We are excited to present the next installment of the YoU Lecture Series: Rob Berry and Mike Barsanti on ULYSSES “SEEN,” graphic adaptation, and twenty-first-century censorship.
On Friday, October 26th at 1 pm EDT / 10 am PDT, Laura Hensch will moderate the MVPâ€™s seventh YoU Twitter chat, focusing specifically on “Scylla & Charybdis.”Â The hashtag for the Twitter chat isÂ #yearofulysses.
Laura Hensch received her Bachelor’s degree from Harvard, where she wrote her junior and senior papers on Finnegans Wake. In May 2012, she completed her Master’s degree at the University of Tulsa with a final annotated bibliography project on minor Joyce biographies, Joyce’s Jesuit curriculum, and Joyce’s pre-Trieste personal reading. At the 2011 International James Joyce Symposium, Laura presented “Tesseracts and Proteiform Polyhedrons: James Joyce’s Multi-dimensional Symmetry.”
The MVP is happy to present the next installment of the YoU Lecture Series: James M. Clawson on “‘Dirty Eaters’: Bloom’s Eco-Critical Cycles in Lestrygonians.”
“Scylla and Charybdisâ€Â again builds on a basis of interior monologue,Â stream of consciousnessÂ and quasi-realism, but injects a lengthy form of disputation with rapid-fire and unattributed dialogue that disorients the reader. The chapter is set in the Irish National Library, where Stephen Dedalus,Â A. E.Â , John Eglinton, and Lyster are in deep disputation about Shakespeare. Stephen propounds his famous theory that Shakespeare is both Hamlet and Hamletâ€™s father in the play,Â Hamlet. He argues as well that Ann Hathaway seduced Shakespeare, and that Shakespeare worked many elements of his intimate personal life into his plays. Mulligan arrives brandishing the telegram in which Stephen has broken off their friendship. He joins in the raillery. Bloom arrives at the library, but does not enter the conversation; he is remarked by Mulligan, who then prevails upon Stephen to leave with him. They pause on the steps to the Library, where Bloom passes between them on his own way out, eliciting comment from Bloom and re-staging the scene inÂ A Portrait of the Artist as Young ManÂ where Stephen determines to leave Ireland to become an artist. First timers: don’t even try to follow the ins and outs of Stephen’s theory; the point is his pedantic tone and insincere argument — even he doesn’t believe the theory in the end!
How did the chanter compensate for this deficiency?
By a periphrastic version of the general text.
I am in the beginning stages of my project, “Ulysses Versioned: The Fluid Text,” as part of my postdoctoral research with the Modernist Versions Project (MVP). I first encountered James Joyce’s masterpiece (pace Wake scholars) as a graduate student at the University of Tulsa, where I had the opportunity to work as an Editorial Assistant with the James Joyce Quarterly (JJQ). Not only did I get to take an independent study on Ulysses with Sean Latham, the editor of the JJQ, but I also got to work with the vibrant community of Joyce studies. Joyce is one of the few modernist scholars who can support a robust journal industry on his own, and fans of his work extend well beyond the halls of academia.
- In this episode, we see a return to a specific style dominant in the first 6 episodes. Why have this following a more experimental episode, like “Aeolus”?
- â€œHades,â€ â€œAeolus,â€ and â€œLestrygoniansâ€ all seem to reflect a drifting in and out of Bloomâ€™s consciousness. What is the purpose of this?Â
- In this episode, prison and soup kitchens are ways where the institution is revealed as both unstable and unwanted. Welfare is undesired whereas poverty and hunger is preferable to accepting charity. This begs the question,what are the expectations of the citizens toward the state?