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- W1964196035 abstract "Dubliners begins with the figure of a boy gazing into a dying priest’s house through a ‘lighted square of window’ that shines ‘faintly and evenly’. Ulysses ends in a similarly voyeuristic vein as the reader gazes illicitly into Molly’s thoughts. While one sees a boy muttering ‘paralysis’ and the other has the critics clamouring ‘flow’,1 it is important to recognise that the objects in question — Penelope as well as the window — are crafted and framed, cultural artifacts. This is particularly vital in ‘Penelope’, and it should be the basis for grounding any criticism of the Earth Mother and her language. Without such a basis any approach rapidly gains a Wakean circularity, forever looping the lemniscate figure eight2 as if on a Mobius-strip treadmill. When you court Penelope, be wary of the tapestry unravelling in your hands just as quickly as it is woven." @default.
- W1964196035 created "2016-06-24" @default.
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- W1964196035 date "2004-01-01" @default.
- W1964196035 modified "2023-09-27" @default.
- W1964196035 title "‘The void awaits surely all them that weave the wind’: ‘Penelope’ and ‘Sirens’ in Ulysses" @default.
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- W1964196035 doi "https://doi.org/10.1007/978-0-230-21248-0_6" @default.
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