Using John Bowlby's Attachment Theory as a frame of reference, Attachment and Loss in the Works of James Joyce critically analyzes James Joyce's representation of grief. Based on cognitive, emotional and behavioral elements, Attachment Theory allows for new and innovative readings to emerge which differ from those offered by Freudian, Lacanian, and Jungian paradigms. Acknowledging the importance of the Theory of Mind and Reader Response, this book uses the concept of internal working models to elucidate how the childhood experiences with which Joyce has endowed his protagonists ultimately leads to how they respond to loss. The texts of Dubliners, Portrait of the Artist and Ulysses, show how central separation and loss were to Joyce’s work. It provides examples of such experiences in different age groups, under differing circumstances and at different stages in the grief process. Attachment Theory highlights the complexity of human relationships throughout the life cycle, not only how they can affect the grief process but how grief affects them.
The funeral of Paddy Dignam in James Joyce’s Ulysses serves as the pivotal event of the ‘Hades’ episode. This volume explores how Dignam’s interment in Glasnevin Cemetery allowed Joyce the freedom to consider the conventions, rituals and superstitions associated with death and burial in Dublin. Integrating the words and characters of Ulysses with its figurative locale, the book looks at the presence of Dublin in Ulysses, and Ulysses in Dublin. It emphasises the highly visible public role assigned to death in Joyce’s world, while also appreciating how it is woven into the universe of Ulysses. The study examines the role of Glasnevin Cemetery – where the Joyce family plot was opened in 1880 and remained in use for eight decades – as well as the social and medical problems associated with life in Dublin, a city divided by class, status, wealth and health. Nineteen burials took place in Glasnevin on 16 June 1904, and the analysis of this group illuminates the role of undertakers and insurers, along with the importance of memorialisation. This book is an important contribution to Joyce and Irish studies, as well as to international studies related to the treatment of the dead body and the development of garden cemeteries.
Using John Bowlby's Attachment Theory as a frame of reference, Attachment and Loss in the Works of James Joyce critically analyzes James Joyce's representation of grief. Based on cognitive, emotional and behavioral elements, Attachment Theory allows for new and innovative readings to emerge which differ from those offered by Freudian, Lacanian, and Jungian paradigms. Acknowledging the importance of the Theory of Mind and Reader Response, this book uses the concept of internal working models to elucidate how the childhood experiences with which Joyce has endowed his protagonists ultimately leads to how they respond to loss. The texts of Dubliners, Portrait of the Artist and Ulysses, show how central separation and loss were to Joyce's work. It provides examples of such experiences in different age groups, under differing circumstances and at different stages in the grief process. Attachment Theory highlights the complexity of human relationships throughout the life cycle, not only how they can affect the grief process but how grief affects them.
A transformative, fascinating theory—based on robust and groundbreaking experimental research—reveals how our unconscious fear of death powers almost everything we do, shining a light on the hidden motives that drive human behavior More than one hundred years ago, the American philosopher William James dubbed the knowledge that we must die “the worm at the core” of the human condition. In 1974, cultural anthropologist Ernest Becker won the Pulitzer Prize for his book The Denial of Death, arguing that the terror of death has a pervasive effect on human affairs. Now authors Sheldon Solomon, Jeff Greenberg, and Tom Pyszczynski clarify with wide-ranging evidence the many ways the worm at the core guides our thoughts and actions, from the great art we create to the devastating wars we wage. The Worm at the Core is the product of twenty-five years of in-depth research. Drawing from innovative experiments conducted around the globe, Solomon, Greenberg, and Pyszczynski show conclusively that the fear of death and the desire to transcend it inspire us to buy expensive cars, crave fame, put our health at risk, and disguise our animal nature. The fear of death can also prompt judges to dole out harsher punishments, make children react negatively to people different from themselves, and inflame intolerance and violence. But the worm at the core need not consume us. Emerging from their research is a unique and compelling approach to these deeply existential issues: terror management theory. TMT proposes that human culture infuses our lives with order, stability, significance, and purpose, and these anchors enable us to function moment to moment without becoming overwhelmed by the knowledge of our ultimate fate. The authors immerse us in a new way of understanding human evolution, child development, history, religion, art, science, mental health, war, and politics in the twenty-first century. In so doing, they also reveal how we can better come to terms with death and learn to lead lives of courage, creativity, and compassion. Written in an accessible, jargon-free style, The Worm at the Core offers a compelling new paradigm for understanding the choices we make in life—and a pathway toward divesting ourselves of the cultural and personal illusions that keep us from accepting the end that awaits us all. Praise for The Worm at the Core “The idea that nearly all human individual and cultural activity is a response to death sounds far-fetched. But the evidence the authors present is compelling and does a great deal to address many otherwise intractable mysteries of human behaviour. This is an important, superbly readable and potentially life-changing book.”—The Guardian (U.K.) “A neat fusion of ideas borrowed from sociology, anthropology, existential philosophy and psychoanalysis.”—The Herald (U.K.) “Deep, important, and beautifully written, The Worm at the Core describes a brilliant and utterly original program of scientific research on a force so powerful that it drives our lives.”—Daniel Gilbert, Edgar Pierce Professor of Psychology, Harvard University, and author of Stumbling on Happiness “As psychology becomes increasingly trivial, devolving into the promotion of positive-thinking platitudes, The Worm at the Core bucks the trend. The authors present—and provide robust evidence for—a psychological thesis with disturbing personal as well as political implications.”—John Horgan, author of The End of War and director of the Center for Science Writings, Stevens Institute of Technology
In a number of articles I published when I began my training as a psychoanalyst at the San Francisco Psychoanalytic Institute, now the San Francisco Center for Psychoanalysis, I became intrigued by James Joyce's concern with mothers and maternal images. I found that writing "Stephen's Mothers in Ulysses" crystallized my sense that amor matris, to use Stephen Dedalus's phrase, the ambiguous "mother love" (a mother's love for her son or a son's love for his mother or both at once), was a way into many of the mysterious, unfathomed, even unfathomable passages in Ulysses. As I continued my training, while simultaneously teaching English literature at San Francisco State, I became more and more aware that the way I enjoyed teaching--the close, systematic textual analysis of literature, explication de texte--was dovetailing with the ways I was learning to listen to, and to muse about, my patients. In effect, I was learning that by focusing on the inner lives of patients and literary characters--on what Paul Schwaber in his psychoanalytic reading of Ulysses, The Cast of Characters (1999), calls "minds in action"--I was doing much the same thing. I was trying to pay the closest attention to the repeated thoughts, feelings, images, and associations that make human beings unique.
Given Ulysses’ perhaps unparalleled attention to the operations of the human mind, it is unsurprising that critics have explored the work’s psychology. Nonetheless, there has been very little research that draws on recent cognitive science to examine thought and emotion in this novel. Hogan sets out to expand our understanding of Ulysses, as well as our theoretical comprehension of narrative—and even our views of human cognition. He revises the main narratological accounts of the novel, clarifying the complex nature of narration and style. He extends his cognitive study to encompass the anti-colonial and gender concerns that are so obviously important to Joyce’s work. Finally, through a combination of broad overviews and detailed textual analyses, Hogan seeks to make this notoriously difficult book more accessible to non-specialists.
This book is an exploration of the internal world of James Joyce with particular emphasis on his being born into his parents’ grief at the loss of their firstborn son, offering a new perspective on his emotional difficulties. Mary Adams links Joyce’s profound sense of guilt and abandonment with the trauma of being a ‘replacement child’ and compares his experience with that of two psychoanalytic cases, as well as with Freud and other well-known figures who were replacement children. Issues such as survivor guilt, sibling rivalry, the ‘illegitimate’ replacement son, and the ‘dead mother’ syndrome are discussed. Joyce is seen as maturing from a paranoid, fearful state through his writing, his intelligence, his humour and his sublime poetic sensibility. By escaping the oppressive aspects of life in Dublin, in exile he could find greater emotional freedom and a new sense of belonging. A quality of claustrophobic intrusive identification in Ulysses contrasts strikingly with a new levity, imaginative identification, intimacy and compassion in Finnegans Wake. James Joyce and the Internal World of the Replacement Child highlights the concept of the replacement child and the impact this can have on a whole family. The book will be of interest to psychoanalysts, psychoanalytic psychotherapists and child psychotherapists as well as students of English literature, psychoanalytic studies and readers interested in James Joyce.
A Companion to James Joyce offers a unique composite overview and analysis of Joyce's writing, his global image, and his growing impact on twentieth- and twenty-first-century literatures. Brings together 25 newly-commissioned essays by some of the top scholars in the field Explores Joyce's distinctive cultural place in Irish, British and European modernism and the growing impact of his work elsewhere in the world A comprehensive and timely Companion to current debates and possible areas of future development in Joyce studies Offers new critical readings of several of Joyce's works, including Dubliners, A Portrait of the Artist as a Young Man, and Ulysses
James Joyce's near blindness, his peculiar gait, and his death from perforated ulcers are commonplace knowledge to most of his readers. But until now, most Joyce scholars have not recognized that these symptoms point to a diagnosis of syphilis. Kathleen Ferris traces Joyce's medical history as described in his correspondence, in the diaries of his brother Stanislaus, and in the memoirs of his acquaintances, to show that many of his symptoms match those of tabes dorsalis, a form of neurosyphilis which, untreated, eventually leads to paralysis. Combining literary analysis and medical detection, Ferris builds a convincing case that this dread disease is the subject of much of Joyce's autobiographical writing. Many of this characters, most notably Stephen Dedalus and Leopold Bloom, exhibit the same symptoms as their creator: stiffness of gait, digestive problems, hallucinations, and impaired vision. Ferris also demonstrates that the themes of sin, guilt, and retribution so prevalent in Joyce's works are almost certainly a consequence of his having contracted venereal disease as a young man while frequenting the brothels of Dublin and Paris. By tracing the images, puns, and metaphors in Ulysses and Finnegans Wake, and by demonstrating their relationship to Joyce's experiences, Ferris shows the extent to which, for Joyce, art did indeed mirror life.
