By Alan W. Friedman, Charles Rossman
Not like many fresh Joyce stories, De-familiarizing Readings eschews the theoretical and ideological and as a substitute vegetation itself on less assailable flooring. Its seven striking Joyce students percentage a love of the "stuff" of texts, contexts, and intertexts: facts and dates, nutrients and garments, letters and journals, literary allusions, and different quotidian desiderata. Their inductive techniques - no matter if to Dubliners, Portrait of the Artist, Ulysses, or Finnegans Wake - are completely researched, argued with meticulous, even nit-picking, precision, and provide the pleasant studying adventure of forensic research. And after all they supply the delight of achieving persuasive conclusions that appear either remarkable and inevitable
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Extra resources for De-familiarizing readings : essays from the Austin Joyce conference
Just a few pages into the novel, very early in Stephen’s first term at Clongowes, we learn of his ritual involving numbers pasted inside the lid of his desk. This is his way of counting down to the Christmas holidays: “Soon they would be going home for the holidays. After supper in the studyhall he would change the number pasted up inside his desk from seventyseven to seventysix” (P 10). A little later, “sitting in the studyhall he opened the lid of his desk and changed the number pasted up inside from seventyseven to seventysix.
3208-10). 5 In a chapter whose wonders include Molly mounted on a camel and Bloom 2. Louis Hyman, The Jews of Ireland from the Earliest Times to the Year 1910 (Shannon: Irish University Press, 1972), p. 168. With Mrs. Cohen, as with many of his entries, Hyman often seems to determine that people are Jewish entirely on the basis of their names. 3. Marjorie Garber, Vested Interests: Cross Dressing and Cultural Anxiety (New York: Routledge, 1992), p. 231. 4. Neil Davison, James Joyce, “Ulysses,” and the Construction of Jewish Identity (New York: Cambridge University Press, 1996), p.
41. 26 this shared adversity, the two groups’ musical traditions coalesced, with entertainment derived from flute, banjo, tambourine and bones (like castanets). As the minstrel show became a more formal type of entertainment, Thomas Rice introduced one of the two stock comedy figures of the era, drawing on universal trickster folklore about the country bumpkin whose luck and nascent cleverness help rescue him from disaster. ” Likewise, George Dixon, another early minstrel, created the second stock character, named “Zip Coon,” as a foil to “Jumping Jim Crow,” in the image of a pretentious city slicker, plotting devious strategies and getting caught in his own trap.