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Volume Editor: 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.

Rhythm was of prime importance to Joyce: at the age of twenty, he declared that the “rhythmic speech” in Shakespeare or Verlaine was a vehicle for otherwise incommunicable emotion. In “Circe,” rhythm is declared “a universal language” and “the first entelechy.” This essay analyses how various temporalities are woven into the structural rhythm of Joyce’s language, with particular attention to Joyce’s Chamber Music. The essay identifies various markers of time embedded in the poems’ lexical stratum, in the metronomic rhythm of poetic feet, in repetition, and in rhetorical formations that contribute to Joyce’s complex presentation of time flow: clock-time markers that point to seasons and times of day/night, or “time” suggested in grammatical tenses and verb aspects that add to the complexity of temporal modalities of the poems.

In: Reading Joycean Temporalities

Rhythm was of prime importance to Joyce: at the age of twenty, he declared that the “rhythmic speech” in Shakespeare or Verlaine was a vehicle for otherwise incommunicable emotion. In “Circe,” rhythm is declared “a universal language” and “the first entelechy.” This essay analyses how various temporalities are woven into the structural rhythm of Joyce’s language, with particular attention to Joyce’s Chamber Music. The essay identifies various markers of time embedded in the poems’ lexical stratum, in the metronomic rhythm of poetic feet, in repetition, and in rhetorical formations that contribute to Joyce’s complex presentation of time flow: clock-time markers that point to seasons and times of day/night, or “time” suggested in grammatical tenses and verb aspects that add to the complexity of temporal modalities of the poems.

In: Reading Joycean Temporalities
In: Reading Joycean Temporalities
In: Reading Joycean Temporalities
In: Reading Joycean Temporalities
In: Reading Joycean Temporalities
In: Reading Joycean Temporalities
In: Reading Joycean Temporalities
In: Reading Joycean Temporalities