James Joyce has long been viewed as a literary modernist who
helped define and uphold modernism's fundamental concepts of the
artist as martyr to bourgeois sensibilities and of an idealistic
faith in artistic freedom. In this revolutionary work, however,
Margot Norris proposes that Joyce's art actually critiques these
modernist tenets by revealing an awareness of the artist's
connections to and constraints within bourgeois society.
In sections organized around three mythologized and
aestheticized figures in Joyce's works--artist, woman, and
child--Norris' readings "unravel the web" of Joyce's early and late
stories, novels, and experimental texts. She shows how Joyce's
texts employ multiple mechanisms to expose their own distortions,
silences, and lies and reveal connections between art and politics,
and art and society.
This ambitious new reading not only repositions Joyce within
contemporary debates about the ideological assumptions behind
modernism and postmodernism, but also urges reconsideration of the
phenomenon of modernism itself. It will be of interest and
importance to all literary scholars.
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