(Post)colonial modernity in Ulysses and Accra / Ato Quayson -- Joyce and race in the twenty-first century / Malcolm Sen -- Dubliners and French naturalism / Catherine Flynn -- Joyce and Latin American literature : transperipherality and modernist form / José Luis Venegas -- The multiplication of translation / Sam Slote -- Copyright, freedom, and the fragmented public domain / Robert Spoo -- Ulysses in the world / Sean Latham -- The intertextual condition / Dirk Van Hulle -- The macrogenesis of Ulysses and Finnegans wake / Ronan Crowley -- After the Little review : Joyce in transition / Scarlett Baron -- Popular Joyce, for better or worse / David Earle -- Joyce's nonhuman ecologies / Katherine Ebury -- Medical humanities / Vike Plock -- Joyce's queer possessions / Patrick Mullen -- The wake, ideology and literary institutions / Finn Fordham -- Joyce as a generator of new critical history / Jean-Michel Rabaté.

This edition offers everything needed by the newcomer to this famous but intimating text: images, maps, footnotes, and introductory essays by eighteen leading Joyceans.

DIVDiscusses Ulysses arguing that through the operation of memory, it mimics the working of the human mind and achieves its status as one of the most intellectual achievements of the 20th century./div

This second edition of The Cambridge Companion to Joyce contains several revised essays, reflecting increasing emphasis on Joyce's politics, a fresh sense of the importance of his engagement with Ireland, and the changes wrought by gender studies on criticism of his work. This Companion gathers an international team of leading scholars who shed light on Joyce's work and life. The contributions are informative, stimulating and full of rich and accessible insights which will provoke thought and discussion in and out of the classroom. The Companion's reading lists and extended bibliography offer readers the necessary tools for further informed exploration of Joyce studies. This volume is designed primarily as a students' reference work (although it is organised so that it can also be read from cover to cover), and will deepen and extend the enjoyment and understanding of Joyce for the new reader.

"Joyce was a realist, but his reality was not ours," writes John Gordon in his new book. Here, he maintains that the shifting styles and techniques of Joyce's works is a function of two interacting realities the external reality of a particular time and place and the internal reality of a character's mental state. In making this case Gordon offers up a number of new readings: how Stephen Dedalus conceives and composes his villanelle; why the Dubliners story about Little Chandler is titled "A Little Cloud"; why Gerty MacDowell suddenly appears and disappears; what is happening when Leopold Bloom stares for two minutes on end at a beer bottle's label; why the triangle etched at the center of Finnegans Wake doubles itself and grows a pair of circles; why the next to last chapter of Ulysses has, by far, the book's highest incidence of the letter C; and who is the man in the macintosh. Gordon, whose authoritative "Finnegans Wake": A Plot Summary received critical acclaim and is considered one of the standard references, revisesand challengesthe received version of that reality. For instance, Joyce features ghost visitations, telepathy, and other paranormal phenomena not as "flights into fantasy" but because he believed in the real possibility of such occurrences.

James Joyce must be understood as drawing on French nineteenth- and twentieth-century literary innovations to grapple with the challenges of Paris.

"James Joyce and the Mythology of Modernism" examines anew how myth exists in Joyce's fiction. Using Joyce's idiosyncratic appropriation of the myths of Catholicism, this study explores how the rejected religion still acts as a foundational aesthetic for a new mythology of the Modern age starting with "A Portrait of the Artist as a Young Man" and maturing within "Ulysses". Like the mythopoets before him -- Homer, Dante, Milton, Blake -- Joyce consciously sets out to encapsulate his vision of a splintered and rapidly changing reality into a new aesthetic which alone is capable of successfully rendering the fullness of life in a meaningful way. Already reeling from the humanistic implications of an impersonal Newtonian universe, the Modern world now faced an Einsteinian one, a re-evaluation which includes Stephen's awakening from the "nightmare" of history, a re-definition of deity, and Bloom's urban identity. Written with both the experienced Joycean and the beginner in mind, this book tells how the Joycean myth is our own conception of the human being, and our place in the universe becomes (re)defined as definitively Modernist, yet still, through Molly Bloom's final affirmation, profoundly human.

This book situates Joyce's critical writings within the context of an emerging discourse on the psychology of rhythm, suggesting that A Portrait of the Artist dramatizes the experience of rhythm as the subject matter of the modernist novel. Including comparative analyses of the lyrical prose of Virginia Woolf and the 'cadences' of the Imagists, Martin outlines a new concept of the 'modern period' that describes the interaction between poetry and prose in the literature of the early twentieth century.

“Joyce’s Book of the Dark gives us such a blend of exciting intelligence and impressive erudition that it will surely become established as one of the most fascinating and readable Finnegans Wake studies now available.”—Margot Norris, James Joyce Literary Supplement