Ulysses

2018 ◽  
Author(s):  
Sam Slote
Keyword(s):  
New York ◽  
James Joyce ◽  
Short Story ◽  
Legal Action ◽  
Central Character ◽  
American Modernism ◽  
The Waste Land ◽  
Waste Land ◽  
Anglo American ◽  
Shakespeare And Company

A novel by James Joyce, written between 1914 and 1922, serialized from 1918–1920, and published in book form (to much controversy) in 1922. With T. S. Eliot’s The Waste-Land and Virginia Woolf’s Jacob’s Room, both also published in 1922, Ulysses helps establish 1922 as the peak year of Anglo-American Modernism. It is among the most stylistically diverse and boldly experimental English prose works of the twentieth century. Ulysses takes place over the course of one single day, June 16, 1904 (now known as Bloomsday, after its central character Leopold Bloom). It consists of 18 chapters (or episodes as Joyce called them), each one covering no more than one hour. Each episode has a specific style, although the styles of most of the earlier episodes are largely similar. Joyce wrote Ulysses between 1914 and 1922, although it began life in 1906 as a quickly abandoned short story for Dubliners. Joyce’s compositional practice was largely one of revision and addition: Joyce signed off the final revisions for Ulysses on January 30, 1922, days before its publication. Episodes from Ulysses were serialized in The Little Review from March 1918 to December 1920. Serialization was halted after the thirteenth episode ("Nausicaa") occasioned a legal action over obscenity brought on by the New York Society for the Prevention of Vice (four episodes were serialized by The Egoist, but fears of prosecution prevented a fuller serialization). Joyce’s refusal to make any concessions towards publishing Ulysses in a climate where it was liable to be judged obscene led to its being published by Sylvia Beach, the proprietor of the Shakespeare and Company bookshop in Paris.

The Long Poem

2018 ◽  
Author(s):  
Paul Jaussen
Keyword(s):  
World War I ◽  
Long Poem ◽  
American Modernism ◽  
The Waste Land ◽  
Waste Land ◽  
Anglo American ◽  
Long Poems ◽  
Historical Rhetoric ◽  
Organizational Principles ◽  
Poetic Work

In its most basic sense, the ‘long poem’ refers to any extended poetic work, from the long lyric to the epic. Within the context of modernism, the long poem emerged as a significant genre, channeling the authority and scope of the epic yet rejecting many traditional epic devices. Most notably, many modernist long poems abandoned narrative, replacing it with other organizational principles, ranging from symbolism to collage. The practice became particularly significant within the context of Anglo-American modernism, largely due to the influence of T.S. Eliot and Ezra Pound, although the long poem can also be considered a transnational genre, with examples in French, such as Saint-John Perse’s Anabase (1924), and Spanish, like Federico García Lorca’s sequence Poeta en Nueva York (1940). One of the most famous and influential examples of the genre is Eliot’s The Waste Land, published in 1922. Adapting mythological themes, literary allusions, and a symbolic framework, Eliot’s work combined the traditional historical rhetoric of earlier long poetics, from Chaucer to the Arthurian legends, with the language and concerns of World War I England.

Metamodernism: Narratives of Continuity and Revolution

PMLA ◽  
2014 ◽  
Vol 129 (1) ◽  
pp. 87-100 ◽  
Author(s):  
David James ◽  
Urmila Seshagiri
Keyword(s):  
New York ◽  
Contemporary Literature ◽  
To The Lighthouse ◽  
The Waste Land ◽  
Wassily Kandinsky ◽  
Waste Land ◽  
Vanity Fair ◽  
The First World War ◽  
Formal Innovation ◽  
First World

The task for contemporary literature is to deal with the legacy of modernism.—Tom McCarthy (2010)A century separates us from an iconic moment of aesthetic metamorphosis: 1914 witnessed the appearance of James Joyce's Dubliners, Gertrude Stein's Tender Buttons, Mina Loy's “Parturition,” and the vorticist journal Blast. It was the year Dora Marsden and Harriet Shaw Weaver, aided by Ezra Pound, started the literary review the Egoist in London and Condé Nast and Frank Crowninshield launched Vanity Fair in New York. Arnold Schoenberg's atonal symphonic works assaulted classical sonorities; Wassily Kandinsky elevated the purity of geometric form above the functional work of visual representation. Most crucially, 1914 saw the assassination of Archduke Ferdinand in Sarajevo and the subsequent outbreak of the First World War. Cutting a bloody, four-year swath across Europe, the war took almost forty million lives and rendered all subsequent formal innovation inseparable from cultural devastation: thus the intricate, ruptured literary architectures of The Waste Land (1922), Ulysses (1922), and To the Lighthouse (1927).

Serial Encounters

2019 ◽  
Author(s):  
Clare Hutton
Keyword(s):  
New York ◽  
Literary History ◽  
Original Study ◽  
Legal Action ◽  
Archival Research ◽  
Publishing History ◽  
The Social ◽  
Critical Attention ◽  
Serial Publication ◽  
Shakespeare And Company

James Joyce’s Ulysses was first published in New York in the Little Review between 1918 and 1920. What kind of reception did it have and how does the serial version of the text differ from the version most readers know, the iconic volume edition published in Paris in 1922 by Shakespeare and Company? Joyce prepared much of Ulysses for serial publication while resident in Zurich between 1915 and 1919. This original study, which is based on sustained archival research, goes behind the scenes in Zurich and New York to recover long-forgotten facts pertinent to the writing, reception, and interpretation of Ulysses. The Little Review serialization of Ulysses proved controversial from the outset and was ultimately stopped before Joyce had completed the work. The New York Society for the Suppression of Vice took successful legal action against the journal’s editors, on the grounds that the final instalment of the thirteenth chapter of Ulysses was obscene. This triumph of the social purity movement had far-reaching repercussions for Joyce’s subsequent publishing history, and for his ongoing efforts in composing Ulysses. After chapters of contextual literary history, the study moves on to consider the textual significance of the serialization. It breaks new ground in Joycean scholarship by paying critical attention to Ulysses as a serial text. It concludes by examining the myriad ways in which Joyce revised and augmented Ulysses while resident in Paris, showing how Joyce made Ulysses more sexually suggestive and overt in explicit response to its legal reception in New York.

POSTSTRUCTURALISM 131 igaray, Kristeva, Lacan) as they have come to be translated and transformed through the Anglo-American theorising of questions of the literary and the matter of critical, textual analysis. The terms poststructuralism and theory or high theory have been assumed by some to be virtually synonymous (as have poststruc-turalism and deconstruction), and the salient discernible features in common of this so-called critical modality - allegedly - have to do with the following topics: the work of rhetoric, the destabilis-ing effects of language, the provisionality of meaning, the work of tropes and images in resisting uniformity or organic wholeness, questions of undecidability, discontinuity, the aporetic and frag-mentation, difference and otherness, the constructedness of the subject, matters of translation, and the denial or, perhaps more accurately, a critique of the referentiality or mimetic function of language. Bibliography Attridge, Derek. Peculiar Language: Literature as Difference from the Renaissance to James Joyce. Ithaca, NY, 1988. Attridge, Derek and Daniel Ferrer (eds). Post-Structuralist Joyce: Essays from the French. Cambridge, 1984. Attridge, Derek, Geoffrey Bennington and Robert Young (eds). Post-Structuralism and the Question of History. Cambridge, 1987. Chase, Cynthia. Decomposing Figures: Rhetorical Readings in the Ro-mantic Tradition. Baltimore, MD, 1986. Cohen, Tom. Anti-Mimesis from Plato to Hitchcock. Cambridge, 1995. Cohen, Tom. Ideology and Inscription: 'Cultural Studies' After Benja-min, De Man, and Bakhtin. Cambridge, 1998. De Man, Paul. Allegories of Reading: Figurai Language in Rousseau, Nietzsche, Rilke, and Proust. New Haven, CT, 1979. De Man, Paul. The Rhetoric of Romanticism. New York, 1984. D e Man, Paul. The Resistance to Theory. Minneapolis, MN, 1986. de Man, Paul. Aesthetic Ideology, ed and intro. Andrzej Warminski. Minneapolis, 1996. Easthope, Antony. Poetry as Discourse. London, 1983. Easthope, Antony. British Poststructuralism since 1968. London, 1988. Harari, Josué V. (éd.). Textual Strategies: Perspectives in Post-Structur-alist Criticism. London, 1979. Johnson, Barbara. The Critical Difference. Baltimore, MD, 1980.

2016 ◽  
pp. 147-155
Keyword(s):  
New York ◽  
James Joyce ◽  
Textual Analysis ◽  
New Haven ◽  
Critical Difference ◽  
The Subject ◽  
Anglo American ◽  
Textual Strategies ◽  
De Man ◽  
Language Literature

Zukofsky, Louis (1904–1978)

2018 ◽  
Author(s):  
Ruth Jennison
Keyword(s):  
New York ◽  
Major Influence ◽  
Musical Structure ◽  
Columbia University ◽  
Long Poem ◽  
Louis Zukofsky ◽  
The Waste Land ◽  
Avant Garde ◽  
Waste Land ◽  
Black Mountain

Louis Zukofsky was an American avant-garde poet active from the 1920s upto the 1970s. Zukofsky’s masterwork long poem, ‘A’ (in company with his many other shorter works of poetry and prose), had a profound effect on the shape and development of American poetics. His work can be counted as a major influence on the Black Mountain, Beat, and Language poets, and on other contemporary poets working in conversation with the historical avant-garde. Major themes in Zukofsky’s work include the materiality of language, formalism, the place of the poem in history and politics, the musical structure of poesis and vice versa, and translation. Zukofsky was born to working-class, Orthodox Jewish, Yiddish-speaking parents in the Lower East Side of New York City. His poetic career began following his graduation from Columbia University with an MA in English. A parody of T. S. Eliot’s The Waste Land, entitled ‘Poem Beginning ‘The’’, received the admiration of Ezra Pound. The poem features one of Zukofsky’s signature formal techniques: the strategic parataxis (juxtaposition) of high and low cultures, placed in the service of an anti-reactionary, and sometimes Marxist and revolutionary, avant-garde poetics. Zukofsky’s epistolary relationship with Pound was extensive, and the older poet would be a lifelong object of admiration — and negation — for Zukofsky.

Ridge, Lola (1873–1941)

2018 ◽  
Author(s):  
Terese Svoboda
Keyword(s):  
New York ◽  
William Carlos Williams ◽  
First Century ◽  
Hart Crane ◽  
The Waste Land ◽  
Waste Land ◽  
Women's Lives ◽  
Saturday Review ◽  
Brooklyn Bridge ◽  
Creative Will

A proletarian modernist, the poet Lola Ridge is best known for her work published between 1918 and 1922, which coincided with her editorship of Broom and Others. She is also known for her salon in New York that hosted most of the leading poets of the time, including Marianne Moore, William Carlos Williams, and Hart Crane. Four years before Eliot's bleak and anti-Semitic ‘The Waste Land’, her equally long poem ‘The Ghetto’ celebrated the ‘otherness’ of the Jewish Lower East Side, chronicling an era and prophesying the multi-ethnic world of the twenty-first century. She was one of the first to delineate the life of the poor in Manhattan and, in particular, women’s lives in New York City. The title poem of her second book, Sun-up and Other Poems is a striking modernist depiction of child's interior life. Harriet Monroe, founder of Poetry, and William Rose Benet, founder of Saturday Review of Literature, called Ridge a genius. Her poem ‘Brooklyn Bridge’ greatly influenced Hart Crane, and her late work shared Crane's concerns with archaic language and mysticism. Her 1919 speech, ‘Woman and the Creative Will’, anticipated Virginia Woolf's A Room of Her Own by 10 years.

Beckett's Early Verse and the Modernist Long Poem: A Study of ‘Enueg I’

2019 ◽  
Vol 28 (2) ◽  
pp. 197-213
Author(s):  
Sławomir Studniarz
Keyword(s):  
Long Poem ◽  
The Waste Land ◽  
Waste Land ◽  
Artistic Activity ◽  
Underlying Network ◽  
Experimental Works ◽  
The Cantos ◽  
Semantic Dimension ◽  
Psychological Dimensions

The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.

ANALISIS STRUKTUR SOSIAL CERITA DALAM CERITA PENDEK ANAK “ANGGREK RARA” (SEBUAH KAJIAN SOSIOLOGI SASTRA TERHADAP SASTRA ANAK)

2017 ◽  
Vol 3 (2) ◽  
pp. 184
Author(s):  
Sari Herleni
Keyword(s):  
Social Structure ◽  
Short Story ◽  
Real Life ◽  
Central Character ◽  
The Real ◽  
Social Fact ◽  
The Social ◽  
Family Home

This article describes about the figure of children world in a short story “Anggrek Rara” written by Ina Inong, by connecting the social structure in the text and in the real life. After analyzing the social structure in the story, it is found that the plot of this story was the progressive plot, the background was from the social fact that came from inner house and outer house, otherwise the central character were Rara and Bunda. By analyzing social structure of text, it was found that a family (home) is the serious and formal environment while outer house is free and non formal. The result of the research showed that the children short story “ Anggrek Rara” was expected to give the figure outlines of the children world.AbstrakPenelitian ini membahas tentang gambaran dunia anak dalam cerita pendek anak “Anggrek Rara” karya Ina Inong dengan menghubungkan struktur sosial teks dalam karya dan struktur sosial teks dengan realitas. Melalui analisis struktur sosial dalam karya terungkap bahwa alur cerita ini merupakan alur lurus, latar terdiri dari fakta sosial yang bersumber dari rumah dan di luar rumah, sedangkan tokoh Rara dan Bunda adalah tokoh sentral. Melalui analisis struktur sosial teks dengan realitas terungkap bahwa keluarga (rumah) merupakan lingkungan yang sifatnya serius dan formal, sedangkan di luar rumah bahkan bersifat bebas dan non formal. Hasil yang diperoleh dari analisis ini menunjukkan bahwa cerita pendek anak “Anggrek Rara” dianggap mampu memberikan garis-garis besar gambaran kehidupan dunia anak.

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