books Portraits
2013.
• Portraits of James Joyce at the National Portrait
• Levin, Harry, James Joyce. Norfolk, CT: New DiGallery, London
rections, 1941 (1960).
• Photos of James Joyce from the University at Buf• Quillian, William H. Hamlet and the new poetic:
falo Libraries.
James Joyce and T. S. Eliot. Ann Arbor, MI: UMI
Research Press, 1983.
• Gisèle Freund Photographs of James Joyce in Paris
at University of Victoria,
• Read, Forrest. Pound/Joyce: The Letters of Ezra
Pound to James Joyce, with Pound’s Essays on Joyce.
Audio
New Directions, 1967.
• Special issue on James Joyce, In-between: Essays &
Studies in Literary Criticism, Vol. 12, 2003. [Articles]
• Works by James Joyce at LibriVox (public domain
• Irish Writers on Writing featuring James Joyce.
Edited by Eavan Boland (Trinity University Press,
2007).
• An Audio tour of the history of James Joyce’s writings
audiobooks)
16
9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
9
Text and image sources, contributors, and licenses
9.1
Text
• James Joyce Source: http://en.wikipedia.org/wiki/James%20Joyce?oldid=650844365 Contributors: AxelBoldt, Eloquence, Mav, Sjc, Ed
Poor, Danny, XJaM, Meempants, Atorpen, Unukorno, Deb, Ortolan88, SimonP, Zadcat, Isis, Modemac, Edward, Jahsonic, Yann, Delirium,
Paul A, Card, Ellywa, Mdebets, Ronz, Jimfbleak, Snoyes, Den fjättrade ankan, Jdforrester, Ijon, Netsnipe, Jiang, John K, Jod, Colmlinehan, Jengod, Charles Matthews, Vanished user 5zariu3jisj0j4irj, Jm34harvey, Fuzheado, Rednblu, Doradus, DJ Clayworth, Tpbradbury,
Tempshill, Ed g2s, Wetman, Flockmeal, Lumos3, Dimadick, Kryptos, Fredrik, Hernanm, Naddy, Kokiri, Mayooranathan, Postdlf, Meelar,
Timrollpickering, Tanuki Z, UtherSRG, Profoss, Anthony, JerryFriedman, Amir Dekel, Pabouk, Cobra libre, Amorim Parga, Netoholic,
Lupin, Anville, Alison, Henry Flower, Jdavidb, Chips Critic, Beardo, Djegan, Thomas Ludwig, JillandJack, Rparle, SWAdair, Bobblewik,
Tagishsimon, Btphelps, Espetkov, Vivero, Fergananim, Utcursch, MikeX, Cckkab, Antandrus, Eroica, MisfitToys, Ryano, Bodnotbod,
Two Bananas, Lumidek, Danielsh, JohnArmagh, MakeRocketGoNow, Demiurge, Trevor MacInnis, Jfpierce, RevRagnarok, Guppyfinsoup, D6, Ta bu shi da yu, Simonides, O'Dea, Poccil, George V Reilly, CGP, Buffyg, Discospinster, Rich Farmbrough, Qutezuce, Ericamick, Ahkond, Mani1, Paul August, Night Gyr, Stbalbach, Bender235, Steerpike, Autrijus, Shanes, Susvolans, Cacophony, Bobo192,
Func, Redlentil, Icarusfall, Filiocht, RadetzkyVonRadetz, Jpecora, SpeedyGonsales, Rajah, Rje, Saluyot, Andrewbadr, Polylerus, Mareino,
Knucmo2, Jumbuck, Red Winged Duck, Alansohn, JYolkowski, Prometheus7Unbound, Philip Cross, Dachannien, Andrew Gray, Calton, SlimVirgin, InShaneee, Mysdaao, Bart133, Velella, Benson85, Suruena, Dirac1933, Marcello, Ghirlandajo, Stemonitis, FrancisTyers, Angr, Boothy443, Ivana1, Woohookitty, RHaworth, TigerShark, Etacar11, Camw, TheoClarke, ^demon, WadeSimMiser, Ardfern,
MONGO, Jok2000, Lapsed Pacifist, GregorB, Isnow, Jacj, Palica, Graham87, BD2412, Grammarbot, Ash211, Rjwilmsi, Mayumashu,
Eoghanacht, Seidenstud, Lugnad, Tangotango, SpNeo, Vegaswikian, Lairor, Brighterorange, Nandesuka, Husky, Mikecron, Ian Pitchford, RobertG, Musical Linguist, Who, RexNL, Gurch, Organisciak, Ben-w, Piniricc65, WouterBot, K2wiki, EamonnPKeane, YurikBot, Wavelength, Huw Powell, Snappy, Tznkai, Zafiroblue05, Splash, Pigman, Stephenb, Gaius Cornelius, CambridgeBayWeather, Ugur
Basak, NawlinWiki, Wiki alf, Veledan, Chick Bowen, RazorICE, Dogcow, Anetode, Silvery, Henderson@aol.com, Mikeblas, Mooncowboy, Denihilonihil, Semperf, Tony1, Occono, Klutzy, Jpeob, Fenian Swine, Nlu, Vicent Tur i Serra, Fallout boy, StanHubrio, Zzuuzz,
Homagetocatalonia, Dast, Bhumiya, Nikkimaria, Closedmouth, Nolanus (usurped), Rms125a@hotmail.com, Doktor Waterhouse, Harabanar, Hurakan, Henderson1@aol.com, Fram, Tobble, Whobot, Mais oui!, Curpsbot-unicodify, Gorgan almighty, Red Darwin, GrinBot, Iago
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Dlohcierekim’s sock, El Gringo, DHN-bot, Alfion, A. B., Can't sleep, clown will eat me, Sumahoy, Quartermaster, Cripipper, Atropos, Ww2censor, Addshore, AltheaJ, Seduisant, Dharmabum420, MartinRobinson, Jwy, Nakon, Blake-, Nick125, Artie p, Jklin, Smerus,
Drewalanwalker, Ohconfucius, Yannismarou, Rory096, Bcasterline, Vriullop, BrownHairedGirl, Zahid Abdassabur, Broom eater, Kuru,
John, Loodog, Pthag, Arialblack, Tktktk, Jmhuculak, AMac2002, Kransky, IronGargoyle, Ckatz, MarkSutton, Kyoko, Waggers, SandyGeorgia, Jayzel68, Vagary, Dl2000, Christian Roess, SubSeven, Hu12, Iridescent, Dekaels, Mosa123ic, Joeteller, Wikeawade, JStewart,
Toocold, Blehfu, AGK, Biff boffkins, IronJohnSr, Tawkerbot2, Jgjournalist, AshcroftIleum, Briancua, Norasl, Daedalus969, JForget, CmdrObot, Ale jrb, Dycedarg, GeorgeLouis, Nunquam Dormio, Yarnalgo, Leujohn, Lazulilasher, Brandubh Blathmac, Kronecker, Martinramble, Cydebot, John McCarthy, Slp1, Jainituos, Aristophanes68, Mattergy, Flowerpotman, Xxanthippe, A Softer Answer, NRZarrugh,
RelHistBuff, DBaba, Kozuch, Bob Stein - VisiBone, Archnoble, Omicronpersei8, Maziotis, Jimcripps, Mamalujo, BetacommandBot,
Mattisse, Jon C., Thijs!bot, Epbr123, Lord Hawk, Fourchette, Kablammo, Edwardx, Evil Angry Cat, Bwthurbe, Tjpob, Folantin, JustAGal, Farrtj, Taxelrod, AlefZet, Escarbot, Mentifisto, AntiVandalBot, RobotG, Opelio, Will1604, Quintote, Leghorn, Fayenatic london,
Modernist, Pistolpierre, Spencer, Wahabijaz, Sluzzelin, Sarah777, MegX, Rothorpe, Magioladitis, Celithemis, Bongwarrior, VoABot II,
AuburnPilot, Edgarisaballer, Enormousrat, JNW, Tedickey, Ppival, Nick Carraway, Hekerui, Lassic81, Acornwithwings, Tt 225, Spontini,
LorenzoB, Spellmaster, Exiledone, Vssun, Agamemnon117, DerHexer, Warchef, TeodoroV, Hugh McFadden, Pleidhce, Gwern, MartinBot, Pádraig Coogan, Myrthe, Sagabot, RP88, Tented, Rettetast, Giano II, Rob Lindsey, Anaxial, Quywompka, Darksmiter, Bus stop,
Eustatius, CommonsDelinker, PrestonH, Smokizzy, J.delanoy, Simonfieldhouse, Nev1, H4x5k8, DrKiernan, Trusilver, OhNoPeedyPeebles,
Uncle Dick, Libroman, Keesiewonder, George415, J.A.McCoy, Smeira, McSly, Skier Dude, Billthekid77, Wynia, NewEnglandYankee,
Sensei48, Ljgua124, Jay ryann, Robertgreer, Madhava 1947, Brian Honne, KylieTastic, Evb-wiki, HenryLarsen, Donmike10, Anahuac
warrior, Treisijs, VDWI, Ja 62, Dolugen, Scewing, Jebbs, GrahamHardy, RJASE1, Idioma-bot, Hugo999, Littleolive oil, Malik Shabazz,
Deor, VolkovBot, L.A.Nutti, Dohanlon, Pelirojopajaro, Geoffw1948, Philip Trueman, TXiKiBoT, CuentaDisponible, Williamchace, Reibot, Dedalus22, Someguy1221, Catriona1, Serephucus, ^demonBot2, Geometry guy, Zacariasd, Emi emu, Katimawan2005, Motmit, Eubulides, Bellend bill, Falcon8765, Softlavender, Someguy303, Jmood, Dick Shane, Symane, Roland zh, Padfoot714, EmxBot, Red, CMBJ,
Red Hurley, AHMartin, Edward Turner, Double Dickel, SieBot, FMPJ, Nihil novi, Sonyack, Etni3s, Caricaturechild, Ulysses54, Lehaneb,
Georgia Anderson, Keilana, BWSFam90, Happysailor, Drhoehl, Starwarsbuffyccg, Boksol, Shorty2009, Lightmouse, Polbot, KathrynLybarger, BenoniBot, Belacqua Shuah, OKBot, Seedbot, Bossdoyle, Mr.x the 3rd, Dear Reader, Plivak, Dabomb87, Pinkadelica, Denisarona,
Escape Orbit, LarRan, Randy Kryn, Loren.wilton, ClueBot, PipepBot, Kitsunetsuishi, The Thing That Should Not Be, All Hallow’s Wraith,
Scartboy, EoGuy, Violace, RashersTierney, Elsweyn, Regibox, Lawofcosines, Parkwells, Dylan620, Piledhigheranddeeper, Ottava Rima,
Puchiko, Mfogar01, Ernstblumberg, Knoit911, Jeanenawhitney, Alexbot, Lefty3.0, Noneforall, AZLEY, Graham77, Robthornehello?,
Keelan111, Yorkshirian, Sun Creator, Jotterbot, Tnxman307, DeltaQuad, Redthoreau, 6afraidof7, Bricebc, Aitias, Boozinf, Hyoshida,
Kluedke, DumZiBoT, Jovianeye, Bigbander, Little Mountain 5, MarmadukePercy, ZooFari, MystBot, Mapoftehran, Addbot, The Sage
of Stamford, Jojhutton, Tcncv, Steve.Pseudonym, ContiAWB, Rocky Mountain Goat, Крепкий чай, Glane23, Sun Ladder, AndersBot,
LinkFA-Bot, Sürrell, Feketekave, Wholetone, Tide rolls, Codwar, Sindinero, Michaello, Marksdaman, Pageturners, Legobot, Luckas-bot,
Yobot, Ptbotgourou, Amirobot, Victoriaearle, Jamesmanz003, IW.HG, Eric-Wester, Szajci, AnomieBOT, Rubinbot, 1exec1, Liberaler Humanist, Jim1138, Piano non troppo, Citation bot, Aljazbastic, E2eamon, Daven3t, W.stanovsky, Eumolpo, Neurolysis, LilHelpa, Stuka77,
Xqbot, Capricorn42, Mark Sheridan, Lollepol, JALatimer, DSisyphBot, Ledballoon2, Jackthestroller, Eagleeyez83, Almabot, Lesjflswjf,
J04n, GrouchoBot, A dullard, SDedalus91, Thunderlightning33, Irishflowers, MadGeographer, Cresix, Locobot, Robsoto, Backwards15,
Glic16, Nietzsche 2, Green Cardamom, Luiza1202, Wupop, Pmann5, Anna Roy, Michael93555, Yanajin33, Leighpatterson1, Jim no.6,
Garrett Cook, Bolostoysrat, Cannolis, I dream of horses, LittleWink, Tóraí, Skyerise, Hamtechperson, RedBot, Wikiain, Jauhienij, SpaFon,
Creesyboo, TobeBot, Patsytiger, ПешСай, Lam Kin Keung, Lotje, Dinamik-bot, Vrenator, Andymcgrath, G R Taneja, Ktlynch, Rilegator,
Ashot Gabrielyan, Diannaa, MistaPepsi, Satdeep Gill, Kosneo, DARTH SIDIOUS 2, Mean as custard, RjwilmsiBot, TjBot, Exilegoesout,
TisTRU, EmausBot, John of Reading, WikitanvirBot, JimJoyce2, Ladshomes, Undinal, StiffyAdams, Shane Down Under, Taro-Gabunia,
TyroneSamuels, AvicBot, ZéroBot, Traxs7, Eltacodor, The Nut, HugoLoris, 1234r00t, Suslindisambiguator, AndrewOne, Erianna, KinturkMan, Mayur, Bomazi, MLWatts, Skpelkon, ClueBot NG, MelbourneStar, Pooeyfacemagee, Bped1985, Movses-bot, Cjweber, Vincent
9.2
Images
17
Moon, O.Koslowski, Widr, Bridini, Helpful Pixie Bot, Zachdawg61, Lowercase sigmabot, Mr. Stradivarius on tour, Peebleje, MusikAnimal, Tomello, Jan Sapák, Orchidéenne, Ostera65, Min.neel, Amy L Smith, 220 of Borg, Ireland - My Country., Bill.D Nguyen, Riley
Huntley, Chernyi, I1990k, Mediran, Khazar2, Ehlslaw, Dexbot, FiverFan65, Brhaughey, VIAFbot, Frosty, Mona Samulescu, Universitate
ub, I am One of Many, Julian Felsenburgh, Atlas-maker, BealBoru, Nigellwh, Ugog Nizdast, Zenibus, Monkbot, LawrencePrincipe, Vanished user 31lk45mnzx90, Aklein62, Learnerktm, Solomon262, Coinred, Reibe67, Connaught4, Sekine93, Mr Big Eichelhäher, Jansena1,
Killeaney, Dave Bowman 2001, SandSpietta90, Monsieurdionysus and Anonymous: 812
9.2
Images
• File:CBI_-_SERIES_C_-_TEN_POUND_NOTE.PNG Source: http://upload.wikimedia.org/wikipedia/en/8/82/CBI_-_SERIES_C_
-_TEN_POUND_NOTE.PNG License: Fair use Contributors:
www.centralbank.ie
Original artist: ?
• File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original
artist: ?
• File:Cscr-featured.svg Source: http://upload.wikimedia.org/wikipedia/en/e/e7/Cscr-featured.svg License: ? Contributors: ? Original
artist: ?
• File:Dubliners_title_page.jpg Source: http://upload.wikimedia.org/wikipedia/en/e/e5/Dubliners_title_page.jpg License: ? Contributors:
? Original artist: ?
• File:Grave_James_Joyce.jpg Source: http://upload.wikimedia.org/wikipedia/commons/b/b2/Grave_James_Joyce.jpg License: CC-BYSA-3.0 Contributors: de:Grab James Joyce.jpg Original artist: Lars Haefner - uploaded by Albinfo
• File:James-Joyce-Stephens-Green.jpg Source: http://upload.wikimedia.org/wikipedia/commons/5/5c/James-Joyce-Stephens-Green.
jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Tomello
• File:James_Joyce_28_Campden_Grove_blue_plaque.jpg Source:
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• File:James_Joyce_age_six,_1888.jpg Source:
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1888.jpg License: Public domain Contributors: From the Poetry/Rare Books Collection, University Libraries, State University of New
York at Buffalo. Original artist: unattributed
• File:James_Joyce_birth_and_baptismal_certificate.jpg Source:
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Joyce_birth_and_baptismal_certificate.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: O'Dea
• File:James_Joyce_by_Alex_Ehrenzweig,_1915_restored.jpg Source: http://upload.wikimedia.org/wikipedia/commons/e/ef/James_
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• James_Joyce_by_Alex_Ehrenzweig,_1915.jpg Original artist: James_Joyce_by_Alex_Ehrenzweig,_1915.jpg: Alex Ehrenzweig
• File:James_Joyce_signature.svg Source: http://upload.wikimedia.org/wikipedia/commons/0/09/James_Joyce_signature.svg License:
Public domain Contributors: Heritage Auction Galleries Original artist: James Joyce
Created in vector format by Scewing
• File:James_Joyce_with_Sylvia_Beach_at_Shakespeare_&_Co_Paris_1920.jpg Source:
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commons/1/13/James_Joyce_with_Sylvia_Beach_at_Shakespeare_%26_Co_Paris_1920.jpg License: Public domain Contributors:
Beinecke Rare Book & Manuscript Library, Yale University [2] Original artist: Gisèle Freund
• File:Jamesjoyce_tuohy-ohne.jpg Source: http://upload.wikimedia.org/wikipedia/commons/a/ae/Jamesjoyce_tuohy-ohne.jpg License:
Public domain Contributors: own after File:Jamesjoyce tuohy.jpg Original artist: Ori~
• File:Joyce_oconnell_dublin.jpg Source: http://upload.wikimedia.org/wikipedia/commons/c/cf/Joyce_oconnell_dublin.jpg License: CC
BY-SA 2.5 Contributors: Own work Original artist: Toniher; Marjorie FitzGibbon (the statue)
• File:Order_form_for_ulysses.jpg Source: http://upload.wikimedia.org/wikipedia/en/c/c5/Order_form_for_ulysses.jpg License: ? Contributors: ? Original artist: ?
• File:Revolutionary_Joyce_Better_Contrast.jpg Source: http://upload.wikimedia.org/wikipedia/commons/1/1e/Revolutionary_Joyce_
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• File:Speaker_Icon.svg Source: http://upload.wikimedia.org/wikipedia/commons/2/21/Speaker_Icon.svg License: Public domain Contributors: ? Original artist: ?
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• File:Zürich_-_James_Joice_Plateau_-_Brunnen_IMG_1211.JPG Source: http://upload.wikimedia.org/wikipedia/commons/5/5e/
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