While Sheffield's study shares a common presupposition of these recent interpretations, it challenges the idea that the move Joyce makes with this alignment is one that puts him on the side of woman. Sheffield contends that Joyce is not expressing his solidarity with woman or "womanly thought" in opposition to a masculine literary and philosophical tradition, but rather relying on ancient stereotypes to personify a dangerously "other" form of writing.

Brivic argues that James Joyce's fiction anticipated Jacques Lacan's idea that the perceivable world is made of language and that Joyce, Lacan, and Žižek all carry forward a psychological and linguistic groundwork for social reform.

Appearing in an era of rapid change in the printing and publishing industries, James Joyce’s Ulysses exploited and exemplified those industries to the degree that the book can be seen as a virtual museum of 1904 media. Publishing in Joyce's “Ulysses”: Newspapers, Advertising and Printing, edited by William S. Brockman, Tekla Mecsnóber and Sabrina Alonso, gathers twelve essays by Joyce scholars exploring facets of those trades that pervade the substance of the book. Essays explore the book’s incorporation of mass-market weekly magazines, contemporary advertising slogans, newspaper clippings, the “Aeolus” episode’s printing office and the varied typographic styles of successive editions of Ulysses. Placing Joyce’s work in its historical milieu, the collection offers a fresh perspective on modern print culture. Contributors are: Sabrina Alonso, Harald Beck, William S. Brockman, Elisabetta d'Erme, Judith Harrington, Matthew Hayward, Sangam MacDuff, Tekla Mecsnóber, Tamara Radak, Fritz Senn, David Spurr, Jolanta Wawrzycka.

"This study therefore begins by focusing on the character of Stephen. Stephen is, significantly, a time-obsessed writer who wishes to obtain the time-transcending status of an Ovid or a Homer. When the wider tale is examined in terms of Stephen's ambition, Ulysses emerges as, potentially, a "self-begetting" work - that is, the finished narration can be read as a creation of the aspiring writer featured within the narrative itself."--BOOK JACKET.

"Writing Modern Ireland' examines the complex literary manifestations of Ireland and Irishness from the turn of the twentieth century to very recently. Together with examinations of the nation, the collected essays consider Irish identities that may be sexual, racial, regional, gendered, disabled and able-bodied, traumatized and in the process of healing. Identity, like literary texts, is a constant process of making and remaking, revision and publication. This collection takes up the question of what it means to write modern Ireland, evoking the many resonances that name will carry: a mythic place, a land controlled from elsewhere, a nation hoped for and achieved, a nation denied and resisted, an island divided, an idea soaked in fantasies and dreams, a homeland abandoned in searches for brighter futures, a land of opportunity, a people who are many people, and a place defined by writers who both empower and challenge it. W. B. Yeats looms large, as he does in modern Irish writing, and in commemoration of his sesquicentennial year. Building on a themed issue of The South Carolina Review, the present volume is expanded and rededicated by Catherine E. Paul (Clemson University). It features critical essays by Ronald Schuchard on Yeats, Michael Sidnell on Beckett, Liam Harte on Sebastian Barry, Jefferson Holdridge on contemporary Irish poets, and Thomas Dillon Redshaw on the revival of the Cuala Press (illustrated), together with a host of significant scholarship and criticism by 14 additional international experts from the USA, UK, Belgium, France, and (of course) Ireland."-- p. [4] of cover.

This volume of conversation not only provides a succinct philosophical biography that highlights the wide range of Attridge's interests. It likewise foregrounds his energetic engagements with literary theory, poetics, and stylistics, as well as his reassessments of contemporary philosophy and literary ideas, specifically those pertaining to the work Jacques Derrida, James Joyce, and J. M. Coetzee. Readers will find in this book a wonderful balancing act as Attridge negotiates the dynamics between the orthodoxies of critical practice and the strategic interventions of deconstructive reading. This book, with an appendix of a chronological listing of Attridge's publications, is an accessible and provocative introduction to the ideas of one of the most brilliant critical voices and generous presences in literary studies in the Anglophone world.

-- Booklist

Did James Joyce, that icon of modernity, spearhead the dismantling of the Cartesian subject? Or was he a supreme example of a modern man forever divided and never fully known to himself? This volume reads the dialogue of contradictory cultural voices in Joyce’s works—revolutionary and reactionary, critical and subject to critique, marginal and central. It includes ten essays that identify repressed elements in Joyce’s writings and examine how psychic and cultural repressions persistently surface in his texts. Contributors include Joseph A. Boone, Marilyn L. Brownstein, Jay Clayton, Laura Doyle, Susan Stanford Friedman, Christine Froula, Ellen Carol Jones, Alberto Moreirias, Richard Pearce, and Robert Spoo.

Modernist literature is inextricable from the history of obscenity. The trials of figures like James Joyce, D. H. Lawrence, and Radclyffe Hall loom large in accounts twentieth century literature. Filthy Material: Modernism and The Media of Obscenity reveals the ways that debates about obscenity and literature were shaped by changes in the history of media. Judgments about obscenity, which hinged on understanding how texts were circulated and read, were often proxies for the changing place of literature in an age of new technological media. The emergence of film, photography, and new printing technologies shaped how literary value was understood, altering how obscenity was defined and which texts were considered obscene. Filthy Material rereads the history of obscenity in order to discover a history of technological media behind debates about moral corruption and sexual explicitness. The shift from the intense censorship of the early twentieth century to the effective 'end of obscenity' for literature at the middle of the century, it argues, is not simply a product of cultural liberalization but of a changing media ecology. Filthy Material brings together media theory and archival research to offer a fresh account of modernist obscenity and novel readings of works of modernist literature. It sheds new light on figures at the center of modernism's obscenity trials (such as Joyce and Lawrence), demonstrates the relevance of the discourse obscenity to understanding figures not typically associated with obscenity debates (like T. S. Eliot and Wyndham Lewis), and introduces new figures to our account of modernism (like Norah James and Jack Kahane). It reveals how modernist obscenity reflected a contest over the literary in the face of new media technologies.

This reader-friendly introduction makes Joyce asscessible by combining the excitement of reading his words with the excitement of interpreting them.