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|Additional Physical Format:||Print version:
Black, Martha Fodaski.
Shaw and Joyce.
Gainesville : University Press of Florida, c1995
|Named Person:||James Joyce; Bernard Shaw|
|Material Type:||Government publication, State or province government publication, Internet resource|
|Document Type:||Internet Resource, Computer File|
|All Authors / Contributors:||
Martha Fodaski Black
|Description:||1 online resource (xvi, 445 p.)|
|Contents:||Foreword / Bernard Benstock --
The case for Joyce's "Piously forged Palimpsests" of "Lamppost Shawe" --
"Sonny" George and "Sunny" Jim: "Frother" and his "Doblinganger" --
The devil's disciple and his great "Immensipater": Stephen Hero, a portrait of the artist as a young man, and exiles. "Fruting for firstlings" --
"A true covenanter against the world": Stephen Hero. A portrait of the artist as a young Shavian: "O foenix culprit!" Carmen in the drawing-room: "Annadominant" "Candidatus" in exiles --
Tripartite Dubliners: "Circumcivisizing" the quintessential Dublin. "Yung and easily freudened": Dublin boys. "Lawanorder on loveinardor": Dublin's destructive ideals. "Our liffeyside people": Philistines in Dublin --
The great "Immensipater" "Retaled" in Bloom & Co.: Ulysses. The credible androgyne: "Such is manowife's lot to lose and win again" Irish nationalism: "The vilest bogeyer but most attractionable avatar."
|Series Title:||Florida James Joyce series.|
|Other Titles:||Shaw & Joyce|
|Responsibility:||Martha Fodaski Black.|
Black finds "pervasive and indubitable connections" especially between Finnegans Wake and Back to Methuselah, culminating in the subterranean conflict between the father/brother ("frother") Shaun and the "penman" Shem in the Wake. But ultimately she shows that Shaw's influence on Joyce was ubiquitous: while the younger writer followed his own muse as a stylist, the "germs" of all his themes "are in the polemics, prefaces, and plays of the famous Fabian." A critical pragmatist, Black draws on an eclectic blend of sociological/psychological and feminist insights to produce an analysis "accessible to readers who are not specialists in structuralism, deconstruction, manuscript analysis, or any of the critical isms." Given the controversial nature of "The Last Word in Stolentelling," it will find partisan readers among Joyce and Shaw scholars as well as others interested in Irish literature and literary theory.