Joyce’s prismatic art reverberates within and across multiple genres. The essays in this volume reflect on Joycean re-tailorings, Joycean reception, and on the Joycean aesthetic metamorphosis in visual-textual imagery, visual art, music, TV and film.

A Portrait of the Artist as a Young Man [1916] established James Joyce as a leading figure in literary modernism across Europe. The novel is set in the author’s homeland, Ireland, and narrates, in five episodes, the childhood of Stephen Dedalus. The plot is entirely based on Joyce’s own life and serves as a private manifesto, particularly through its sharp declaration of independence from Catholicism. Joyce pioneered a new way of writing novels, abandoning traditional narration for stream of consciousness and introducing his epiphanies—momentary revelations that, in their everydayness, hint at a larger context of life. Upon the recommendation of the American poet Ezra Pound, A Portrait of the Artist as a Young Man was serialized in the magazine The Egoist in 1914/15 before being published as a book the following year. Today, more than a hundred years after its release, A Portrait of the Artist as a Young Man is considered one of the most significant autobiographical texts in world literature. The Modern Library ranked it as the 3rd best English-language novel of the 20th century (with Joyce’s Ulysses as #1). JAMES JOYCE [1882-1941], Irish author, is a key figure in modernist literature with works such as Dubliners [1914], A Portrait of the Artist as a Young Man [1916], and Ulysses [1922].

This strikingly illustrated edition presents Joyce’s epic novel in a new, more accessible light, while showcasing the incredible talent of a leading Spanish artist. The neo-figurative artist Eduardo Arroyo (1937–2018), regarded today as one of the greatest Spanish painters of his generation, dreamed of illustrating James Joyce’s Ulysses. Although he began work on the project in 1989, it was never published during his lifetime: Stephen James Joyce, Joyce’s grandson and the infamously protective executor of his estate, refused to allow it, arguing that his grandfather would never have wanted the novel illustrated. In fact, a limited run appeared in 1935 with lithographs by Henri Matisse, which reportedly infuriated Joyce when he realized that Matisse, not having actually read the book, had merely depicted scenes from Homer’s Odyssey. Now available for the first time in English, this unique edition of the classic novel features three hundred images created by Arroyo—vibrant, eclectic drawings, paintings, and collages that reflect and amplify the energy of Joyce’s writing.

A collection of essays commemorating the 1922 publication of James Joyce's Ulysses. Includes contributions by preeminent Joyce scholars and by curators of his manuscripts and early editions.

Timothy Martin documents Joyce's exposure to Wagner's operas, and defines a pervasive Wagnerian presence in his work.

In this elegantly written and beautifully illustrated book, Nico Israel reveals how spirals are at the heart of the most significant literature and visual art of the twentieth century. Juxtaposing the work of writers and artists—including W. B. Yeats and Vladimir Tatlin, James Joyce and Marcel Duchamp, and Samuel Beckett and Robert Smithson—he argues that spirals provide a crucial frame for understanding the mutual involvement of modernity, history, and geopolitics, complicating the spatio-temporal logic of literary and artistic genres and of scholarly disciplines. The book takes the spiral not only as its topic but as its method. Drawing on the writings of Walter Benjamin and Alain Badiou, Israel theorizes a way of reading spirals, responding to their dual-directionality as well as their affective power. The sensations associated with spirals––flying, falling, drowning, being smothered—reflect the anxieties of limits tested or breached, and Israel charts these limits as they widen from the local to the global and recoil back. Chapters mix literary and art history to explore 'pataphysics, Futurism, Vorticism, Dada and Surrealism, "Concentrisme," minimalism, and entropic earth art; a coda considers the work of novelist W. G. Sebald and contemporary artist William Kentridge. In Spirals, Israel offers a refreshingly original approach to the history of modernism and its aftermaths, one that gives modernist studies, comparative literature, and art criticism an important new spin.

Joyce's "After the Race" is a seemingly simple tale, historically unloved by critics. Yet when magnified and dismantled, the story yields astounding political, philosophic, and moral intricacy. In Before Daybreak, Cóilín Owens shows that "After the Race" is much more than a story about Dublin at the time of the 1903 Gordon Bennett Cup Race: in reality, it is a microcosm of some of the issues most central to Joycean scholarship. These issues include large-scale historical concerns--in this case, radical nationalism and the centennial of Robert Emmet's rebellion. Owens also explains the temporary and local issues reflected in Joyce's language, organization, and silences. He traces Joyce's narrative technique to classical, French, and Irish traditions. Additionally, "After the Race" reflects Joyce's internal conflict between emotional allegiance to Christian orthodoxy and contemporary intellectual skepticism. If the dawning of Joyce's singular power, range, subtlety, and learning can be identified in a seemingly elementary text like "After the Race," this study implicitly contends that any Dubliners story can be mined to reveal the intertextual richness, linguistic subtlety, parodic brilliance, and cultural poignancy of Joyce's art. Owens’s meticulous work will stimulate readers to explore Joyce's stories with the same scrutiny in order to comprehend and relish how Joyce writes.