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• W2575772142 abstract "Ulysses is James Joyce’s epic attempt to capture the essence of human experience. Food, as Sceats notes, is the centre of this experience: literally and figuratively the source of life, essential for survival and intrinsically linked to those who ingest it. As a novel intensely rooted in its context, suffused with the political, social, economic and cultural concerns of 1904 Dublin, Ulysses recognises the integral role food plays in society. Joyce’s mealtimes are intrinsic to his recreation of seemingly banal everyday routine, providing a valuable insight into the attitudes and identities of those who consume it. The language of food is not only essential to Ulysses, but to Ireland. Just half a century before the publication of this now infamous text, the Great Famine of 1846-1851 permanently reshaped the political and cultural landscape of Ireland. Originating from a blight on the potato, an Irish food staple and national symbol, the famine led to increased colonial opposition as nationalists argued the disaster was largely ignored by the British government, who continued to export Irish produce and enforce taxes. Consequently, the understanding of famine as a symbol for English oppression politicises mealtimes throughout Ulysses; the excess of food is an English luxury, and starvation a metaphor for the damaging repercussions of colonial behaviour. The way in which each character engages with food not only serves as a reflection of individual attitudes and identities, but uncovers Joyce’s consideration of numerous social and political concerns and the integral role history plays to Ulysses. Ulysses opens ‘Stately, plump Buck Mulligan’, 2 immediately drawing a connection between wealth and food. ‘Stately’ carries connotations of the monarchy associated with Ireland’s coloniser, England. Mulligan’s ‘well-fed’ (6) voice attests to the notion that it is those of status and power that ingest an excess of food. Though Mulligan is not English, his defence of Englishman Haines allies him with the empire as Joyce subtly implicates a criticism of colonial politics into the breakfast scene of ‘Telemachus’. In his part, Mulligan is Ireland’s ‘gay betrayer’ (14) as he not only invites Haines into the tower, but also serves him breakfast. For Joyce, Mulligan represents all that is wrong with the collective Irish conscience, shaped by the reflection of English notions. Even his futile attempts to ‘play’ (16) his English counterpart stem from an internalisation of colonial politics. As he puts on a ‘cockney accent’ and mockingly sings about ‘the coronation’ (12) Mulligan performs a nationalism based on an inversion of English tactics of the assertion of one nation’s worth over another through ridicule and suppression. Andrew Gibson indicates that Joyce’s unique" @default.
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• W2575772142 date "2014-01-01" @default.
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• W2575772142 title "The Aftermath of Famine: Food and Identity in Ulysses" @default.
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