...Ruben Borg This essay discusses the portmanteau as a privileged rhetorical figure in Finnegans Wake . It illustrates the manner in which Joyce's use of the portmanteau enables him to establish a nonmathematical and nondialectical relation between the work's minimal structural element...

... monologue. The article concentrates on a detailed analysis of examples in novels by D. H. Lawrence, Joseph Conrad, Arnold Bennett, Virginia Woolf, and James Joyce. Porter Institute for Poetics and Semiotics 2009 Narratorial Border Crossings in Major Early-Twentieth-Century English Novels H. M...

... shows differences in evaluative patterns between her early and later receptions, due to shifts in both social structure and conceptions of literary value. The quantitative data (numbers of mentions and translations/editions) are compared with other modernist authors from the same “cohort” (Joyce...

...Donald Brown © 2001 by the Porter Institute for Poetics and Semiotics 2001 Brophy, Brigit 1969 In Transit: An Heroi-Cyclic Novel (New York: G. P. Putnam's Sons). Cheng, Vincent J. 1995 Joyce, Race, and Empire (Cambridge: Cambridge University Press). 1997 “Of Canons...

... in the Modern Novel: A Study of James Joyce, Virginia Woolf, Dorothy Richardson, William Faulkner, and Others ( Berkeley : University of California Press ). Jauss Hans Robert 1982 “ Literary History as a Challenge to Literary Theory ,” in Towards an Aesthetics of Reception , translated...

... of special interest: since a crucial part of its editing was done by Ezra Pound, it constitutes a collaboration between one poet’s Anonymous and another’s editing self. The novelists dealt with in chapter 5 are James Joyce, Margaret Atwood, Agatha Christie, and Iris Murdoch. The section on Joyce...

... of special interest: since a crucial part of its editing was done by Ezra Pound, it constitutes a collaboration between one poet’s Anonymous and another’s editing self. The novelists dealt with in chapter 5 are James Joyce, Margaret Atwood, Agatha Christie, and Iris Murdoch. The section on Joyce...

... of special interest: since a crucial part of its editing was done by Ezra Pound, it constitutes a collaboration between one poet’s Anonymous and another’s editing self. The novelists dealt with in chapter 5 are James Joyce, Margaret Atwood, Agatha Christie, and Iris Murdoch. The section on Joyce...

... of special interest: since a crucial part of its editing was done by Ezra Pound, it constitutes a collaboration between one poet’s Anonymous and another’s editing self. The novelists dealt with in chapter 5 are James Joyce, Margaret Atwood, Agatha Christie, and Iris Murdoch. The section on Joyce...

... of special interest: since a crucial part of its editing was done by Ezra Pound, it constitutes a collaboration between one poet’s Anonymous and another’s editing self. The novelists dealt with in chapter 5 are James Joyce, Margaret Atwood, Agatha Christie, and Iris Murdoch. The section on Joyce...

... of special interest: since a crucial part of its editing was done by Ezra Pound, it constitutes a collaboration between one poet’s Anonymous and another’s editing self. The novelists dealt with in chapter 5 are James Joyce, Margaret Atwood, Agatha Christie, and Iris Murdoch. The section on Joyce...

... Sade, Laurence Sterne, Denis Diderot, and Jean-Jacques Rousseau to Marcel Proust, James Joyce, Gertrude Stein, Victor Shklovskii (in Sentimental Journey), Henry Bataille, Samuel Beckett, and Henry Miller, amply attests. ‘‘Narrative fiction Suke- nick writes, ‘‘makes contingent statements about...

...) body of critical work is devot- ed to the history of the English novel, and most of it appears in the third section of this volume, “The History of the Novel.” One major essay, though, which may be said to have inaugurated this critical project — “Defoe, Richardson, Joyce, and the Concept of Form...

...) body of critical work is devot- ed to the history of the English novel, and most of it appears in the third section of this volume, “The History of the Novel.” One major essay, though, which may be said to have inaugurated this critical project — “Defoe, Richardson, Joyce, and the Concept of Form...

... of it appears in the third section of this volume, “The History of the Novel.” One major essay, though, which may be said to have inaugurated this critical project — “Defoe, Richardson, Joyce, and the Concept of Form in the Novel” (originally pub- lished in 1973) — is relegated to the second section...

... of it appears in the third section of this volume, “The History of the Novel.” One major essay, though, which may be said to have inaugurated this critical project — “Defoe, Richardson, Joyce, and the Concept of Form in the Novel” (originally pub- lished in 1973) — is relegated to the second section...

...- ed to the history of the English novel, and most of it appears in the third section of this volume, “The History of the Novel.” One major essay, though, which may be said to have inaugurated this critical project — “Defoe, Richardson, Joyce, and the Concept of Form in the Novel” (originally pub...

... of it appears in the third section of this volume, “The History of the Novel.” One major essay, though, which may be said to have inaugurated this critical project — “Defoe, Richardson, Joyce, and the Concept of Form in the Novel” (originally pub- lished in 1973) — is relegated to the second section...

... Literature at the University of Antwerp, where he directs the Centre for Manuscript Genetics. He is the current president of the European Society for Textual Scholarship, trustee of the International James Joyce Foundation and board member of the Samuel Beckett Society. Together with Mark Nixon, he...

... mediation. This category of texts is more or less identical with the one termed by Dorrit Cohn ‘‘autonomous monologue to which she has devoted a chapter in her well-known book Transparent Minds. The corpus of this literary form is rather limited, and the ‘‘Penelope’’ section of James Joyce’s Ulysses...