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Corley and Lenehan con a gold coin off a servant girl in James Joyce's "Two Gallants" – but how they do so is left unclear. Lenehan's consumption of a plate of peas midway through the story meanwhile appears relatively unmysterious. This article argues however that Lenehan's peas are a key narrative motif: firstly, crystallising the antagonisms that consciously underlie Joyce's emergent modernist style, but also (by way of the evolving connotation of peas through Irish history) actively historicising the social conditions that underlie this aesthetic. Ultimately, it is via the peas' relationship with near-absent figure of the "slavey" herself that we see how Joyce's dialectical aesthetic serves to interrogate the socio-historical position of Corley and Lenehan's Ireland. [ABSTRACT FROM AUTHOR]

Although James Joyce is famous for his stylistic difficulty, perhaps no feature of his writing is more paradoxical than what may be its most conventional technique: his frequent descriptions of light, or what I term photomimesis. This essay uncovers the theoretical tensions of this outwardly simple descriptive trope. Through readings of passages from across Joyce's oeuvre, I show how light, a classic emblem of literary beauty, repeatedly converges with literary effects that problematise the aesthetic distinctions his texts seek to establish. In Ulysses, the stubborn persistence of photomimesis undermines Joyce's experiments with what Brian Richardson calls 'anti-aesthetic' prose, and thus reveals his basic commitment to good style. Yet if the photomimetic sentence remains a hidden paradigm of literary beauty, it also disrupts the coherence of Joyce's aesthetic system. For Stephen Dedalus, light epitomises beauty in art. But the actual experiences of light narrated in Joyce's works imply that it also produces a sensuous pleasure rigourously excluded from Stephen's aesthetics. For Joyce, the very paradigm of literature's aesthetic autonomy is thus also a form of non-art: photomimesis at once short-circuits Joyce's experiment with the anti-aesthetic and violates his aesthetic ideal of radiance, or claritas, itself. [ABSTRACT FROM AUTHOR]

This article explores intermediality and synaesthesia in James Joyce’s Ulysses, particularly focusing on the “Sirens” chapter. It examines how Joyce, akin to Johann Sebastian Bach’s innovative musical techniques and Richard Wagner’s Gesamtkunstwerk concept, weaves a rich tapestry of sensory experiences through his narrative. Joyce’s use of intermedial techniques transcends traditional literary forms, creating a synaesthetic experience that blends visual and auditory elements. With this approach, he manages to convey a sense of simultaneity and polyphony that resembles a musical harmony, which is demonstrated through a detailed analysis of the structure, motifs, and thematic elements of the chapter. The article highlights how Joyce’s own innovative narrative techniques mirror musical composition techniques by Bach and Wagner, particularly in their use of fragmented polyphony, Klangfarbenmelodie, the alliterative preparation of words, leitmotifs, and thematic development, offering a reading experience that challenges and expands the boundaries of literary expression.

Review of: Carmen Borbély, Erika Mihálycsa, Petronia Petrar (eds.), Temporalities of Modernism, Milano, Ledizioni, 2022

This paper interrogates some of the utopian and dystopian characteristics found in three key modernist texts by Joyce, Zamyatin and Pessoa, the literary effects of which have been strongly influenced by the crisis of narrative selfrepresentation and the allegorical demythification of totalitarian social and political experiments. Two distinct perspectives are deployed in order to achieve this: Paul Valéry’s dystopian culturalphilosophical reflections on the intellectual crisis of Western civilisation as presented in his 1919 essay “The Crisis of the Mind”; and Frank Kermode’s essay on the contradictory nature of modernism, “The Modern”, published in 1965–1966.

One hundred years after the publication of Ulysses (1922), the novel that would immortalize James Joyce, his ouvre continues to attract readers, intellectuals and artists as much as his private life still fascinates Joyceans, writers and a general public. The present contribution analyses three recent additions to the so-called 'Joyce industry', studying a series of fictional texts that feature the allegedly inexhaustible topic of the Irish writer's complex relationship with women. Annabel Abbs's The Joyce Girl (2016), Nuala O'Connor's Nora (2021) and Kerri Maher's The Paris Bookseller (2022) are the focus of the present contribution, three biofictions of, respectively, Joyce's daughter, his wife Nora and of Sylvia Beach, the woman who published Ulysses in book form. It is our intention to assess the extent to which these narratives offer a retrieval of three women's stories, to study them in the context of recent vindications of biofiction as a subgenre that must be distinguished from both biography and historical fiction and, above all, to account for the undeniable interest and even popularity of women related to Joyce among Joycean scholars but also among average readers. [ABSTRACT FROM AUTHOR]

Eighty years after its composition, Richard Wright's The Man Who Lived Underground was published in its entirety for the first time in April 2021. Indeed, one of the major surprises afforded by this recent publication is Wright's curious decision to imbue his protagonist, Daniels, with a revelatory "strange and new knowledge" that "he was all people and they were he." While much of the existent criticism on the short story version has asserted the narrative is one of existential solipsism, I contend the unexpunged novel is rooted in a collective possibility, or what Wright terms in "Memories of My Grandmother" as "one meaningful whole." By considering James Joyce's "epiphany process," Wright strategically leverages Joycean epiphany into a narrative technique uniquely his own, what Wright himself terms as "innocent guilt." [ABSTRACT FROM AUTHOR]

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents the Polish reception of James Joyce in the years 1924-1939. The assimilation of his writing helps trace the Polish perception of the aesthetics of English modernism, which was strongly associated with breaking moral and linguistic taboos and addressing the issues of the body and sexuality. Critical discussions of Joyce from that period have a lot to do with the discursifying of modernist obscenities. The interpretative framework derives from Loren Glass's discussion of obscenity in Anglo-American modernism. [ABSTRACT FROM AUTHOR]

Ordinary Culture in 'The Dead'" reads James Joyce's short story through the lens of Raymond Williams's essay "Culture Is Ordinary." Each work represents the gap between education and social solidarity in narratives about the return of an educated protagonist to his place of origin. Williams's essay is a powerful demolition of the kind of cultural hierarchies in which Joyce's protagonist, Gabriel Conroy, is invested. Nevertheless, Joyce's story offers a similar critique of Gabriel's elitism through its presentation of a "hyper-educated" Dubliner who fits uneasily in a cultural world that he has fled but that has also produced him. Both thinkers offer similar accounts of how English colonialism affects the consciousness of the colonized, producing the sort of elitist disdain we see in Gabriel as well as the ideal of an "authentic" Irish culture typically mobilized to critique him. [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Sick Body Writing: Towards an Affective Genetic Criticism examines the idea that manuscripts can be affected by illness as much as their authors' bodies are. This article aims to highlight a critical gap in the methodology of literary genetic criticism by introducing a new lens of affective genetic criticism. Genetic criticism looks at the archive of drafts and notes related to a literary work-in-progress. The application of affect theory brings focus to the impacts of the author's bodily experience during writing while in different states of un/healthiness. The effects of authors' health on their writing, especially textual non/production and the representations of un/healthiness, can be found in their archive in a variety of forms, whether represented in the narrative or responsible for elements of the narrative's structure. Using two case studies from different literary canons, James Joyce (modernist) and Aidan Chambers (children's and Young Adult), the article concludes that this lens can be productively applied to understand better the embodiment of writing processes and adaptations of writing environments as a result of affective needs. [ABSTRACT FROM AUTHOR]

This article delves into the intricate connections between noise and the socio-historical contexts within James Joyce’s Ulysses. The focal point is the Aeolus episode, which vividly depicts the auditory landscape of 1904 Dublin. Rather than focusing on clear technological transitions, Joyce accentuates the deepening of historical appreciation via modern sonic experiences. Joyce weaves a narrative that echoes the prevailing spirit of the state. His portrayal evokes a sense of a waning epoch, setting the grandeur of ancient Greece against the present-day stagnation and gloom of Dublin. Ultimately, this aural cultural historical design highlights Joyce’s sonorous narrative that exemplifies his drive to depict history with multifaceted depth.

Introduction. This article delves into the analysis of modifications of mythological and Christian archetypes in Joyce's work, particularly focusing on the novel “Ulysses” and examining characters playing familial roles of “son” and “father”. The interest in family ties is explored considering the atmosphere of creating the novel and biographical aspects. Family roles are viewed through the modifications of a significant biblical narrative for the author – the story of the prodigal son. The goal of the analysis was to showcase which vector the author chose and why to develop this archetypal theme in “Ulysses”. The main role, adapted to the familial setting through a new interpretation of the parable, was identified and analyzed as the role of the “prodigal father”. Methodology and sources. The textual analysis in the article was conducted in the traditions of post-structuralism: additional intertexts were used to augment the familial relationships of the novel's characters with new meanings. Results and discussion. Through the modernization of familial archetypes in the novel, this article demonstrates how Joyce, as a representative of world literature, treated these templates. His myth-making involved selectively drawing from source materials that suited his specific purposes, whether it was the story of Odysseus or the parable of the prodigal son. He approached the archetypal text liberally, using it as a systematizing mechanism to elevate contemporary issues to a more universal level. Conclusion. The article sequentially examines canonical archetypal roles and various possible readings of the source text, influenced by the author's personal experiences (biographical) as well as the cultural-historical context, shifting peripheral components of the parable to dominant positions.

Since its publication, critics of Máirtín Ó Cadhain’s Irish-language masterpiece Cré na Cille (1949; Graveyard Clay) have consistently namechecked James Joyce’s Ulysses (1922), usually for the sole purpose of conveying its perceived difficulty and/or vulgarity. Indeed, Cré na Cille was first refused publication because, in Ó Cadhain’s words, it was too long and too ‘Joycean’. Ó Cadhain himself evidently saw his work as existing in dialogue with his renowned progenitor and during a late lecture revelled in retelling an overheard conversation in which he was described as nothing more than a ‘Joycean smutmonger’. This article goes beyond such surface-level comparisons to unpick how Ó Cadhain proffers a radical portrayal of rural Irish modernity to compare with Joyce’s predominantly urban equivalent. It argues that Ó Cadhain’s characters, like those found in Joyce’s oeuvre, are consistently forced to navigate the forces of tradition and modernity, which existed at the heart of rural Irish society in the mid-twentieth century. This essay will first compare how Ó Cadhain and Joyce treat the predicaments of a young woman preparing for emigration in their respective short stories ‘An Bhliain 1912’ and ‘Eveline’, before moving on to treat Ó Cadhain’s experiments in form and language in Cré na Cille. In particular, it will examine such experimentation in the context of his lasting obsession with Finnegans Wake (1939), as evidenced by his stated belief that he ‘could write a work like Finnegans Wake’. Informed by recent developments in ‘alternative modernities’, this essay attempts to offer a nascent definition of what might be signified by ‘rural modernism’ in an Irish context.

This essay examines Luis Martín-Santos’ second novel, Time of Destruction, unfinished at the time of his accidental death in 1964, in connection with James Joyce’s A Portrait of the Artist as a Young Man (1916). To date, Marisol Morales-Ladrón remains the only scholar who has dealt extensively with both texts (2005: 162-182), a sharp contrast to the numerous studies that have discussed the traces of Joyce’s Ulysses in Martín-Santos’ first novel, Time of Silence (1962). The publication, in 2022, of Mauricio Jalón’s new edition of Martín-Santos’ Time of Destruction, one with significant textual amendments to the first edition (1975), provides an ideal opportunity to expand the scholarship on this scarcely researched topic. The first section of this essay offers a brief discussion of the new edition of Martín-Santos’ novel and reconsiders it in relation to Joyce’s work. The second section proposes a reading of A Portrait and Time of Destruction in light of the tension that exists between the narrators and the two main fictional figures in these novels, Stephen Dedalus and Agustín. The final section considers both novels in relation to Friedrich Nietzsche’s philosophy of history and morality.

This article analyses the hermeneutic dispute of the contemporary value of medieval aesthetics within the writing of two giants in the 20th century—Umberto Eco and Hans Urs von Balthasar. I claim that Eco's Joycean adaptation of medieval aesthetics uses religious language to insert a permanent, postmodern aesthetic dismantling of cosmic form. I argue that Balthasar's reading of Dante challenges the limits that Eco frames as inherent within the medieval cosmos, and that Balthasar offers an adaptive medieval aesthetics that rebuts the religious overhaul Eco demands. This debate amplifies the flexibility of aesthetics based on form to attune to contemporary concerns while remaining faithful to the fundamental religious commitments of Christian tradition. [ABSTRACT FROM AUTHOR]

The article explores concerns and perceptions surrounding artificial intelligence (AI) in architecture, emphasizing the limitations and advantages of AI-generated designs based on student projects. It also discusses Alan Turing's concept of AI and the Turing Test, highlighting the ongoing challenges in achieving true AI despite advancements in technology.

The thesis that legal norms are rooted in theology is not new. It is worth considering, however, to what extent not only singular norms, but also models of normativity are the structural representation of theological concepts. In this article, I consider transubstantiation as one of such ideas. I analyse its place in two political theologies published at the same time (in 1922): Carl Schmitt's Political Theology and James Joyce's Ulysses. I argue that both thinkers used the idea of transubstantiation as a normative mechanism to deal with anomie that encompassed European societies after the First World War. [ABSTRACT FROM AUTHOR]

James Joyce's "Circe" episode in Ulysses, by way of its closet drama form, raises questions at the center of ongoing debates on reading practice and method. Joyce uses the closet drama genre, whose name and tradition call attention to depth and concealment, to examine the relationship between surfaces and depths. Instances of free indirect discourse and interior monologue within the "Circe" episode's stage directions renegotiate reader receptivity and accessibility. Ultimately, "Circe" is not only a consideration of surfaces and depths but also the relationship between action and contemplation. Honoring the closet drama's historical function as pedagogical and philosophical apparatus, "Circe" is an opportunity to evaluate the relationship between theory and practice in literary studies. [ABSTRACT FROM AUTHOR]

James Joyce's "Counterparts" is a poignant exploration of the multifaceted themes of anger, revenge, and justice within the backdrop of early twentieth century Dublin. The story takes the reader on a journey through the life of Mr. Farrington, whose struggles embody those of an average Irish worker in the face of British imperialism and societal pressures. Farrington's gradual transformation from a man burdened by anger into one consumed by an insatiable thirst for revenge serves as a stark commentary on the corrosive effects of his predicament. As the narrative unfolds, it becomes increasingly evident that the boundary between anger and revenge is a fine line, easily blurred in the tumultuous world of Mr. Farrington. The story challenges readers to consider the legitimacy of his emotions and actions, highlighting the complexities of the human psyche when subjected to perceived injustices. Farrington's impulsive and misguided attempts at revenge only serve to underscore the tragic nature of his character, exemplifying the societal constraints that restrict his agency and expression. "Counterparts" ultimately paints a bleak picture of justice, where Farrington's quest for revenge takes on a violent and delusional character that fails to address the core issues of perceived injustices. His inability to channel his anger into a purposeful course of action mirrors the broader sense of disempowerment experienced by many Irish citizens in Joyce's time. [ABSTRACT FROM AUTHOR]

This objective of this paper is to decode the story in Eveline by James Joyce based on the study of a narrative code by Roland Barthes. The study identifies and analyzes the five narrative codes as delineated by Barthes five codes, namely, the Hermeneutic Code, the Proairetic Code, the Semantic Code, the Symbolic Code, and the Cultural Code. The methodology utilized is qualitative and content analysis is used. Through the use of these codes, the research reveals the important structures to come up with the thematic appeal and the emotions of the plot. Thus, the narrative of this research contributes to expanding the understanding of Joyce’s skill and the relevance of Eveline to the modernist tradition. The conclusion also emphasize the usefulness of Barthes’ theoretical model in deeper comprehension of the literary works as well as the number of their meanings. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Where is one's voice to be found? Not all architects search for it in both drawing and writing. Eliyahu Keller, an architectural historian working at the Technion – Israel Institute of Technology, examines one of Lebbeus Woods's distinct early tropes: an ever‐tense continuum between the image and the text. His ocular reading of Woods's scripts diagnoses their involvement with a darkness of an age, not its light. [ABSTRACT FROM AUTHOR]

Visiting Italy in 1978 as part of his own Grand Tour, Lebbeus Woods was able to see some of the treasures of the Renaissance and the Baroque. The ensuing mix of reality and imagination prompted the Editors of this 2, Aleksandra Wagner and Neil Spiller, to consider the visual travelogue –Cityscapes – in a similar manner, combining speculation and truth. [ABSTRACT FROM AUTHOR]

The American Midwest with its own architectural histories and topologies may be termed a land of few walls. Architect Kevin Erickson examines Lebbeus Woods's relation to this landscape and the genesis of his preoccupation with walls, not as protectors of boundaries, but as sites of dialogue and collaboration. Rather than mere surfaces for large paintings, walls – new or abandoned – invite reflection on the relationship between art and architecture. [ABSTRACT FROM AUTHOR]

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 2004.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 2004.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 2004.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 2004.

Este texto y los siguientes, a excepción de los de Luis AguiJar Monsalve y Paco Benavides, fueron leídos en el marco del «Seminario sobre James Joyce con motivo de los cien años del Bloomsday», organizado por el Área de Letras de la Universidad Andina Simón Bolívar, Sede Ecuador y la Corporación Cultural Viñay de Quito, entre el 16 Y el 18 de junio de 2004. Intervinieron como expositores, los escritores: Jorge Aguilar Mora, Fernando Albán, Fernando Balseca, Cristina Burneo, Miriam Merchán, Raúl Serrano Sánchez, Nora Sigal de Eliscovich y Fernando Tinajero. Kipus, los publica como parte de esa mirada que desde América Latina se da en relación a otras literaturas.

Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 2004.

Ulysses is widely accepted to be a book about everyday existence. Set on a single day, the novel portrays numerous mundane acts through its characters, and of these, smoking is included. Multiple characters smoke on June 16, 1904. Interestingly, typically as a social act, smoking is heavily involved in dialogues between characters. When Joyce’s characters smoke, what does it reveal about their discursive habits and, moreover, about their identities? This study will begin by arguing that smoking assists in kickstarting conversations between characters in Ulysses and in expressing identities. In such a dialogic novel as Ulysses, there are many instances of smoking and dialogue being intertwined. Beyond simply beginning dialogues, smoking is also involved in maintaining dialogues. For example, in the “Telemachus” episode – the opening of Ulysses – Haines and Stephen share a morning smoke, and this scene helps set the stage for the relevance of smoking throughout the novel. This article argues that, as a quotidian practice, Joyce’s use of smoking with his characters sheds light on, not just the poetics of smoking, but how we humans converse with others through objects on a daily basis.

This article adopts a sociolinguistic approach to multilingualism within James Joyce's Finnegans Wake (1939), paying attention to how, in Book 2, Chapter 3, two Irish soldiers called Butt and Taff extensively code-switch into numerous Slavonic languages (for which Bulgarian serves as the focus of this study), and how they do so for the purposes of bonding (through humour) and expressing their complex identities as 'Slavic Irishmen'. The study looks in depth at the Wake 's extreme levels of multilingualism (with more than 70 languages present within the work) and how a sociolinguistic approach to reading it – one which specifically employs terminology and research drawn from the academic field of sociolinguistics – can provide fresh and intriguing academic perspectives on it. Within this article, I argue that this unique approach may 'humanize' Butt and Taff for the reader and that these figures may even be seen to acquire identities akin to 'real-life' personas through their use of code-switching. This makes them unlike the 'avatars' or 'siglas' that critics in Wake studies normally identify in the work. [ABSTRACT FROM AUTHOR]

This article connects new modernist studies with memory studies and classical reception studies. It addresses the perennial conundrum about the relation between James Joyce's Ulysses (1922) and the Homeric Odyssey, showing how modernist memories operate backwards and forwards in time. Ulysses had a fundamental—truly game-changing—impact on memories of the Odyssey over the past century. With Ulysses, the imagination of the figure of Odysseus was profoundly altered: from hero to everyman, from seafarer to urban flâneur, from cunning soldier (and merciless suitor-slayer) to an essentially good, contemplative man, from Greek king in search of home to a transcultural traveller. The Odyssey is one of the richest examples of longue durée mnemohistories, and across time, its memory has exerted enormous game-changing agency. Joyce draws on the Odyssey's mnemonic energy, but he redirects it: He turns his Ulysses into a good and a transcultural man. The resonance of these changes can still be felt in present-day discussions of refugees as new Odysseus figures. It is also palpable in contemporary literature, as in Emilie Pine's Ruth & Pen (2022), which inserts female, queer, and neurodivergent experiences into Odyssean memory. [ABSTRACT FROM AUTHOR]

The focus of this article is the world's first mathematical weather forecast by Lewis Fry Richardson, published in 1922. In a counter-archival and anti-historical move, Richardson's work argues for the "disaggregation" of the future from the past. The paradox which results from this disaggregation, namely that the future must be framed as unprecedented in order to be subject to prediction, is viewed as a disciplinary bind which afflicts literary modernism and meteorology equally. Through a reading of James Joyce's Ulysses alongside the meteorological data for Dublin on June 16, 1904, this article considers the interaction between the future and the archive as a problem of literary writing. [ABSTRACT FROM AUTHOR]

This essay examines Luis Martín-Santos’ second novel, Time of Destruction, unfinished at the time of his accidental death in 1964, in connection with James Joyce’s A Portrait of the Artist as a Young Man (1916). To date, Marisol Morales-Ladrón remains the only scholar who has dealt extensively with both texts (2005: 162-182), a sharp contrast to the numerous studies that have discussed the traces of Joyce’s Ulyssesin Martín-Santos’ first novel, Time of Silence (1962). The publication, in 2022, of Mauricio Jalón’s new edition of MartínSantos’ Time of Destruction, one with significant textual amendments to the first edition (1975), provides an ideal opportunity to expand the scholarship on this scarcely researched topic. The first section of this essay offers a brief discussion of the new edition of Martín-Santos’ novel and reconsiders it in relation to Joyce’s work. The second section proposes a reading of A Portrait and Time of Destruction in light of the tension that exists between the narrators and the two main fictional figures in these novels, Stephen Dedalus and Agustín. The final section considers both novels in relation to Friedrich Nietzsche’s philosophy of history and morality. [ABSTRACT FROM AUTHOR]

This paper interrogates some of the utopian and dystopian characteristics found in three key modernist texts by Joyce, Zamyatin and Pessoa, the literary effects of which have been strongly influenced by the crisis of narrative selfrepresentation and the allegorical demythification of totalitarian social and political experiments. Two distinct perspectives are deployed in order to achieve this: Paul Valéry's dystopian culturalphilosophical reflections on the intellectual crisis of Western civilisation as presented in his 1919 essay "The Crisis of the Mind"; and Frank Kermode's essay on the contradictory nature of modernism, "The Modern", published in 1965-1966. [ABSTRACT FROM AUTHOR]

This editorial reflects on James Joyce's modernist novel Ulysses, first published 100 years ago in 1922. We reconstruct Ulysses's revolutionary redefinition of the novel genre, its critical reception, and the immense challenges Joyce faced in writing, printing, and publishing the work. Narrating the genesis of Ulysses is a celebration of human ingenuity and perseverance in the face of daunting obstacles. We contrast Joyce's brilliant literary achievement with the comparatively inferior outputs of much-hyped generative artificial intelligence (GenAI) chatbots. We discuss how the excessive caution and censorship exhibited by leading generative AI systems like ChatGPT undermine the free exchange of ideas, in stark contrast to the liberation of expression embodied by Ulysses. Finally, we consider the implications of these insights for effective teaching practices and visionary leadership in higher education, emphasising the vital role of cultivating broad intellectual engagement and critical thinking skills among students and faculty. Our editorial also provides an overview of the many human-created gems in our latest journal issue. [ABSTRACT FROM AUTHOR]

While current Chinese translations of James Joyce's Dubliners are acclaimed, demonstrating a commendable effort to make this classic of English language world literature accessible to Chinese readers, the book's depiction of the way femininity, masculinity and broader society in early twentieth century Ireland are 'paralysed' could be further emphasised for young Chinese readers through specific translation strategies. This exegetical paper offers a reflective analysis based on a comparison between our feminist retranslation of one of the short stories in Dubliners, 'A Painful Case', and two of its existing translations. In doing so, this essay aims to demonstrate how specific translation strategies can encourage a more critical gender and cultural consciousness in a younger generation of Chinese readers, and sheds light on the benefits of applying feminist translation methods to the retranslation of a classic naturalistic short story by a male writer. This article also makes a fresh and distinctive contribution to the scholarship of Chinese studies of Joyce and the translation of his work, through the lens of gender and culture. [ABSTRACT FROM AUTHOR]

Il libro di Lucio Gambetti Un’Odissea editoriale. A cento anni dall’Ulysses di Joyce, di poco più di un centinaio di pagine, ci conduce in un viaggio attraverso la storia editoriale di uno dei romanzi più importanti e influenti del XX secolo, l’Ulisse di James Joyce, soffermandosi in particolare sull’edizione italiana del romanzo ed esplorando la sua storia editoriale, la ricezione critica e le sfide linguistiche che hanno reso difficile la traduzione e l’interpretazione di un’opera così complessa. In passato si sono già affrontate le tematiche legate alla questione relativa al copyright delle varie edizioni del romanzo nel corso dei decenni: sui diritti d’autore vantati dagli eredi – in particolare dal nipote Stephen James Joyce (mancato nel gennaio 2020) e sulla duplice caduta nel pubblico dominio del suo autore, prima nel 1992 e poi nel 2012. Le successive battaglie sui diritti d’autore dei manoscritti inediti, il divieto di indagare su quale fosse il testo dell’opera originale, le censure subite dai biografi da parte di Stephen Joyce, fino alle edizioni scomparse dal mercato, sono tutte questioni che chi scrive conosce bene. Numerosi sono stati gli atti di censura nei vari paesi che hanno rallentato la presenza nel mercato editoriale di traduzioni o revisioni del romanzo, e questo per tutto il Novecento. Pertanto il presente contributo si connota come un saggio-recensione, con alcuni riferimenti nuovi, non presenti nel libro di Gambetti, come il recupero della sentenza italiana posta in conclusione.

Review of Consuming Joyce: 100 Years of Ulysses in Ireland, by John McCourt (London, New York, New Delhi, Sydney: Bloomsbury Academic, 2022), 304 pp., ISBN: 9781350205826, $24.25 (paperback)