Shows how Joyce's narrative styles and his protagonists' perceptions are shaped by visual technologies, including dioramas, stereoscopes, mutoscopes and film.
Shows how Joyce's narrative styles and his protagonists' perceptions are shaped by visual technologies, including dioramas, stereoscopes, mutoscopes and film.
Philip Sicker is Professor of English at Fordham University, New York, and co-editor of Joyce Studies Annual. He has published widely on James Joyce, Henry James, D. H. Lawrence, T. S. Eliot, Thomas Mann, Vladimir Nabokov, narrative theory and film.
Inhaltsangabe
Introduction: Joyce's spectacles: technologies of sight 1. Ineluctable visuality: Stephen's ways of seeing 2. 'Caught in this burning scene': Stephen in the gaze of others 3. Snapshots from the pavement: Bloom as modernist flaneur 4. Painting motion: 'wandering rocks' as futurist narrative 5. 'Alone in the hiding twilight': Bloom's cinematic gaze in 'Nausicaa' 6. Mirages in the lampglow: 'circle' and Melies's dream cinema 7. Vision conjoined: Stephen and Bloom's intersubjective perception.
Introduction: Joyce's spectacles: technologies of sight 1. Ineluctable visuality: Stephen's ways of seeing 2. 'Caught in this burning scene': Stephen in the gaze of others 3. Snapshots from the pavement: Bloom as modernist flaneur 4. Painting motion: 'wandering rocks' as futurist narrative 5. 'Alone in the hiding twilight': Bloom's cinematic gaze in 'Nausicaa' 6. Mirages in the lampglow: 'circle' and Melies's dream cinema 7. Vision conjoined: Stephen and Bloom's intersubjective perception.
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