Book Review: Inductive Scrutinies: Focus on Joyce, and: Joyce, Race and Empire, and: James Joyce and Nationalism, and: Joyce and the Invention of Irish History. Finnegan's Wake in Context, and: The Economy of Ulysses. Making Both Ends Meet

1996 ◽  
Vol 42 (4) ◽  
pp. 873-883
Author(s):  
Tracey Teets Schwarze
Keyword(s):  
James Joyce ◽  
Irish History ◽  
Finnegan's Wake

Book review: James Joyce and the Art of Mediation

1997 ◽  
Vol 43 (2) ◽  
pp. 513-515
Author(s):  
Susan Shaw Sailer
Keyword(s):  
James Joyce

Finnegans Wake

2018 ◽  
Author(s):  
Matthew Creasy
Keyword(s):  
James Joyce ◽  
Early Years ◽  
Literary Modernism ◽  
Finnegans Wake ◽  
New Science ◽  
Literary Periodicals ◽  
The World ◽  
History And Literature ◽  
History Of ◽  
Finnegan's Wake

An experimental masterpiece by James Joyce, published in 1939. Joyce began writing it during 1923 and parts of it appeared under the title Work-in-Progress within literary periodicals, such as transition, and in pamphlet form. It has a reputation as the most difficult text of literary modernism. Joyce set out to write "a history of the world" and much of the structure of the book derives from Italian philosopher and historian Giambatista Vico’s New Science (1725), which breaks down history into a series of cyclic phases. The final title, however, alludes to a Dublin street ballad about a builder who falls from a ladder: Tim Finnegan is aroused from unconsciousness when a drop of whisky touches his mouth during the wake organized by his family, who think him dead. Joyce used this to allude to Viconian myths of fall and redemption or resurrection. It was written during the early years of Irish independence and the Wake’s mythic re-cycling of history and literature also bears upon contemporary developments. The absence of apostrophe in the title is deliberate: although derived from "Finnegan’s Wake," it also urges the Irish (Finnegans) to rise from their historical stupor.

Here comes nobody: a dramaturgical exploration of Luciano Berio's Outis

2000 ◽  
Vol 12 (2) ◽  
pp. 163-178
Author(s):  
DAVID OSMOND-SMITH
Keyword(s):  
James Joyce ◽  
Luciano Berio ◽  
Associative Network ◽  
Finnegan's Wake ◽  
The Many ◽  
The Wanderer

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

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