James Joyce
著者
書誌事項
James Joyce
(Critical lives)
Reaktion Books, 2006
大学図書館所蔵 全11件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 179-189)
"With an introduction by Declan Kiberd"--Cover
内容説明・目次
内容説明
In this new work, Andrew Gibson sets out to reverse the traditional view of Joyce and his work as the paradigm of international modernism in literature. Where criticism has usually consigned Ireland to secondary status in Joyce's work, Gibson firmly relocates the writer and his work in Ireland, showing them at all points to be intricately bound up in Irish history, politics and culture. Crucially, he views Joyce's departure for Europe as allegiance to an Irish emigratory tradition that is centuries old, rather than the abandonment of the old country. Accounts of Joyce's life and work have tended to give rather short shrift to his profound engagements with Irish history and politics. Gibson argues that there have been important reasons for this, themselves often historical and political. Tracing the development of Joyce as a critic and writer, he maps this development to specific political and historical events. Beginning with the political traditions and allegiances that formed part of Joyce's family background, he pinpoints the fall of Parnell, the collapse of political hope, and the transfer of political energies to cultural activity as crucial in the writer's early formation.
Joyce's immense renown has been due above all to his reputation as an experimental, modernist writer. His works' open-endedness and seemingly infinite availability to differing interpretations has allowed criticism to constantly update his politics. The book argues that Joyce's most important concerns were historically material and specific. Yet, it also recognises that Joyce himself encouraged and fostered the view of his work as modernist, which became the dominant tradition in Joyce studies.
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