By R. Brandon Kershner
Studying James Joyce’s Ulysses with a watch to the cultural references embedded inside it, R. Brandon Kershner interrogates modernism's courting to pop culture and literature. Addressing newspapers and “light weeklies” in eire, this publication argues that Ulysses displays their formal techniques and dating to the reader. finally, Kershner bargains a corrective to formal techniques to well known literary genres, broadening the spectrum of methodologies to include social and political dimensions.
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Examining James Joyce’s Ulysses with an eye fixed to the cultural references embedded inside of it, R. Brandon Kershner interrogates modernism's courting to pop culture and literature. Addressing newspapers and “light weeklies” in eire, this booklet argues that Ulysses displays their formal suggestions and courting to the reader.
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Extra info for The Culture of Joyce's Ulysses
Thus he is enslaved by labor just as effectively as the laborers, even though he himself need not work. Unlike them, he can hear the Siren song of nostalgia, diversion, and self-indulgence, but his hands are tied. Throughout, Horkheimer and Adorno stress that Odyssean cunning is the instrumental rationalism of one who sacrifices, who cuts his losses, who pays the price of “his own dream,” who wins only by demystifying himself as well as the powers without. He can never have everything; he has always to wait, to be patient, to do without; he may not taste the lotus or eat the cattle of the Sun-god Hyperion, and when he steers between the rocks he must count on the loss of the men whom Scylla plucks from the boat.
Odysseus, in fact, is “a prototype of the bourgeois individual” (Horkheimer and Adorno, 43). “A proprietor like Odysseus manages from a distance a numerous, carefully gradated staff of cowherds, shepherds, swineherds and servants” (Horkheimer and Adorno, 14). Horkheimer and Adorno’s interpretation of the “Sirens” episode is particularly revealing. For them, the Sirens represent both the allurement of the past and a threat to the patriarchal order: they call to the laborers to cease laboring, to lose their identities.
From Rome. Who states these facts? D. 701; by Probus, an Irish writer of the ninth century . . ]. (Daunt, 4) The point here is that Joyce was most probably deploying a verbal pastiche or satire of a common Victorian formal mode of writing for instruction, rather than a single source. In some ways it might come closer to constituting a discourse than it does a single text, and thus we should be alert for ways in which “Ithaca” puts into question the value of catechistic learning as an epistemological mode—something he more directly does in “Nestor” through Stephen’s unanswerable riddle and his surreal definitions (of God as “a shout in the street,” for instance).