James Joyce
James Joyce (circa 1918)
James Joyce [ ˌdʒeɪmz dʒɔɪs ], complete James Augustine Aloysius Joyce (born February 2, 1882 in Rathgar , Dublin , United Kingdom and Ireland , † January 13, 1941 in Zurich ) was an Irish writer . Especially his groundbreaking works Dubliner , Ulysses and Finnegans Wake helped him to great prominence. He is considered one of the most important representatives of literary modernism . James Joyce lived mainly in Dublin,Trieste , Paris and Zurich.
Table of Contents
· 1biography
o 1.1Dublin 1882-1904
o 1.2Trieste and Pola 1904-1915
o 1.3Zurich and Trieste 1915-1920
o 1.4Paris and Zurich 1920-1941
· 2factory
o 2.1Chamber Music
o 2.2Dubliners
o 2.3exiles
o 2.4A portrait of the artist as a young man
o 2.5Ulysses
o 2.6Finnegans Wake
· 3Incorrect work assignments
o 3.1“Fluviana”
o 3.2“Politics and Cattle Disease”
· 4Aftermath in literature, music, astronomy and physics
· 5works
o 5.1In the original
o 5.2Translations
· 6reference literature
· 7Literature about James Joyce
o 7.1German literature
o 7.2English-language literature
· 8web links
· 9See also
· 10individual proofs
Biography
Dublin 1882-1904
James Augustine Aloysius Joyce was born on 2 February 1882 as the first child of John Stanislaus Joyce and Mary Jane Murray in Dublin’s suburb Rathgar . Two of his twelve siblings died of typhus . His father, originally from Fermoy , County Cork , used to own a small saltworks and lime works . Both his father and his paternal grandfather had married into a wealthy family. In 1887, his father was hired by the Dublin Corporation as a tax collector. The family moved to Bray , an emerging city 12 miles (12 km) from Dublinpull. At the same time Joyce was bitten by a dog, whereupon he developed a fear of dogs that lasted his life. Joyce also suffered from a fear of thunderstorms, which had been described to him by a deeply religious aunt as a sign of the wrath of God. [1]
James Joyce as a child, 1888
In 1891, nine-year-old Joyce wrote the poem Et Tu Healy , which deals with the death of Charles Stewart Parnell . His father criticized the treatment of Parnell by the Catholic Church and the mistakes regarding the Irish Home Rule . In his later years, Joyce had the poem printed and sent a copy to the Vatican Library . In November of the same year, John Joyce was entered in the Stubs Gazette , an official bankruptcy register, and suspended from office. Although John Joyce received a pension in 1893, the family slipped into poverty in the following years, mainly due to the heavy alcohol consumption and the financial misconfiguration John Joyce ‘.[2]
From 1888, James Joyce attended the Jesuit Clongowes Wood College, a boarding school in Clane , County Kildare . In 1892 he had to leave school after his father could no longer pay the tuition. Joyce then learned at home and briefly visited the operated by the Christian Brothers O’Connel School in Dublin. In 1893, Joyce received a place at the Jesuit-operated Belvedere College in Dublin. The Jesuits had the expectation that Joyce would join the Order. Joyce rejected Catholicism from the age of sixteen, although Thomas Aquinas’s philosophy influenced him throughout his life. [3]
In 1898 Joyce entered the recently established University College Dublin , where he studied modern languages, especially English, French and Italian. For the first time he became active in literary and theatrical circles. The first published work appeared in 1900, the article Ibsen’s New Drama . Henrik Ibsen sent a letter of thanks to Joyce in a row. During his university days, Joyce wrote several articles and at least two not received plays. Many of his friends at the university became role models for the characters of his works. Joyce was an active member of the Literary and Historical Society of the University of Dublin and presented her 1900 magazine Drama and Life .
James Joyce in 1904
After graduating, Joyce moved to Paris under the pretext of studying medicine, where he spent his family’s great effort on a hedonisticlifestyle. Joyce returned to Dublin after a suspected cirrhosis of the liver in April 1903 had turned out to be a cancer. [4] Fearing the godlessness of her son, she unsuccessfully asked him to take communion and confess. She fell into unconsciousness and died on August 13th. James Joyce had previously refused to pray with the rest of the family on the deathbed. [5]After her death, Joyce continued his high alcohol consumption while the family situation worsened. In 1904 Joyce won the bronze medal in the competition of tenors at the music festival Feis Ceoil. [6] On January 7, 1904 Joyce tried an essay-like narrative titled Man Portrait of the Artist as a Young publish, by the free-thinking magazine Dana was dismissed. On his twenty-second birthday, Joyce decided to revise the narrative and publish it under the title Stephen Hero . After another revision, the book was titled Portrait of the Artist as a Young Man (Portrait of the artist as a young man ).
On June 16, 1904, Joyce met his future partner Nora Barnacle for the first time, Joyce later let the plot of his novel Ulysses play on that date. After a drinking session Joyce was involved in a scuffle because of a misunderstanding, whereupon Alfred H. Hunter, an acquaintance of his father, brought him home. [7] Hunter was said to be a Jew, but to have an unbelieving wife. Hunter is one of the models for Leopold Bloom, the protagonist of Ulysses . [8] Joyce became friends with Oliver St. John Gogarty , who laid the foundation for the character of Buck Mulligan in Ulyssesformed. After spending six nights in Gogarty’s Martello Tower, Joyce had a fight between the two men, during which Gogarty fired a pistol at several pans hanging over Joyce’s bed. [9] Joyce went to Dublin at night, where he spent the night with relatives. A friend brought Joyce’s belongings from the Martello Tower the following day. Shortly thereafter, he moved with Nora Barnacle on the European mainland.
Trieste and Pola 1904-1915
Scala James Joyce. Scrittore Irelandese. Trieste, 2008
Joyce and Barnacle went into a self-imposed exile. At first they tried to gain a foothold in Zurich, where Joyce believed he had arranged a teacher post at the Berlitz language school through an agent in England. It turned out that the agent had been deceived, but the director of the school sent him with the promise of a post to Trieste . After it turned out that again there was no vacant post, Almidano Artifonti, director of the Trieste Berlitz language school, referred him to Pola , one in IstriaAustro-Hungarian naval base, where Joyce taught mainly naval officers from 1904 to 1905. After a spy ring was discovered in 1905, all foreigners were expelled from the city.
With Artifoni’s support, he returned to Trieste for the next ten years and began teaching English. [10] James Joyce, the volunteer exile, did in Trieste mainly what one would like to recommend to any tourist today: he wandered around the city sucking in his explorations and walks the atmosphere, sitting in the coffee houses and drinking with workers in the dives. The gloomy-golden impression of the Greek Orthodox Church of San Nicolo fascinated Joyce so much that he let it flow into the Dublin narratives. In the same way he sought inspiration in the houses of joy in Via della Pescheria. There are literary scholars who think that Joyce is in UlyssesTrieste and not a monument to Dublin. [11]
From 1905 to 1906 he lived in Trieste in Via San Nicolo 30 on the second floor, and Barnacle gave birth there on 2 July 1905 as the first child of the son Giorgio. One of his students in Trieste was Ettore Schmitz, known as Italo Svevo , whom Joyce first met in 1907. A long-standing friendship connected him with Schmitz, the two authors also judged each other. Schmitz, a Jewish freethinker who had married into a Catholic family of Jewish descent, is considered the main model for Leopold Bloom. Schmitz advised Joyce in many details about the Jewish faith that Joyce used in Ulysses . [12] Joyce persuaded his brother Stanislaus to give birth to Giorgioto move to Trieste to also teach at the language school. In support of his request, Joyce stated that his company could have a more interesting life in Trieste than that of a secretary in Dublin. In fact, Joyce had hoped for financial support from his brother. [13] Stanislaus allowed James Joyce to receive his salary to “simplify things”. The relationship between Stanislaus and James Joyce was curious throughout their stay in Trieste. Cause of the conflicts were James Joyce ‘careless handling of money and his high alcohol consumption. The conflicts reached their peak in July 1910. [14] Also in 1906 completed Joyce work on Dubliners, In the following years he dealt with Ulysses , which was planned in preforms as part of Dubliners .
After getting used to life in Trieste, Joyce moved to Rome later in 1906, where he was employed by a bank. When he disliked Rome in the early part of 1907, he moved back to Trieste. His daughter Lucia Joyce was born in the summer of 1907. In the summer of 1909 he visited with his son Giorgio his father in Dublin and prepared the publication of Dubliners . In GalwayHe first visited the parents of his partner Nora Barnacle. While preparing for his return, he succeeded in persuading his sister Eva to move to Trieste, where she was to assist Barnacle in the household. After a month in Trieste, he returned to Dublin, where he, as a representative of a movie theater owner, tried to open a cinema as well. The venture was successful, but dissolved after his departure. With him his sister Eileen traveled to Trieste. While Eva Joyce returned to Dublin after a few years, Eileen spent the rest of her life on the European mainland, where she married the Czech bank cashier František Schaurek.
In the summer of 1912, Joyce stayed for a short time in Dublin, in order to promote the affected by a year-long conflict with his publisher George Roberts publication of Dubliners. After failing to achieve success, he wrote the poem Gas from a Burner , an open attack against Roberts, on his return journey . Joyce did not return to Ireland, although his father asked him several times and he was invited by various friendly Irish writers, including William Butler Yeats . Joyce tried several times to become self-employed, among other things, by opening a cinema in Dublin or by the ultimately unrealized plan, Irish Tweedstoffto import to Trieste. His income was well below what he had achieved as a teacher at the Berlitz language school and through private lessons. During his stay in Trieste, Joyce became ill for the first time with an eye condition that required numerous treatments and cures.
Zurich and Trieste 1915-1920
In 1915, Joyce moved to Zurich, where he was threatened as a British citizen in Austria-Hungary during the First World War, the imprisonment as an enemy alien . On departure he was often dependent on the support of his private students. In Zurich, he came in contact with August Suter , Siegfried Lang and Frank Budgen , who advised and supported him in writing Ulysses and Finnegans Wake . Also in Zurich, he came through the agency of Ezra Pound with the English feminist and publisher Harriet Shaw Weaverwho supported him financially over the next 25 years, which meant that he no longer needed to teach. After the war Joyce returned to Trieste, but found the city before changed.
1916 was published Portrait of the Artist as a Young Man . The relationship with his brother Stanislaus, who had been interned because of his pro-Italian political stance in an Austro-Hungarian POW camp, was very curious. In 1918 Joyce published his only surviving play Exiles . Several volumes of poetry followed in the next few years.
Paris and Zurich 1920-1941
In 1920 Joyce traveled to Paris for an initial week after being invited by Ezra Pound, where he lived for the next 20 years. On February 2, 1922, on his 40th birthday, Joyce finished work on Ulysses, according to a self-imposed deadline . The work on Ulysses had exhausted him so much that he did not write for more than a year. [15] On 10 March 1923 he wrote in a letter to Harriet Shaw Weaver that he on March 9 as the first text of Ulysses the novel Finnegans Wake had begun. In 1926 he had completed the first two parts of the book. In the following years, he initially put the work on this as a work in progressHowever, in the 1930s, his workforce declined. Maria and Eugene Jolas supported James Joyce while writing Finnegans Wake . In their literary magazine Transitions they published various parts of Finnegans Wake under the heading Work in Progress . It is believed that without the constant support of the Jolas couple, Joyce would not have completed or published many of his works.
In 1931, Joyce married Barnacle in London. In the same year his father died. During this time, Joyce traveled frequently to Switzerland, where he had his eye treated and where his daughter Lucia, who according to Joyce was suffering from schizophrenia , was treated. Lucia was studied among others by Carl Gustav Jung , who, after reading Ulysses , had come to the conclusion that James Joyce was also suffering from schizophrenia. [16] Details of the relationship between James Joyce and his daughter are unknown, as the grandson Stephen Joyce burned several thousand letters between Lucia and James Joyce, which fell to him after Lucia’s death in 1982. Stephen Joyce stated that he had only destroyed letters from his aunt Lucia, which were addressed to him and his wife and were written only after the death of his grandparents. [17]
James Joyce’s grave in Zurich
After the invasion of the Wehrmacht in France and the occupation of Paris in June 1940 Joyce wanted to return to Zurich. The Swiss authorities, however, adorned themselves to take in the famous man. After months of tough negotiations between aliens police and a small circle of his admirers in December, the entry permit was issued. [18] On January 11, 1941, he was admitted with severe abdominal pain in the Red Cross Hospital in Zurich, where a perforated ulcer of the duodenumdetermined and treated. After his condition had initially improved, he worsened the following day. Despite several transfusions Joyce fell into unconsciousness. On January 13, 1941, he woke up at 2 am and asked a nurse to bring his wife and son. Joyce died 15 minutes later.
He was buried in the cemetery Fluntern in Zurich in a simple grave. Although two high-ranking Irish diplomats were in Switzerland at the time of the funeral, no Irish official was present at the funeral. The Irish government rejected Nora Barnacle’s request to transfer the bones. During the preparations for James Joyce’s funeral, a Catholic priest tried to convince Barnacle of the need for a funeral mass. She refused a mass because she could not “do this to Joyce. The Swiss tenor Max Meili sang at the funeral “Addio terra, addio cielo” from Claudio Monteverdi’s opera L’Orfeo .
Nora Barnacle lived until her death in 1951 under modest circumstances in Zurich. She too was buried on flunks. In 1966, the two graves were merged into a honorary grave erected by the city of Zurich. Their common son Giorgio Joyce († 1976) and his wife Asta Jahnke-Osterwalder Joyce († 1993) were buried in the honor grave.
Plant
Chamber Music
James Joyce statue in Dublin
His first published book is the poetry book Chamber Music (1907) (German chamber music ), whose poems have often been set to music and recorded. Of all the settings known to Joyce, even those by Geoffrey Molyneux Palmer liked him the most, which is why around 1927/28 Joyce agreed to publish them with the composer Palmer and the publisher Jan Slivinski . [19] The publication did not come to Joyce’s regret, why Palmers musical settings were not published until 1993 from the estate. [20]
Dublin
Only in 1914 followed the narrative band Dubliners (German Dubliner ), a collection of fifteen stories that play in Dublin at the turn of the century. Linguistically, the book remains largely conventional, yet the first publication in the newspaper The Irish Homestead was set after a few stories. The completed in 1907 book found only in 1914 a publisher. The story The Dead (dt. The dead ) is one of the most brilliant stories in English .
Dubliner gives critical insights into Dublin and the urban society of Ireland at that time. Joyce shows a country between national awakeningand colonial despondency, aspiring middle class and emigration , the confinement of Dublin’s homes and families and the yearning for the “wide world”. Many of the characters at the end of the story are back at the starting point.
Exiled
In 1918 appeared the drama Exiles (German exile ), a largely autobiographically colored stage play about issues such as jealousy and trust.
A Portrait of the Artist as a Young Man
Two years later, the first novel A portrait of the artist appeared as a young man (English A Portrait of the Artist as a Young Man , in the first translation by Georg Goyert : Youth portrait ). This is a reworking of the themes of his earlier, but only fragmentarily preserved and posthumously published work Stephen Hero (German: Stephen the Hero ).
In the five chapters of the novel, James Joyce describes childhood, adolescence and adolescence by Stephen Dedalus, who finds an artistic identity in conflicts with family and clerical and secular authorities in turn-of-the-century Ireland. Parallels to the biography of the literary figure Stephen Dedalus on Joyce’s youth are obvious, but sometimes misleading. In this portrait , a Catholic youth in Dublin is described by way of example who ends in voluntary exile .
In this work, Joyce’s characteristic spelling emerges more clearly than in Dubliner , inventing new words and making noises in words. However, this determines the overall impression far less than in the later works. Stephen Dedalus reappears in Ulysses as one of the main characters.
Ulysses
Bust of James Joyce at St. Stephen’s Green Park in Dublin
Joyce’s most famous work is the novel Ulysses , which was partially reprinted in the journal The Little Review 1918-1920, and published in 1922 by the publisher of the Paris bookstore ” Shakespeare and Company ” as a book. It was written in the years 1914 to 1921. Harriet Weaver submitted the first chapters to the Hogarth Press in April 1918 , but the publisher and writer couple Virginia and Leonard Woolf could not make up their mind to publish it because they did not have any obscene content Printers who wanted to take the risk. [21] Joyce influenced with his Ulyssesthe story of the modern novel is as authoritative as Marcel Proust with A la recherche du temps perdu (German: In Search of Lost Time ) (1913-1927).
Joyce ‘bedeutendster contribution to modern literature was in use of stream of consciousness ( stream of consciousness ) or the inner monologue . Although Joyce had not invented this literary technique, it had consistently been applied and significantly developed for the first time. For example, the last chapter of the novel is exclusively from the thoughts of Marion (“Molly”) Blooms, the wife of the protagonist Leopold Bloom, written in eight sentences without punctuation marks.
According to the protagonist of the novel, the 16th of June (the novel plays only in this one day and in the morning hours of the following in 1904 ) in literary circles – also increasingly for tourist reasons – is now called Bloomsday .
Finnegans Wake
The novel Finnegans Wake (1939) is, even more than Ulysses , considered one of the most complicated literary works of the 20th century, both are considered untranslatable. The Ulysses , however, was translated into more than thirty languages, some even several times. Finnegans Wake was submitted in 1993 completely in a German complete translation after German partial versions existed before. Complete translations have also been published in French (1982), Italian (1982), Japanese (1993 and another 2004), Spanish (1997), Korean (1998) and Dutch (2002).
In one place of the book, the so-called quarks , subatomic particles that make up part of the matter, owe their name. The extremely networked text of Finnegans Wake is considered a literary analogy to the semantic web of the Internet. A German counterpart to this, in a sense, offers Arno Schmidt ‘s Zettel’s Dream .
Erroneous work attributions
“Seal” as well as “Foot” and “Lobster”:
two of the four Fluviana photographs,
transition No. 16/17 (1929)
For a long time, Joyce’s work canon was attributed to two works entitled “Politics and Cattle Disease” (1912) and ” Fluviana ” (1928), two works that have only recently been recognized and proven to be erroneous attributions.
“Fluviana”
Since 1974, the art historian Werner Spies , the German Harald Weinrich and the art historian Christa-Maria Lerm Hayes mistakenly attributed the four “Fluviana” photographs published in the 1929 Paris avant-garde journal transition to James Joyce and his work. These images were taken as an opportunity to stylize Joyce to the concept – or object artist, which he is not, since the photos of the Schwemmgut exhibits were made by the Salzburg painter, writer and art collector Adolph Johannes Fischer and the photographed show pieces and their names by Johann Baptist Pinzinger, the curious beachcomber exhibits in his “Salzach Museum” inRaiffeisenlas , which Joyce visited together with Fischer in the summer of 1928. Joyce researcher Andreas Weigel has extensively documented that neither Joyce nor the publishers of transition have ever complained about “Fluviana” as Joyce’s work. [22]
“Politics and Cattle Disease”
Another misapprehension was made by the well-known James Joyce biographer Richard Ellmann, who mistakenly included in his edition of James Joyce: Critical Writings the newspaper article “Politics and Cattle Disease”, which was subsequently considered as Joyce’s work for decades and also in Kevin Barrys Edition James Joyce: Occasional, Critical and Political Writing is found.
The American Joyce researcher Terence Matthews was able to conclusively prove in 2007 that the text does not originate from Joyce and has been deleted from its canon. [23]
Reverberate in literature, music, astronomy and physics
Joyce’s work became an object of humanities employment of all areas. His work influenced many writers, including Hugh MacDiarmid , [24] Samuel Beckett , [25] Jorge Luis Borges , [26] Flann O’Brien , [27] Máirtín Ó Cadhain , Eimear McBride [28] Salman Rushdie , [29] Robert Anton Wilson [30] and Joseph Campbell . [31] A self-confessed Joyceaner was Anthony Burgess , author of A Clockwork Orange , in 1962 an introduction to Joyce worksHere comes everybody (dt. Joyce for Everyone ) [32] published in 1982 and commissioned by the BBC a Broadway musical of Ulysses The Blooms of Dublin [33] composed and has composed.
Joyce has also left her mark on music. His life and work has inspired not only musicians such as Samuel Barber , Luciano Berio , Pierre Boulez , John Cage , Luigi Dallapiccola and Jan Steele to compositions, but also numerous folk, jazz, pop and rock musicians, among others Susanne Abbuehl , Joan Baez , Syd Barrett , Black 47, Kate Bush , Jefferson Airplane , Norma Winstone , Andy White and Robin Williamson (from the Incredible String Band) to settings and musical debate. [34]
Many literary scholars judge Joyce’s work mixed. The phrase Three Quarks for Pattern mark is often referred to as the origin of the physical term quark , which describes a major genus of elementary particles discovered by the physicist Murray Gell-Mann . The psychoanalyst Jacques Lacan used Joyce’s work as an explanation for his concept of Sinthom .
In 1999, the asteroid (5418) Joyce was named after him. [35] Joyce is celebrated globally on Bloomsday on June 16th each year .
The James Joyce Society was founded in February 1947 at the Gotham Book Mart in Manhattan. Its first member was T. S. Eliot , Joyce’s bibliographer John Slocum became the president and Frances Steloff , owner and founder of the Gotham Book Mart cashier.
Joyce’s estate is partially managed by the Harry Ransom Center at the University of Texas . The Harry Ransom Center owns several thousand manuscripts, correspondence, drafts, evidence, notes, fragments, poems, lyrics, scores, limericks and translations by Joyce. The largest single collection is the University of Buffalo, with over ten thousand pages of manuscripts, notebooks, correspondence, and the like, as well as Joyce’s private library, passport, glasses, and cane. [36]
The main library at Joyce’s University, University College Dublin and the library of Clongowes Wood College are named after Joyce.
Works
James Joyce plaque at Saint Patrick’s Park, Dublin; as most important works on it called: Dubliners , Ulysses , Finnegans Wake .
Szombathely – A plaque on the wall of the house where a Blum family from Ulysses lived in the mid-19th century
A statue of James Joyce in Szombathely
In the original
· The Holy Office (1904)
· Chamber Music (1907)
· Gas from a Burner (1912)
· Dubliners (1914)
· A Portrait of the Artist as a Young Man (New York 1916, London 1917), appeared in Germany in 1926 under the title Youth portrait , new in 1972 under the title A portrait of the artist as a young man
· Exiles (London 1918)
· Ulysses (Paris 1922, Hamburg 1932, New York 1934, London 1936)
· Pomes Penyeach (Paris 1927)
· Collected Poems (1936)
· Finnegans Wake (London / New York 1939)
· Stephen Hero (1944)
· Letters (Vol.1 1957, Vol. 2-3 1966)
· Critical Writings (1959)
· Giacomo Joyce (1968)
· Selected Letters (1975)
Translations
· prewar translations
· Exiled translated by Hannah of Mettal
· Dublin and Dublin translated by Georg Goyert
· Stephen Daedalus translated by Georg Goyert
· Youth portrait of the poet translated by Georg Goyert
· Ulysses translated by Georg Goyert
· Frankfurt edition
· Works 1 Dubliner translated by Dieter E. Zimmer
· Works 2 Stephen the Hero , A portrait of the artist as a young man translated by Klaus Reichert
· Works 3 Ulysses translated by Hans Wollschläger
· Works 4.1 Small writings translated by Hiltrud Marschall and Klaus Reichert
· Works 4.2 Collected Poems (English and German) translated by Hans Wollschläger; Anna Livia Plurabelle (English and German) (= piece from Finnegans Wake) translated by Wolfgang Hildesheimer and Hans Wollschläger
· Works 5, 6, 7 Letters I, II, III translated by Kurt Heinrich Hansen
· Finnegans Wake translated into French by Philippe Lavergne. Gallimard, Paris 1982
· Finnegans Wehg. Kainäh evil etiquette of the Wehrkeß fun Schämes Scheuß , translated into German by Dieter H. Stündel. Publisher Häusser, Darmstadt 2002.
· The Cats of Copenhagen , German by Harry Rowohlt , illustrated by Wolf Erlbruch . Hanser, Munich 2013, ISBN 978-3-446-24159-6 . [37]
· Finn’s Hotel , edited by Danis Rose; German by Friedhelm Rathjen . Suhrkamp, Berlin 2014, ISBN 978-3-518-42454-4 .
· Giacomo Joyce , appropriation by Helmut Schulze and Alban Nikolai Herbst , etkBooks, Bern 2013, ISBN 978-3-905846-25-6 . [38]
· Chamber Music / chamber music , Nachdichtungen of Helmut Schulze and Alban Nikolai Herbst, Arco, Vienna & Wuppertal 2017, ISBN 978-3-938375-82-2 . [39]
Reference literature
· David Adams: Colonial Odyssey’s Empire and Epic in the Modernist Novel . Cornell UP, Ithaca NY 2003, ISBN 0-8014-8886-9 .
· Jorge Luis Borges (ed.), Eliot Weinberger : Borges: Selected Non-Fictions . Penguin, 2000, ISBN 0-14-029011-7 .
· Bruce Bradley: James Joyce’s Schooldays . St. Martin’s Press, New York 1982; Gill & MacMillan, Dublin 1982, ISBN 978-0-312-43978-1 .
· Frank Budgen: James Joyce and the Making of ‘Ulysses’, and other writings . Oxford University Press, 1972, ISBN 0-19-211713-0 .
· Anthony Burgess : Joysprick : An Introduction to the Language of James Joyce (1973). Harcourt, 1975, ISBN 0-15-646561-2 .
· Anthony Burgess: Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader . Faber & Faber, 1965, ISBN 0-571-06395-0 (also published as Re Joyce , OCLC 3873146 ), Hamlyn Paperbacks; Rev. ed edition (1982), ISBN 0-600-20673-4 .
· Tim Cavanaugh: Ulysses Unbound: Why Does a Book So Bad “defecates on your bed” so many admirers? , reason , July 2004.
· Hilary Clark: The Fictional Encyclopedia: Joyce, Pound, Sollers . Taylor & Francis, 1990, ISBN 978-0-8240-0006-6 .
· Robert H. Deming (ed.): James Joyce: The Critical Heritage . Routledge, New York 1997, ISBN 978-0-203-27490-3 .
· Kevin JH Dettmar (ed.): Rereading the New: A Backward Glance at Modernism . University of Michigan Press, Ann Arbor 1992, ISBN 978-0-472-10290-7 .
· Richard Ellmann : James Joyce . Oxford University Press, 1959, revised edition 1983, ISBN 0-19-503381-7 .
· Barbara Reich Gluck: Beckett and Joyce: Friendship and Fiction . Bucknell UP, Lewisburg PA 1979, ISBN 0-8387-2060-9 .
· Anna-Katarina Gravgaard: Could Leopold Bloom Read Ulysses? University of Copenhagen, 2006.
· Keith Hopper: Flann O’Brien: A Portrait of the Artist as a Young Post-Modernist . Cork UP, 1995, ISBN 1-85918-042-6 .
· Vivien Igoe: A Literary Guide to Dublin . ISBN 0-413-69120-9 .
· Jürgen Klein , students read Joyce. Interpretations to the early work. Stephen Hero – Dubliners – A Portrait of the Artist as a Young Man. Publisher The Blue Owl, Essen 1984.
· Scott W. Klein: The Fiction of James Joyce and Wyndham Lewis: Monsters of Nature and Design. Cambridge UP, 1994, ISBN 978-0-521-43452-2 .
· Harry Levin (eds with introduction and notes): The Essential James Joyce . Cape, 1948. Revised edition Penguin in association with Jonathan Cape, 1963.
· DJ Max: The Injustice Collector . In: The New Yorker , June 19, 2006.
· Vladimir Nabokov : Lectures on Ulysses: A Facsimile of the Manuscript. Bruccoli Clark, Bloomfield Hills / Columbia 1980, ISBN 0-89723-027-2 .
· Tara Pepper: Portrait of the Daughter: Two works seek to reclaim the legacy of Lucia Joyce . In: Newsweek International , March 8, 2003.
· William H. Quillian : Hamlet and the New Poetic: James Joyce and TS Eliot . UMI Research Press, Ann Arbor 1983.
· Bob Perelman : The Trouble with Genius: Reading Pound, Joyce, Stein, and Zukofsky. University of California Press, Berkeley 1994.
· Forrest Read: Pound / Joyce: The Letters of Ezra Pound to James Joyce, with Pound’s Essays on Joyce . New Directions, 1967.
· Carol Loeb Castle: Lucia Joyce: To Dance in the Wake . Bloomsbury, London 2004, ISBN 0-374-19424-6 .
· Edwin Williamson: Borges: A Life . Viking Adult, 2004, ISBN 0-670-88579-7 .
Ulysses
· Harry Blamires: The New Bloomsday Book: A Guide Through Ulysses. 3rd Ed. Routledge, London / New York 1996, ISBN 0-415-00704-6 .
· Michael Groden : Ulysses in Progress. Princeton UP, Princeton NJ 1986, ISBN 978-0-691-10215-3 .
· Hugh Kenner: Ulysses . George Allen and Unwin, London 1980, ISBN 0-04-800003-5 .
· Vincent B. Sherry: James Joyce: Ulysses . Cambridge UP, Cambridge / New York 2004, ISBN 0-521-53976-5 .
Finnegans wake
· Samuel Beckett , William Carlos Williams et al .: Our Exhumation Round His Factification For Incarnation Of Work In Progress . Shakespeare and Company , 1929.
· Anthony Burgess (ed.): A Shorter ‘Finnegans Wake’ , 1969.
· Joseph Campbell , Henry Morton Robinson: A Skeleton Key to Finnegans Wake . New World Library, 1944; New Ed edition 2005, ISBN 1-57731-405-0 .
· William York Tindall: A Reader’s Guide to Finnegans Wake . Syracuse UP, Syracuse NY 1969/1996, ISBN 978-0-8156-0385-6 .
Literature about James Joyce
German-language literature
· Literature by and about James Joyce in the catalog of the German National Library
General literature
· Anthony Burgess : Joyce for everyone . Frankfurt am Main 2004, ISBN 3-518-45608-3
· Richard Ellmann: James Joyce . Frankfurt am Main 1959, 1982, ISBN 3-518-39077-5
· Willi Erzgräber : James Joyce. Orality and writing in the mirror of experimental narrative art . Narr, Tübingen 1998, ISBN 3-8233-4485-4
· Thomas Faerber and Markus Luchsinger: Joyce in Zurich . Zurich 1988.
· A. Nicholas Fargnoli and Michael Patrick Gillespie: James Joyce A to Z . Oxford / New York 1955.
· Wilhelm Füger : James Joyce: Epoch – Work – Effect . Munich 1994.
· Wilhelm Füger (ed.): Critical Heritage. Documents to the reception of James Joyce in the German language area during the lifetime of the author . A reading book. Amsterdam 2000.
· Herbert Gorman: James Joyce. His life and work . Hamburg 1957.
· Stanislaus Joyce : My brother’s keeper . Frankfurt am Main.
· Harry Levin: James Joyce. A critical introduction . Frankfurt 1977.
· Jane Lidderdale: Dear Miss Weaver. A life for James Joyce . Frankfurt 1992.
· Udo Loll: James Joyce. Genius in patriarchy . Stuttgart 1992.
· Brenda Maddox: Nora: The Passionate Love of James Joyce . Kiepenheuer & Witsch, Cologne 2000, ISBN 3-442-72682-4
· Jacques Mercanton : The hours of James Joyce . German by Markus Hediger . Lenos, Basel 1993
· Hans-Christian Oeser , Jürgen Schneider: James Joyce. Life. Plant. Effect. , Suhrkamp, Frankfurt am Main 2007, ISBN 978-3-518-18221-5
· Kurt Palm : The nausea of a Hottentot. A James Joyce alphabet. Vienna 2003, ISBN 3-85409-389-6
· Friedhelm Rathjen : James Joyce , Reinbek at Hamburg 2004, ISBN 3-499-50591-6
· Klaus Reichert : World Everyday Life of the Age. Essays on the work of James Joyce. Frankfurt 2004.
· Klaus Reichert: Multiple Sense of Writing , Frankfurt am Main 1989
· Fritz Senn: Nothing against Joyce , Zurich 1983, ISBN 3-251-00023-3
· Fritz Senn: Not only Nothing against Joyce , Zurich 1999, ISBN 3-251-00427-1
· Andreas Weigel: James Joyce’s stays in Austria . Innsbruck (1928), Salzburg (1928) and Feldkirch (1915, 1932). In: Michael Ritter (ed.): Praesent 2006 . The Austrian Literature Yearbook. The literary events in Austria from July 2004 to June 2005. pp. 93-105. (2005).
· Hans Wollschläger : Joyce pro toto or depth pattern of the language . In: Protocols , Volume 2, 1978, p. 120 ff.
Literature on individual works
· Frank Budgen: James Joyce and the genesis of “Ulysses” . Frankfurt 1982.
· Jacques Derrida : Ulysses gramophone. Two Deut for Joyce , Berlin (Brinkmann & Bose) 1998. ISBN 3-922660-28-2
· Umberto Eco : The open artwork. The Poetics of Joyce. From the Summa to Finnegans Wake . Frankfurt 1993.
· Stuart Gilbert: The Riddle Ulysses , Frankfurt am Main.
· Therese Fischer-Seidel (ed.): James Joyce’s “Ulysses” . Newer German essays. Frankfurt 1977.
English-language literature
General literature
· Derek Attridge: The Cambridge Companion to James Joyce . 2nd ed. Cambridge UP, Cambridge / New York 2004, ISBN 978-0-521-83710-1 .
· Bernard Benstock (ed.): Critical Essays on James Joyce . GK Hall, Boston 1985, ISBN 0-8161-8751-7 .
· Harold Bloom: James Joyce . Chelsea House, New York 1986, ISBN 0-87754-625-8 .
· Gordon Bowker: James Joyce: a biography , London: Weidenfeld & Nicolson, 2011, ISBN 978-0-297-84803-5
· Julie Sloan Brannon: Who Reads Ulysses ?: The Rhetoric of Joyce Wars and the Common Reader . New York: Routledge, 2003, ISBN 978-0-415-94206-5 .
· Joseph Brooker: Joyce’s Critics: Transitions in Reading and Culture . Madison: University of Wisconsin Press, 2004, ISBN 0-299-19604-6 .
· Richard Brown (ed.): A Companion to James Joyce . Malden, MA: Blackwell, 2008, ISBN 978-1-4051-1044-0 .
· Eric Bulson: The Cambridge Introduction to James Joyce . Cambridge and New York: Cambridge UP, 2006, ISBN 978-0-521-84037-8 .
· Thomas Edmund Connolly: James Joyce’s Books, Portraits, Manuscripts, Notebooks, Typescripts, Page Proofs: Together With Critical Essays About Some Of His Works . Lewiston, NY: Edwin Mellen, 1997, ISBN 0-7734-8645-3 .
· Edmund L. Epstein (ed.): Mythic Worlds, Modern Words: On the Art of James Joyce / Joseph Campbell . Novato, CA: Josephe Campbell Foundation, New World Library, 2003, ISBN 978-1-57731-406-6 .
· A. Nicholas Fargnoli, Michael Patrick Gillespie: Critical Companion to James Joyce: A Literary Reference to His Life and Work . New York: Checkmark Books, 2006, ISBN 978-0-8160-6689-6 .
· Gisele Friend, VB Carleton: Preface by Simone de Beauvoir . James Joyce: His Final Years . Harcourt, Brace & World, Inc., 1965. Library of Congress Catalog Number: 65-21029.
· Matthew Hodgart: James Joyce: A Student’s Guide . London and Boston: Routledge, 1978, ISBN 0-7100-8817-5 .
· Ellen Carol Jones, Beja Morris (ed.): Twenty-First Joyce . Gainesville: University Press of Florida, 2004, ISBN 978-0-8130-2760-9 .
· Sebastian DG Knowles et al. (Ed.): Joyce in Trieste: An Album of Risky Readings . Gainesville: University Press of Florida, 2007, ISBN 978-0-8130-3033-3 .
· Frank C. Manista: Voice, Boundary, and Identity in the Works of James Joyce . Lewiston, NY: Edwin Mellen, 2006, ISBN 978-0-7734-5522-1 .
· Laurent Milesi (ed.): James Joyce and the Difference of Language . Cambridge and New York: Cambridge UP, 2003, ISBN 0-521-62337-5 .
· Nash, John. James Joyce and the Act of Reception: Reading, Ireland, Modernism . Cambridge and New York: Cambridge UP, 2006, ISBN 978-0-521-86576-0 .
· Patrick O’Neill: Polyglot Joyce: Fictions of Translation . Toronto and Buffalo: University of Toronto Press, 2005, ISBN 978-0-8020-3897-5 .
· David Pierce: Reading Joyce . Harlow, England and New York: Pearson Longman, 2008, ISBN 978-1-4058-4061-3 .
· Jean-Michel Rabate: Palgrave Advances in James Joyce Studies . New York: Palgrave Macmillan, 2004, ISBN 978-1-4039-1210-7 .
· Robert Scholes: In Search of James Joyce . Urbana: University of Illinois Press, 1992, ISBN 0-252-06245-0 .
· Michael Seidel: James Joyce: A Short Introduction . Malden, MA: Blackwell, 2002, ISBN 0-631-22702-4 .
· Bruce Stewart: James Joyce . Oxford, Oxford, 2007, ISBN 978-0-19-921752-6 .
· William York Tindall: A Reader’s Guide to James Joyce . London: Thames & Hudson, 1959, 1960, and 1963.
Dubliners
· Bernard Benstock: Narrative Con / Texts in Dubliners . Urbana: University of Illinois Press, 1994, ISBN 978-0-252-02059-9 .
· Harold Bloom: James Joyce’s Dubliners . New York: Chelsea House, 1988, ISBN 978-1-55546-019-8 .
· Bosinelli Bollettieri, Rosa Maria, Harold Frederick Mosher (ed.): ReJoycing: New Readings of Dubliners . Lexington: University Press of Kentucky, 1998, ISBN 978-0-8131-2057-7 .
· Oona Frawley: A New & Complex Sensation: Essays on Joyce’s Dubliners . Dublin: Lilliput, 2004, ISBN 978-1-84351-051-2 .
· Clive Hart: James Joyce’s Dubliners: Critical Essays . London: Faber, 1969, ISBN 978-0-571-08801-0 .
· Earl G. Ingersoll: Engendered Trope in Joyce’s Dubliners . Carbondale: Southern Illinois UP, 1996, ISBN 978-0-8093-2016-5 .
· Margot Norris (ed.): Dubliners: Authoritative Text, Contexts, Criticism . New York: Norton, 2006, ISBN 0-393-97851-6 .
· Andrew Thacker (ed.): Dubliners: James Joyce . New Casebook Series. New York: Palgrave Macmillan, 2006, ISBN 978-0-333-77770-1 .
A Portrait of the Artist as a Young Man
· Harold Bloom: James Joyce’s A Portrait of the Artist as a Young Man . New York: Chelsea House, 1988, ISBN 1-55546-020-8 .
· Philip Brady, James F. Carens (ed.): Critical Essays on James Joyce’s A Portrait of the Artist as a Young Man . New York: GK Hall, 1998, ISBN 978-0-7838-0035-6 .
· Gerald Doherty: Pathologies of Desire: The Vicissitudes of the Self in James Joyce’s A Portrait of the Artist as a Young Man . New York: Peter Lang, 2008, ISBN 978-0-8204-9735-8 .
· Julienne H. Empric: The Transforming Female in James Joyce’s A Portrait of the Artist as a Young Man . San Bernardino, CA: Borgo Press, 1997, ISBN 978-0-89370-193-2 .
· Edmund L. Epstein: The Ordeal of Stephen Dedalus: The Conflict of Generations in James Joyce’s A Portrait of the Artist as a Young Man . Carbondale: Southern Illinois UP, 1971, ISBN 978-0-8093-0485-1 .
· Marguerite Harkness: Portrait of the Artist as a Young Man: Voices of the Text . Boston: Twayne, 1989, ISBN 978-0-8057-8125-0 .
· William E. Morris, Clifford A. Nault (ed.): Portraits of an Artist: A Casebook on James Joyce’s Portrait . New York: Odyssey, 1962.
· David Seed: James Joyce’s A Portrait of the Artist as a Young Man . New York: St. Martin’s Press, 1992, ISBN 978-0-312-08426-4 .
· Weldon Thornton: The Antimodernism of Joyce’s A Portrait of the Artist as a Young Man . Syracuse, NY: Syracuse UP, 1994, ISBN 978-0-8156-2587-2 .
· Mark A. Wollaeger (ed.): James Joyce’s A Portrait of the Artist as a Young Man: A Casebook . Oxford and New York: Oxford UP, 2003, ISBN 978-0-19-515075-9 .
· Hiromi Yoshida: Joyce & Jung: The Four Stages of Eroticism in A Portrait of the Artist as a Young Man . New York: Peter Lang, 2007, ISBN 978-0-8204-6913-3 .
Exiles
· Ruth Bauerle, Connie Jo Coker: A Word List to James Joyce’s Exiles . New York: Garland, 1981, ISBN 978-0-8240-9500-0 .
· John MacNicholas: James Joyce’s Exiles: A Textual Companion . New York: Garland, 1979, ISBN 978-0-8240-9781-3 .
Ulysses
· Bruce Arnold: The Scandal of Ulysses: The Life and Afterlife of a Twentieth Century Masterpiece. Rev. ed. Dublin: Liffey Press, 2004, ISBN 1-904148-45-X .
· Derek Attridge (ed.): James Joyce’s Ulysses: A Casebook. Oxford and New York: Oxford UP, 2004, ISBN 978-0-19-515830-4 .
· Bernard Benstock: Critical Essays on James Joyce’s Ulysses. Boston: GK Hall, 1989, ISBN 978-0-8161-8766-9 .
· Harry Blamires: The New Bloomsday Book. Routledge, 1996, ISBN 0-415-13858-2
· Enda Duffy: The Subaltern Ulysses . Minneapolis: University of Minnesota Press, 1994, ISBN 0-8166-2329-5 .
· Ellmann, Richard. Ulysses on the Liffey. New York: Oxford UP, 1972, ISBN 978-0-19-519665-8 .
· Marilyn French: The Book as World: James Joyce’s Ulysses. Cambridge, MA: Harvard UP, 1976, ISBN 978-0-674-07853-6 .
· Michael Patrick Gillespie, A. Nicholas Fargnoli (ed.): Ulysses in Critical Perspective . Gainesville: University Press of Florida, 2006, ISBN 978-0-8130-2932-0 .
· Samuel Louis Goldberg: The Classical Temper: A Study of James Joyce’s Ulysses. New York: Barnes and Noble, 1961 and 1969.
· Suzette Henke: Joyce’s Moraculous Sindbook: A Study of Ulysses . Columbus: Ohio State UP, 1978, ISBN 978-0-8142-0275-3 .
· Terence Killeen: Ulysses Unbound: A Reader’s Companion to James Joyce’s Ulysses . Bray, County Wicklow, Ireland: Wordwell, 2004, ISBN 978-1-869857-72-1 .
· Margaret MacBride: Ulysses and the Metamorphosis of Stephen Dedalus . Lewisburg, PA: Bucknell UP, 2001, ISBN 0-8387-5446-5 .
· Bernard McKenna: James Joyce’s Ulysses: A Reference Guide . Westport, CT: Greenwood Press, 2002, ISBN 978-0-313-31625-8 .
· John Mood: Joyce’s Ulysses for Everyone: Or How to Skip Reading It’s the First Time . Bloomington, IN: Author House, 2004, ISBN 978-1-4184-5105-9 .
· Niall Murphy: A Bloomsday Postcard . Dublin: Lilliput Press, 2004, ISBN 978-1-84351-050-5 .
· Margot Norris: A Companion to James Joyce’s Ulysses: Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives . Boston: Bedford Books, 1998, ISBN 978-0-312-21067-0 .
· William M. James Schutte: Index of Recurrent Elements in James Joyce’s Ulysses . Carbondale: Southern Illinois UP, 1982, ISBN 978-0-8093-1067-8 .
· Jeffrey Segall: Joyce in America: Cultural Politics and the Trials of Ulysses . Berkeley: University of California, 1993, ISBN 978-0-520-07746-1 .
· Paul Vanderham: James Joyce and Censorship: The Trials of Ulysses . New York: New York UP, 1997, ISBN 978-0-8147-8790-8 .
· Thornton Weldon: Allusions in Ulysses: An Annotated List . Chapel Hill: University of North Carolina Press, 1968 and 1973, ISBN 978-0-8078-4089-4 .
Finnegans wake
· Richard Beckman: Joyce’s Rare View: The Nature of Things at Finnegans Wake . Gainesville: University Press of Florida, 2007, ISBN 978-0-8130-3059-3 .
· Sheldon Brivic: Joyce’s Waking Women: An Introduction to Finnegans Wake . Madison: University of Wisconsin Press, 1995, ISBN 978-0-299-14800-3 .
· Luca Crispi, Sam Slote (ed.): How Joyce Wrote Finnegan’s Wake: A Chapter-By-Chaper Genetic Guide . Madison: University of Wisconsin Press, 2007, ISBN 978-0-299-21860-7 .
· Roland McHugh: Annotations to Finnegans Wake . 3rd Ed. Baltimore: Johns Hopkins UP, 2006, ISBN 978-0-8018-8381-1 .
· Len Platt: Joyce, Race and Finnegans Wake . Cambridge and New York: Cambridge UP, 2007, ISBN 978-0-521-86884-6 .
