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Maria Eisenmann

Edited by Engelbert Thaler


Edited by Genevieve Sartor

James Joyce and Genetic Criticism presents contemporary scholarship in genetic criticism and Joyce studies. In considering how evolutionary themes enhance the definition of the genetic method in interpreting texts, this volume presents a variety of manuscript-based analyses that engage how textual meaning, through addition and omission, grows. In doing so, this volume covers a wide-range of topics concerning Joycean genetics, some of which include Joyce’s editorial practice, the forthcoming revised edition of Finnegans Wake, the genetic relationship between Giacomo Joyce and Ulysses, the method and approach required for creating an online archive of Finnegans Wake, and the extensive genesis of “Penelope”.

Contributors are: Shinjini Chattopadhyay, Tim Conley, Luca Crispi, Robbert-Jan Henkes, Sangam MacDuff, Genevieve Sartor, Fritz Senn, Sam Slote, Dirk Van Hulle.

Publishing in Joyce's Ulysses

Newspapers, Advertising and Printing


Edited by William Brockman, Tekla Mecsnóber and Sabrina Alonso

Appearing in an era of rapid change in the printing and publishing industries, James Joyce’s Ulysses exploited and exemplified those industries to the degree that the book can be seen as a virtual museum of 1904 media. Publishing in Joyce's “Ulysses”: Newspapers, Advertising and Printing, edited by William S. Brockman, Tekla Mecsnóber and Sabrina Alonso, gathers twelve essays by Joyce scholars exploring facets of those trades that pervade the substance of the book. Essays explore the book’s incorporation of mass-market weekly magazines, contemporary advertising slogans, newspaper clippings, the “Aeolus” episode’s printing office and the varied typographic styles of successive editions of Ulysses. Placing Joyce’s work in its historical milieu, the collection offers a fresh perspective on modern print culture.

Contributors are: Sabrina Alonso, Harald Beck, William S. Brockman, Elisabetta d'Erme, Judith Harrington, Matthew Hayward, Sangam MacDuff, Tekla Mecsnóber, Tamara Radak, Fritz Senn, David Spurr, Jolanta Wawrzycka.

Australian Theatre after the New Wave

Policy, Subsidy and the Alternative Artist


Julian Meyrick

In Australian Theatre after the New Wave, Julian Meyrick charts the history of three ground-breaking Australian theatre companies, the Paris Theatre (1978), the Hunter Valley Theatre (1976-94) and Anthill Theatre (1980-94). In the years following the controversial dismissal of Gough Whitlam’s Labor government in 1975, these ‘alternative’ theatres struggled to survive in an increasingly adverse economic environment. Drawing on interviews and archival sources, including Australia Council files and correspondence, the book examines the funding structures in which the companies operated, and the impact of the cultural policies of the period. It analyses the changing relationship between the artist and the State, the rise of a managerial ethos of ‘accountability’, and the growing dominance of government in the fate of the nation’s theatre. In doing so, it shows the historical roots of many of the problems facing Australian theatre today.

“This is an exceptionally timely book... In giving a history of Australian independent theatre it not only charts the amazing rise and strange disappearance of an energetic, radical and dynamically democratic artistic movement, but also tries to explain that rise and fall, and how we should relate to it now.”
Prof. Justin O’Connor, Monash University

“This study makes a significant contribution to scholarship on Australian theatre and, more broadly… to the global discussion about the vexed relationship between artists, creativity, government funding for the arts and cultural policy.”
Dr. Gillian Arrighi, The University of Newcastle, Australia


Edited by Jolanta Wawrzycka

In Reading Joycean Temporalities, Jolanta Wawrzycka gathered scholars who address James Joyce’s experimental treatment of narrative time in terms that go beyond the much-discussed monologue intérieur and stream of consciousness. Contributors examine Joyce’s attempts to render temporal simultaneity through inescapably spatial means of language, including his deployment of Lessing’s concepts of nacheinander and nebeneinander; analyse Joyce’s handling of modalities of time, (in)finitude and temporal disharmonies in time/sense; and tackle Joyce’s engagements with historical time, Homeric time, and with poetic “markers of time”. The essays re-contextualize modernist and postmodernist critical, theoretical, philosophical and narratological polemics on time/temporality, relativity, language, and memory, and offer insightful readings of Joyce’s “double-timing”, “writing of finitude”, “time without measure”, and psychological vs. mechanically measured time.

Contributors are: Valérie Bénéjam, Tim Conley, Erika Mihálycsa, Stephanie Nelson, Christine O’Neill, Cóilín Owens, Fritz Senn, Annalisa Volpone and Jolanta Wawrzycka.

« La chose de Waterloo »

Une bataille en littérature


Edited by Damien Zanone

« La Chose de Waterloo » : l’expression inventée par Victor Hugo dit bien la difficulté qu’il y a à qualifier la bataille du 18 juin 1815. Qu’est-elle devenue au fur et à mesure de ses incessantes évocations depuis deux cents ans dans les textes les plus divers (livres d’histoire, Mémoires, roman, poésie, théâtre) ? L’ouvrage veut comprendre les ressorts de cette incantation prolongée qui, à force de narrer toujours les mêmes événements, en précise et en brouille tout à la fois le souvenir. La question est approchée à travers l’étude des représentations littéraires les plus célèbres de la bataille (Stendhal, Hugo), mais aussi de textes beaucoup plus rares.

Victor Hugo's expression « La Chose de Waterloo » emphasizes the two hundred year quandary of adequately describing the battle, held on June 18th 1815. What are the various ways in which a variety of texts (history books, memoirs, novels, poetry, plays) have tried to evoke this event? This book tries to understand the mechanisms of this phenomenon which, by telling the same events over and over, makes them more precise and less clear at the same time. The question is approached through the study of some of the most famous literary representations of the battle (Stendhal, Hugo), but also through less well-known texts.

Avec des contributions de/contributors:
Andrea Del Lungo, Philippe Dufour, Jean-Marc Hovasse, Jean-Marc Largeaud, Boris Lyon-Caen, Catherine Mariette, Claude Millet, Jacques Neefs, Michael Rosenfeld, Tiphaine Samoyault, Nathalie Saudo-Welby, Nicole Savy, Pierre Schoentjes, Catriona Seth, Alain Vaillant, Damien Zanone.


Lilian Chaitas

Das literarische Feld sei ein Mikrokosmos des sozialen Wettbewerbs um Status und Prestige – so Pierre Bourdieu. Dementsprechend rücken zwangsläufig Strategien in den Fokus des Interesses, mittels derer sich Literaturproduzenten wie -rezipienten positionieren und die erkämpfte Position behaupten. Dieser Kampf wird bestimmt durch die Logik des Sich-Abgrenzens und Sich-Abhebens von anderen.
Als historisch breit angelegte Fallstudie des 20. Jahrhunderts zeichnet die vorliegende Untersuchung die im Feld der amerikanischen Lyrik vorherrschenden Machtkämpfe um (Be-)Deutungshoheit nach. Die Profilierung des Strategiebegriffs als zentrales Analyseinstrument ermöglicht es, einerseits Strategien der Selbstwahrnehmung und Selbstpositionierung und andererseits der Wahrnehmung und Positionierung von anderen Akteuren zu identifizieren. Distinktionsstrategien umfassen den Einsatz eines Arsenals von Kampfbegriffen, an denen sich der literarische Diskurs im Laufe des Jahrhunderts kontinuierlich unter sich verändernden literarhistorischen Vorzeichen abarbeitet.


Martina Bross

Versions of Hamlet: Poetic Economy on Page and Stage takes a fresh look at an old textual problem: Instead of arguing the case for one of the three early Hamlet texts as »the one«, the book presents a new analytical approach which allows us to see different Hamlet versions and the interpretations emerging from them side by side.
Using a corpus which not only includes the three early printed texts but also 24 stage versions of the play, the book introduces an analytical method based on an assumption voiced by writers through the ages, namely that every part of a literary work belongs to a functional whole. Apart from making the relation between textual alterations and changing interpretations of the Hamlet texts visible, this study is the first to present a systematic overview of this principle of »poetic economy«.

John Foxe in America

Discourses of Martyrdom in the Eighteenth- and Nineteenth-Century United States


Heike Jablonski

Heike Jablonski untersucht, wie John Foxes berühmtes Märtyrerbuch in den USA des 18. und 19. Jh. rezipiert und interpretiert wurde und zeigt, wie wichtig Märtyrergeschichten für die amerikanische Identität sind.
Die Autorin stellt die US-Publikationsgeschichte des »Book of Martyrs« dar und analysiert, wie sich unterschiedliche religiöse und politische Gruppierungen in den USA als Märtyrer in der Foxeschen Tradition sahen. Auf der Grundlage umfassenden Archivmaterials zeigt sie, dass der amerikanische Antikatholizismus sehr stark von der englischen Martyrologie beeinflusst wurde. Auch im Kontext des Strebens nach Religionsfreiheit wurden Foxes Geschichten rezipiert. Heike Jablonski beschreibt weiterhin, welche tragende Rolle Märtyrergeschichten in der amerikanischen Kinderliteratur des 18. und 19. Jh. spielten und stellt dar, wie stark die Abolitionisten von Foxes Buch geprägt waren.


Edited by Alexandra Becquet and Claire Davison-Pégon

The controversial British writer Ford Madox Ford (1873–1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme, issue, or work; and relates aspects of Ford’s writing, life, and contacts, to broader concerns of his time.
Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which Anthony Burgess described as ‘the finest novel about the First World War’, Samuel Hynes has called ‘the greatest war novel ever written by an Englishman’, and which was adapted by Tom Stoppard for the acclaimed 2012 BBC/HBO television series, starring Benedict Cumberbatch and Rebecca Hall.
The twelve essays in this volume, Ford Madox Ford’s Cosmopolis, focus directly on the internationalism so important to Ford, and bring out three main ideas. First, his lifelong commitment to an international vision of literature and culture. Second, ‘Cosmopolis’ also refers to Ford’s experiences of the particular cosmopolitan cities he lived in: London, Paris, New York. Third, the idea that his lifelong experience of Paris in particular informed and shaped his writing. Ford’s Cosmopolis is thus not only an ideal city or state open to such cosmopolitan exchange. It is also a mode of writing which invents forms and styles to render the experience of such hybridity, diversity, fluidity, and tolerance.

Contributors are: Alexandra Becquet, Helen Chambers, Martina Ciceri, Laurence Davies, Claire Davison, Annalisa Federici, Georges Létissier, Caroline Patey, Andrea Rummel, Max Saunders, Rob Spence, Martin Stannard, George Wickes, Joseph Wiesenfarth.