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Panepiphanal World is the first in-depth study of the forty short
texts James Joyce called "epiphanies." Composed between 1901 and
1904, at the beginning of Joyce's writing career, these texts are
often dismissed as juvenilia. Sangam MacDuff argues that the
epiphanies are an important point of origin for Joyce's entire body
of work, showing how they shaped the structure, style, and language
of his later writings. Tracing the ways Joyce incorporates the
epiphanies into Dubliners, A Portrait of the Artist as a Young Man,
Ulysses, and Finnegans Wake, MacDuff describes the defining
characteristics of the epiphanies-silence and repetition,
materiality and reflexivity-as a set of recurrent and inter-related
tensions in the development of Joyce's oeuvre. MacDuff uses fresh
archival evidence, including a new typescript of the epiphanies
that he discovered, to show the importance of the epiphanies
throughout Joyce's career. MacDuff compares Joyce's concept of
epiphany to Classical, Biblical, and Romantic revelations, showing
that instead of pointing to divine transcendence or the awakening
of the sublime, Joyce's epiphanies are rooted in and focused on
language. MacDuff argues that the Joycean epiphany is an apt
characterization of modernist literature, and that the linguistic
forces at play in these early texts are also central to the work of
Joyce's contemporaries including Woolf, Beckett, and Eliot. A
volume in the Florida James Joyce Series, edited by Sebastian D. G.
KnowlesAn Open Access edition of this book was published with the
support of the Swiss National Science Foundation.
Panepiphanal World is the first in-depth study of the forty short
texts James Joyce called "epiphanies." Composed between 1901 and
1904, at the beginning of Joyce's writing career, these texts are
often dismissed as juvenilia. Sangam MacDuff argues that the
epiphanies are an important point of origin for Joyce's entire body
of work, showing how they shaped the structure, style, and language
of his later writings. Tracing the ways Joyce incorporates the
epiphanies into Dubliners, A Portrait of the Artist as a Young Man,
Ulysses, and Finnegans Wake, MacDuff describes the defining
characteristics of the epiphanies-silence and repetition,
materiality and reflexivity-as a set of recurrent and inter-related
tensions in the development of Joyce's oeuvre. MacDuff uses fresh
archival evidence, including a new typescript of the epiphanies
that he discovered, to show the importance of the epiphanies
throughout Joyce's career. MacDuff compares Joyce's concept of
epiphany to Classical, Biblical, and Romantic revelations, showing
that instead of pointing to divine transcendence or the awakening
of the sublime, Joyce's epiphanies are rooted in and focused on
language. MacDuff argues that the Joycean epiphany is an apt
characterization of modernist literature, and that the linguistic
forces at play in these early texts are also central to the work of
Joyce's contemporaries including Woolf, Beckett, and Eliot. A
volume in the Florida James Joyce Series, edited by Sebastian D. G.
Knowles
This book offers the first critical edition of the forty short
texts James Joyce called “epiphanies.” Among Joyce’s earliest
literary compositions, although published posthumously, the
epiphanies are a series of highly polished miniatures, many of
which Joyce reused in his later writings. By presenting the
epiphanies with background details and thorough annotations, this
edition provides a vivid insight into his art. Collected Epiphanies
of James Joyce features an introduction to the texts that
summarizes Joyce’s concept of epiphany; their biographical and
cultural context; their echoes and adaptations in Stephen Hero,
Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and
Finnegans Wake; and their critical reception and editorial history.
Each epiphany is transcribed directly from its original manuscript,
accompanied by extensive notes that include more information
specific to each piece, as well as textual variants. Styled as
prose poems, dramatic sketches, or combinations of the two, the
epiphanies can be seen not only as lyrical counterparts to
Joyce’s poetry in Chamber Music but also as bridges to the
writer’s landmark fiction. This collection demonstrates that the
epiphanies offer a paradigm case for studying the development of
Joyce’s work as a whole, prompting a reassessment of their
literary significance.
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