One of the most basic analytical tools we employ in literary criticism is to consider the setting of a literary work: where does the action take place? Naturally, if the action takes place in a city with the same name and some of the same recognizable features as cities existing in the world, we assume that the fiction is set in the real city. At the same time, no city in a novel is precisely the historical or actual city you could up and visit. We all know that cities in novels are fictitious. They are constructs sometimes used to illustrate characters’ states of mind, sometimes used to point out ideological or political interventions, sometimes used to invoke historical narratives. And yet the impulse persists to think the city of Paris is the same as the Paris in Djuna Barnes’s Nightwood, or Jean Rhys’s Quartet, or Ernest Hemingway’s A Moveable Feast, or F. Scott Fitzgerald’s Tender is the Night. This list could continue on. Read more
“It was precisely twelve o’clock; twelve by Big Ben; whose stroke was wafted over the northern part of London; blent with that of other clocks, mixed in a thin ethereal way with the clouds and wisps of smoke, and died up there among the seagulls–twelve o’clock struck as Clarissa Dalloway laid her green dress on her bed, and the Warren Smiths walked down Harley Street. Twelve was the hour of their appointment. Probably, Rezia thought, that was Sir William Bradshaw’s house with the grey motor car in front of it. The leaden circles dissolved in the air.”
According to network analysis, paragraph 349 in Mrs. Dalloway is the most central; that is, in the whole of the novel, this is the paragraph that connects the greatest number of significant character nodes. That it takes place in the middle of the day seems to indicate the extent of Woolf’s, perhaps unconscious, narrative ability. Read more
The Modernist Versions Project might just be the only digital humanities project to launch in a pub and partner with a brewery in the celebration of Bloomsday!
In 2013, MVP Co-Directors Stephen Ross and Matt Huculak taught a versioning course at the Digital Humanities Summer Institute, which ended with a Bloomsday lecture by Hans Walter Gabler (followed by readings at the James Joyce Bistro!).
This year, thanks to a unique partnership with the University Library, The Department of English, and The Electronic Textual Cultures Lab, MVP Co-Director, Dr. J. Matthew Huculak and Kathy Bohlman, MAS, launched “From Paris to Victoria: Giséle Freund’s James Joyce Photographs” in the Mearns Centre for Learning, Special Collections in the University of Victoria Library (June 16-July 10, 2014). This photographic exhibition highlights the Gisèle Freund Fonds held by the University of Victoria Library and includes the most intimate photographs ever taken of Joyce and his family. The exhibit also includes the Joyce-inspired art of Robert Amos, RCA. Read more
The MVP is coming to the MSA in a big way this year! MVPers are presenting on panels and round tables, in seminars, in the poster session, and even organizing panels and seminars. Please see below for abstracts and outlines of what we’ll be bringing to the show – and if you’ll be in Pittsburgh for the conference, please check out some of the work on offer.
Participating MVPers: Adèle Barclay, Alex Christie, James Gifford, Adam Hammond, J. Matthew Huculak, Stephen Ross, Katie Tanigawa. Read more