19 Matching Annotations
  1. Jan 2019
    1. You have never heard me, have you, utter an unfit word before others.

      Performative nature of his letter writing

    2. When I got your express letter this morning and saw how careful you are of your worthless Jim I felt ashamed of what I had written.

      Martha Clifford

  2. Dec 2018
  3. muse.jhu.edu muse.jhu.edu
    1. Murphy happens to possess the novel’s other most memorable post-card, the one depicting “savage women” from Bolivia, and is thus associated with postcards generally.

      one post card doesnt create association

    2. Robert Alter calls a “transhistorical textual community,” in which “knowledge of the received texts and recourse to them consti-tute the community, but the texts do not have a single authoritative meaning.”
  4. muse.jhu.edu muse.jhu.edu
    1. temura (rearranging letters)
    2. Joyce composed and addressed his own Hellenic-Hebraic love letters to his homeland, it would seem that he was keen to take the Hibernian to heart from the outset.

      letters in the book mirror Joyce's own letters

    3. Bloom’s secret love letters, then, written in English to and from his Irish confidante, but written in a boustrophedonic, vowel-free code that echoes Greek and Jewish patternings, may hint at the broader intertwining of Hellenic, Hebraic, and Irish strands in Joyce’s novel. We might see Bloom’s letters as another instance of his willing-ness to bring Ireland into dialogue with other cultures and races.

      amplifies the heteroglossia of the text

    4. In the “Ithaca” episode of the novel, as part of the answer to the question, “What did the first drawer unlocked contain?” we are told that Bloom has three letters from Martha “in reversed alpha-betic boustrophedonic punctated quadrilinear cryptogram (vowels suppressed) N. IGS./WI. UU. OX/W. OKS. MH/Y.IM” (U 17.1774, U17.1774, U1799-1801). To crack the code, one writes out the alphabet, then writes directly beneath it the alphabet in reverse, assigning A to Z, B to Y, C to X, and so on. When the above message is decoded, we get “M.RTH./DR.FF.LC/D.LPH.NS/B.RN.” Once the vowels have been added to these surreptitious avowals, we see: “Martha Clifford [the surname has been reversed for extra protection] Dolphin’s Barn.” This much, of course, Joyceans know.

      The letters in Ulysses are written in codes - the codes are a language devised by Joyce himself

    5. “put his lines together not word by word but letter by letter”

      metonymy, that the epistolary "letter" encompasses letters

    6. toyed with the shapes and correspondenc
    1. ut abandoning the straight (auto-)biographical tale required inventing a new narrative structure.

      letter writing then becomes Joyce's tool for his own entrance into the novel

    2. the same time, although it is adequately signalled, the intertextuality here remains largely an ingenious game and virtuoso performance.
    3. no awareness t

      there is a dramatic irony imposed by intertextuality, where the literal narrators are unaware of their foils, or the others who speak with them in chorus

    4. universalise the stories being told. B
    5. ntertextual patterning,

      interetextual patterning

    6. rategy of re-telling stories bec

      this is also the nature of letter writing

    7. stories for Dubliners were written in swift succession, e

      the stories in Dubliners serve as sort of letters back to dublin - earlier mention of homesickness, he uses the pen name of Stephen which ads layers to authorial importance and fragmentation

    8. to name himself James Joyce, that novel's author, signalled further a decisive advance in reflection an

      I can argue that it is less-so "artistic distancing" and moreso artistic fragmentation - plus heteroglossia

    9. early Stephen Daedalus novel are notes dateable to late winter of 1904 at the back of a copy-book. Prospe