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- W2024952442 abstract "Gu Uacomo Joyce, James Joyce's slim Triestine poem-in-prose, is a text (or rather a manuscript which its author chose not to publish) that has always resisted simple, one-dimensional definition and left critics struggling to find adequate descriptive terms to convey a sense of its multi-levelled complexity.1 It is a most difficult document to classify, codify, consign to a genre, perhaps because it was written by an author in transition, by a Joyce straining between genres and sub-genres as he attempted to plot his writerly course from the confessional and autobiographical earlier fictions to the larger, third-person polyphonies of Ulysses. Giacomo Joyce, the reader finds himself caught among the tight and scrupulous meanness of the realism of Dubliners, the combination of lyricism and naturalism of A Portrait ofthe Artist as a Young Man, and the larger polysemic structures of Ulysses, one of the key revolutionary texts of Modernism.2 As Michel Delville says, In the context of Joyce's career as a poet and a novelist, the stylistic and modal ambivalence of the prose lyrics of Giacomo Joyce appears to constitute a transitional stage between the restrained sophistication of his early verse lyrics in Chamber Music and the epicoburlesque prosaism of Ulysses!'3 True though these readings are, Giacomo Joyce has too often been discussed teleologically, as an avant-text for Ulysses, as raw material for future collocation, as a marginal and non-compulsory step for Joyce (and Joyceans after him) in the genesis of his writing, and without due respect for its own inherent dynamic. Giacomo Joyce needs to be understood on its own" @default.
- W2024952442 created "2016-06-24" @default.
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- W2024952442 date "2002-09-01" @default.
- W2024952442 modified "2023-09-25" @default.
- W2024952442 title "Joycean Multimodalities: A Preliminary Investigation ofGiacomo Joyce" @default.
- W2024952442 cites W2033210108 @default.
- W2024952442 doi "https://doi.org/10.2979/jml.2002.26.1.17" @default.
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