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This collection of essays is a critical reexamination of Joyce's famed book of short stories, Dubliners. Despite the multifaceted critical attention Dubliners has received since its publication more than a century ago, many readers and teachers of the stories still rely on and embrace old, outdated readings that invoke metaphors of paralysis and stagnation to understand the book. Challenging these canonical notions about mobility, paralysis, identity, and gender in Joyce's work, the ten essays here suggest that Dubliners is full of incredible movement. By embracing this paradigm shift, current and future scholars can open themselves up to the possibility of seeing that movement, maybe even noticing it for the first time, can yield surprisingly fresh twenty-first-century readings.
Info autore
Claire A. Culleton is Professor of English at Kent State University, USA. Her books include
Names and Naming in Joyce; Working-Class Culture, Women, and Britain, 1914-1921;
and
Joyce and the G-Men: J. Edgar Hoover’s Manipulation of Modernism.
She has also collaborated on two co-edited collections,
Modernism on File: Writers, Artists, and the FBI, 1920-1950
and
Irish Modernism and the Global Primitive
.
Ellen Scheible is Associate Professor of English and Coordinator of Irish Studies at Bridgewater State University, USA. Her recent publications have appeared in
Hypermedia Joyce Studies
and
New Hibernia Review
. She is the president of the New England regional branch of the American Conference for Irish Studies.
Riassunto
This collection of essays is a critical reexamination of Joyce’s famed book of short stories,
Dubliners
. Despite the multifaceted critical attention
Dubliners
has received since its publication more than a century ago, many readers and teachers of the stories still rely on and embrace old, outdated readings that invoke metaphors of paralysis and stagnation to understand the book. Challenging these canonical notions about mobility, paralysis, identity, and gender in Joyce’s work, the ten essays here suggest that
Dubliners
is full of incredible movement. By embracing this paradigm shift, current and future scholars can open themselves up to the possibility of seeing that movement, maybe even noticing it for the first time, can yield surprisingly fresh twenty-first-century readings.
