Penelope: What is Molly saying "yes" to at the end of this work. In what tone does she say it?
(letter from Joyce to Frank Budgen, 16 August 1921,
Letters 1:170, Selected Letters, p. 285)
"Penelope is the clou* of the book. The first sentence contains 2500 words. There are eight sentences in the episode. It begins and ends with the female word yes. It turns like the huge earth ball slowly surely and evenly round and round spinning, its four cardinal points being the female breasts, arse, womb and cunt expressed by the words because, bottom (in all senses bottom button, bottom of the class, bottom of the sea, bottom of his heart), woman, yes. Though probably more obscene than any preceding episode it seems to me to be perfectly sane full amoral fertilisable untrustworthy engaging shrewd limited prudent indifferent Weib.** Ich bin der Fleisch der stets bejaht.***"
* the "star turn," or topper
** woman
Wednesday, April 1, 2009
Tuesday, March 31, 2009
Yeats Plays: May 6-April
THE IRISH REPERTORY THEATRE presents
The Irish Repertory Theatre presents The Yeats Project.
Charlotte Moore and Ciarán O'Reilly, directors
This month-long festival will present all 26 plays written by William Butler Yeats
performed in repertory. In addition, the festival includes special evenings of dance, poetry,
films, lectures, and more, with some very special guests.
Monday, 7-8 p.m. April 6 Readings marking Poetry Month & presentation of our poetry awards by competition judge Alice Quinn, executive director of the Poetry Society of America and former poetry editor of The New Yorker and poets Greg Delanty and Bill Zavatsky. At Barnes & Noble Union Square, 33 East 17 Street at Park Avenue South. Free.
April 8- May 3. The Yeats Project The Irish Repertory Theatre, 132 West 22 Street, presents all 26 Yeats plays. Cycle A The Countess Cathleen, The Cat and the Moon, and On Baile’s Strand; Cycle B The Land of Heart’s Desire, The Pot of Broth, Purgatory, A Full Moon in March, and Cathleen Ni Houlihan; on their Main Stage and the rest concert readings in their downstairs Studio Theatre. Single tickets to Cycle A or B performances $65 and $55, to all other events at the Rep $20; Yeats Society members get a 20% discount; a Festival Pass for on admission to all Yeats Project events is $100, no discounts. Tickets may be purchased at the box office or a 212-727-2737.
Wed, Apr 8, 3 p.m. Main: Cycle A; 8 p.m. Main: Cycle B. Thur, Apr 9, 8 p.m. Main: Cycle A. Fri, Apr 10, 8 p.m. Main: Cycle B; Studio: Readings of Calvary, The Resurrection, The Hour Glass, and screening of “Yeats and the Theatre.” Sat, Apr 11, 3 p.m. Main: Cycle A; Studio: Readings of Deirdre, The Death of Cuchulain, The Dreaming of the Bones; 8 p.m. Main: Cycle B; Studio: Readings of The Shadowy Waters, The Only Jealousy of Emer, The King’s Threshold. Sun, Apr 12, 3 p.m. Main: Cycle A; Studio: Readings of Sophocles’ Oedipus Rex, Sophocles’ Oedipus at Colonus. Tue, Apr 14, 8 p.m. Main: “The Fiddle and the Pen”-Frank McCourt, Colm McCann, Ciaran Sheehan and musicians read Yeats and discuss his influence on their work. Wed, Apr 15, 3 p.m. Main: Cycle A; 8 p.m. Main: Opening night-Cycle B. Thur, Apr 16, 8 p.m. Main: Cycle B; Studio: Readings of The King of the Great Clock Tower, The Unicorn from the Stars, The Herne’s Egg. Fri, Apr 17, 8 p.m. Main: Cycle A; Studio: Screening of the 1994 film Words Upon the Window Pane starring Geraldine Chaplin. Sat, Apr 18, 3 p.m. Main: Cycle A; Studio: “The Pilgrim Soul: the Love Poems,” music, song and the documentary Affairs of the Heart about Yeats and the women in his life; 8 p.m. Main: Cycle A; Studio: “The Pilgrim Soul: the Love Poems,” (see 3 p.m.). Sun, Apr 19, 3 p.m. Main: Cycle A: “The Pilgrim Soul...” (See Apr 18). Tue, Apr 21, 8 p.m. I Darrah Carr Dance Recital, Yeats poems introduce a blend of traditional Irish step and modern dance. Wed, Apr 22, 3 p.m. Main: Cycle B; 8 p.m. Main: Cycle A; Studio: Reading of Sandra Deer’s play Sailing to Byzantium about Yeats, Pound and the Shakespear women. Thur, Apr 23, 8 p.m. Main: Cycle A. Fri, Apr 24, 8 p.m. Main: Cycle A, then discussion led by James Flannery; Studio: Readings of At Hawk’s Well, The Green Helmet, and The Player Queen, screening of “Players and the Painted Stage.” Sat, Apr 25, 3 p.m. Main: Cycle B; Studio: Panel on form and ideas in the theater of Yeats; 8 p.m. Main: Cycle A. Sun, Apr 26, 3 p.m. Main: Cycle B; Studio: “A Terrible Beauty: Politics and Passion,” Yeats’s writings in response to tumultuous times and screening of “The Mask” about his later years. Tue, Apr 28, 8 p.m. Main: Music and song, audience members join Marian Seldes, John McMartin, Christina Price, David Staller in reading Yeats poems (if you intend to participate, title of your chosen Yeats poem must accompany reservation). Wed, Apr 29, 3 p.m. Main: Cycle B; 8 p.m. Main: Cycle A. Thur, Apr 30, 7 p.m. at American Irish Historical Society, 991 Fifth Ave., reading of The Words upon the Window-Pane; 8 p.m. Main: Cycle B. Fri, May 1, 8 p.m. Main: Cycle B. Sat, May 2, 3 p.m. Main: Cycle B; 8 p.m. Main: Cycle A; Studio: “The Waters and the Wild: Early Poems and Folk Stories,” reading of Yeats poems and tales of Sligo and early folk discoveries, and screening of “The Life and Works of W.B. Yeats.” Sun, May 3, 3 p.m. Main: Cycle A.
Performance Schedule
See the Schedule of Events on our home page or contact our Box Office at (212) 727-2737
for the complete schedule.
[top]
How to Buy Tickets
Tickets can be purchased by calling (212) 727-2737 or at the Box Office.
The Irish Repertory Theatre is located at 132 West 22nd Street, between 6th and 7th Avenues.
[top]
Ticket Prices
Student ticket price is $20, with valid student ID. One ticket per ID.
The Irish Repertory Theatre presents The Yeats Project.
Charlotte Moore and Ciarán O'Reilly, directors
This month-long festival will present all 26 plays written by William Butler Yeats
performed in repertory. In addition, the festival includes special evenings of dance, poetry,
films, lectures, and more, with some very special guests.
Monday, 7-8 p.m. April 6 Readings marking Poetry Month & presentation of our poetry awards by competition judge Alice Quinn, executive director of the Poetry Society of America and former poetry editor of The New Yorker and poets Greg Delanty and Bill Zavatsky. At Barnes & Noble Union Square, 33 East 17 Street at Park Avenue South. Free.
April 8- May 3. The Yeats Project The Irish Repertory Theatre, 132 West 22 Street, presents all 26 Yeats plays. Cycle A The Countess Cathleen, The Cat and the Moon, and On Baile’s Strand; Cycle B The Land of Heart’s Desire, The Pot of Broth, Purgatory, A Full Moon in March, and Cathleen Ni Houlihan; on their Main Stage and the rest concert readings in their downstairs Studio Theatre. Single tickets to Cycle A or B performances $65 and $55, to all other events at the Rep $20; Yeats Society members get a 20% discount; a Festival Pass for on admission to all Yeats Project events is $100, no discounts. Tickets may be purchased at the box office or a 212-727-2737.
Wed, Apr 8, 3 p.m. Main: Cycle A; 8 p.m. Main: Cycle B. Thur, Apr 9, 8 p.m. Main: Cycle A. Fri, Apr 10, 8 p.m. Main: Cycle B; Studio: Readings of Calvary, The Resurrection, The Hour Glass, and screening of “Yeats and the Theatre.” Sat, Apr 11, 3 p.m. Main: Cycle A; Studio: Readings of Deirdre, The Death of Cuchulain, The Dreaming of the Bones; 8 p.m. Main: Cycle B; Studio: Readings of The Shadowy Waters, The Only Jealousy of Emer, The King’s Threshold. Sun, Apr 12, 3 p.m. Main: Cycle A; Studio: Readings of Sophocles’ Oedipus Rex, Sophocles’ Oedipus at Colonus. Tue, Apr 14, 8 p.m. Main: “The Fiddle and the Pen”-Frank McCourt, Colm McCann, Ciaran Sheehan and musicians read Yeats and discuss his influence on their work. Wed, Apr 15, 3 p.m. Main: Cycle A; 8 p.m. Main: Opening night-Cycle B. Thur, Apr 16, 8 p.m. Main: Cycle B; Studio: Readings of The King of the Great Clock Tower, The Unicorn from the Stars, The Herne’s Egg. Fri, Apr 17, 8 p.m. Main: Cycle A; Studio: Screening of the 1994 film Words Upon the Window Pane starring Geraldine Chaplin. Sat, Apr 18, 3 p.m. Main: Cycle A; Studio: “The Pilgrim Soul: the Love Poems,” music, song and the documentary Affairs of the Heart about Yeats and the women in his life; 8 p.m. Main: Cycle A; Studio: “The Pilgrim Soul: the Love Poems,” (see 3 p.m.). Sun, Apr 19, 3 p.m. Main: Cycle A: “The Pilgrim Soul...” (See Apr 18). Tue, Apr 21, 8 p.m. I Darrah Carr Dance Recital, Yeats poems introduce a blend of traditional Irish step and modern dance. Wed, Apr 22, 3 p.m. Main: Cycle B; 8 p.m. Main: Cycle A; Studio: Reading of Sandra Deer’s play Sailing to Byzantium about Yeats, Pound and the Shakespear women. Thur, Apr 23, 8 p.m. Main: Cycle A. Fri, Apr 24, 8 p.m. Main: Cycle A, then discussion led by James Flannery; Studio: Readings of At Hawk’s Well, The Green Helmet, and The Player Queen, screening of “Players and the Painted Stage.” Sat, Apr 25, 3 p.m. Main: Cycle B; Studio: Panel on form and ideas in the theater of Yeats; 8 p.m. Main: Cycle A. Sun, Apr 26, 3 p.m. Main: Cycle B; Studio: “A Terrible Beauty: Politics and Passion,” Yeats’s writings in response to tumultuous times and screening of “The Mask” about his later years. Tue, Apr 28, 8 p.m. Main: Music and song, audience members join Marian Seldes, John McMartin, Christina Price, David Staller in reading Yeats poems (if you intend to participate, title of your chosen Yeats poem must accompany reservation). Wed, Apr 29, 3 p.m. Main: Cycle B; 8 p.m. Main: Cycle A. Thur, Apr 30, 7 p.m. at American Irish Historical Society, 991 Fifth Ave., reading of The Words upon the Window-Pane; 8 p.m. Main: Cycle B. Fri, May 1, 8 p.m. Main: Cycle B. Sat, May 2, 3 p.m. Main: Cycle B; 8 p.m. Main: Cycle A; Studio: “The Waters and the Wild: Early Poems and Folk Stories,” reading of Yeats poems and tales of Sligo and early folk discoveries, and screening of “The Life and Works of W.B. Yeats.” Sun, May 3, 3 p.m. Main: Cycle A.
Performance Schedule
See the Schedule of Events on our home page or contact our Box Office at (212) 727-2737
for the complete schedule.
[top]
How to Buy Tickets
Tickets can be purchased by calling (212) 727-2737 or at the Box Office.
The Irish Repertory Theatre is located at 132 West 22nd Street, between 6th and 7th Avenues.
[top]
Ticket Prices
Student ticket price is $20, with valid student ID. One ticket per ID.
Wednesday, March 18, 2009
American Lit Conference, Boston, May 21st-24th
Check it out on-line if interested in American Lit. Parts of the program are posted.
American Literature Association
A Coalition of Societies
Devoted to the Study of
American Authors
20th Annual Conference on American Literature
May 21-24, 2009
The Westin Copley Place
10 Huntington Avenue
Boston, MA 02116
(617) 262-9600
Grad Student registration: $50
American Literature Association
A Coalition of Societies
Devoted to the Study of
American Authors
20th Annual Conference on American Literature
May 21-24, 2009
The Westin Copley Place
10 Huntington Avenue
Boston, MA 02116
(617) 262-9600
Grad Student registration: $50
Thursday, March 12, 2009
Joyce: Response Paper
Please describe your reading experience of the first three chapters of Joyce's Ulysses.
Bibliography: Joyce
Just came across this book:
James Joyce’s Judaic Other,
Marilyn Reizbaum
1999
208 pp.
Reviews
“James Joyce’s Judaic Other constitutes a major contribution to Joyce scholarship.”—Shofar
“[An] important contribution to Joyce studies . . . .a detailed . . . .account of the Jewish background to Ulysses, one that will challenge readers to pursue on their own the important connections with other contexts that she has left unexplored.”—Religion and the Arts
How does recent scholarship on ethnicity and race speak to the Jewish dimension of James Joyce’s writing? What light has Joyce himself already cast on the complex question of their relationship? This book poses these questions in terms of models of the other drawn from psychoanalytic and cultural studies and from Jewish cultural studies, arguing that in Joyce the emblematic figure of otherness is “the Jew.”
The work of Emmanuel Levinas, Sander Gilman, Gillian Rose, Homi Bhabha, among others, is brought to bear on the literature, by Jews and non-Jews alike, that has forged the representation of Jews and Judaism in this century. Joyce was familiar with this literature, like that of Theodor Herzl. Joyce sholarship has largely neglected even these sources, however, including Max Nordau, who contributed significantly to the philosophy of Zionism, and the literature on the “psychobiology” of race—so prominent in the fin de siècle—all of which circulates around and through Joyce’s depictions of Jews and Jewishness.
Several Joyce scholars have shown the significance of the concept of the other for Joyce’s work and, more recently, have employed a variety of approaches from within contemporary deliberations of the ideology of race, gender, and nationality to illuminate its impact. The author combines these approaches to demonstrate how any modern characterization of otherness must be informed by historical representations of “the Jew” and, consequently, by the history of anti-Semitism. She does so through a thematics and poetics of Jewishness that together form a discourse and method for Joyce’s novel.
James Joyce’s Judaic Other,
Marilyn Reizbaum
1999
208 pp.
Reviews
“James Joyce’s Judaic Other constitutes a major contribution to Joyce scholarship.”—Shofar
“[An] important contribution to Joyce studies . . . .a detailed . . . .account of the Jewish background to Ulysses, one that will challenge readers to pursue on their own the important connections with other contexts that she has left unexplored.”—Religion and the Arts
How does recent scholarship on ethnicity and race speak to the Jewish dimension of James Joyce’s writing? What light has Joyce himself already cast on the complex question of their relationship? This book poses these questions in terms of models of the other drawn from psychoanalytic and cultural studies and from Jewish cultural studies, arguing that in Joyce the emblematic figure of otherness is “the Jew.”
The work of Emmanuel Levinas, Sander Gilman, Gillian Rose, Homi Bhabha, among others, is brought to bear on the literature, by Jews and non-Jews alike, that has forged the representation of Jews and Judaism in this century. Joyce was familiar with this literature, like that of Theodor Herzl. Joyce sholarship has largely neglected even these sources, however, including Max Nordau, who contributed significantly to the philosophy of Zionism, and the literature on the “psychobiology” of race—so prominent in the fin de siècle—all of which circulates around and through Joyce’s depictions of Jews and Jewishness.
Several Joyce scholars have shown the significance of the concept of the other for Joyce’s work and, more recently, have employed a variety of approaches from within contemporary deliberations of the ideology of race, gender, and nationality to illuminate its impact. The author combines these approaches to demonstrate how any modern characterization of otherness must be informed by historical representations of “the Jew” and, consequently, by the history of anti-Semitism. She does so through a thematics and poetics of Jewishness that together form a discourse and method for Joyce’s novel.
Friday, February 27, 2009
Ulysses Readings
You will be expected to read through all of Joyce's Ulysses, but we will focus in class on the style and meaning of particular chapters. You won't "get" all of it but keep reading.
You can use the Gifford guide on Reserve in the library, and the rich material (Joyce's schemas, the directions for reading that Joyce gave to early scholars etc.) on each chapter that is on-line courtesy of the Joyce expert, Professor Michael Groden. He has generously allowed others to consult materials that he has organized over many years including his own notes. See the heading, Pages for Each Episode, on the web page below, and read the sections on Characters, Location; Thoughts and Questions, Comments by Joyce, Joyce's Schemas, Homerica Parallels, Details that Reoccur. This will ground you as you experience and explore Joyce's styles and themes.
http://publish.uwo.ca/~mgroden/92StY/
I will explain how you can use these materials in class.
However, the approach I will use is the following. Forget all the critics. Observe the language and style of the first few pages of each chapter carefully. What is the style of the chapter? What can happen in this style? What can't? And what can we learn about characters in this style (and, therefore, people)?
3/12 Telemachus, Nestor,
3/19 Calypso,Lotus Eaters, Aeolus
3/26 Nausicaa, Cyclops
4/2 Circe, Penelope
You can use the Gifford guide on Reserve in the library, and the rich material (Joyce's schemas, the directions for reading that Joyce gave to early scholars etc.) on each chapter that is on-line courtesy of the Joyce expert, Professor Michael Groden. He has generously allowed others to consult materials that he has organized over many years including his own notes. See the heading, Pages for Each Episode, on the web page below, and read the sections on Characters, Location; Thoughts and Questions, Comments by Joyce, Joyce's Schemas, Homerica Parallels, Details that Reoccur. This will ground you as you experience and explore Joyce's styles and themes.
http://publish.uwo.ca/~mgroden/92StY/
I will explain how you can use these materials in class.
However, the approach I will use is the following. Forget all the critics. Observe the language and style of the first few pages of each chapter carefully. What is the style of the chapter? What can happen in this style? What can't? And what can we learn about characters in this style (and, therefore, people)?
3/12 Telemachus, Nestor,
3/19 Calypso,Lotus Eaters, Aeolus
3/26 Nausicaa, Cyclops
4/2 Circe, Penelope
Woolf Question 2/26-3/2
After reading the Diary entries about TL distributed last week, and in your own reading experience, which character do you think is the Center of the novel, and why? What does Woolf say in the diary? How does this fit with your sense of the novel?
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