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List of contents
List of Illustrations
Editorial Preface to Historicizing Modernism
Acknowledgements
List of Abbreviations
Introduction
1. Photography and Paralysis in Dubliners
2. That ‘spoof of visibility’: Stereoscopic ‘Realism’ in Stephen Hero to Finnegans Wake
3. ‘it simply wasn’t art in a word’: Leopold Bloom, Photography and Artistic and Erotic Debate
4. James Joyce’s ‘Photo girl[s]’
Coda: ‘A photograph […] may be so disposed for an aesthetic end’
Notes
Works Cited
Index
About the author
Georgina Binnie-Wright is an Independent Scholar specialising in modernism and visual culture. She received her PhD from the University of Leeds.
Summary
James Joyce and Photography is the first book to explore in-depth James Joyce's personal and professional engagement with photography. Photographs, photographic devices and photographically-inspired techniques appear throughout Joyce’s work, from his narrator's furtive proto-photographic framing in Silhouettes (c. 1897), to the aggressively-minded 'Tulloch-Turnbull girl with her coldblood kodak' in Finnegans Wake (1939).
Through an exploration of Joyce's manuscripts and photographic and newspaper archival material, as well as the full range of his major works, this book sheds new light on his sustained interest in this visual medium. This project takes Joyce’s intention in Dubliners (1914) to ‘betray the soul of that hemiplegia or paralysis which many consider a city’ as key to his interaction with photography, which in his literature occupies a dual position between stasis and innovation.
Foreword
Draws on archival manuscripts and the full range of Joyce's major works to explore the author's profound engagement with the art of photography.
Additional text
This lucid and compelling new study is a game-changer, not just in the emerging field of research into Joyce and photography, but in its creative engagement with modern visual media in general. It is an invaluable foundation for future scholarship.
