Dublin: Map of Ulysses (Narcissa Xuan Ye Gu)
Engl 392 rationale
Details of the object (Ross)
The object I choose is “Ulysses : Map of Dublin”. It was created in 1963. This map “shows the setting of each of the eighteen episodes of Ulysses” (Signa Limited, Design Consultants).
Reason behind picking the object (Ross)
I choose the map of Dublin as my object and I chose this object because I have been to Dublin once and seen the statue of James Joyce, and back when I was in college, I have written an essay which focuses on paralysis in the Dubliners and my essay focused on three short stories from the collection: “The Sisters”, “A Painful Case” and “The Dead” (Joyce) . Furthermore, I enjoyed reading the novel Normal People (Rooney). The main characters of Normal People, Connell and Marianne, attended Trinity College Dublin (Rooney). Joyce also states that his aim in writing Ulyssess is to “‘create a picture of Dublin so complete that if the city were to suddenly disappear from the earth it could be constructed’” (Joyce, Budgen 69, qtd. in Stevens, 1-2).
Ulysses contains “two hundred street addresses” (Bulson, 81). Thus, it is crucial to keep in mind that “geography becomes central to interpretation” and to “[trace] the movement of the various characters (Knuth and Hart, qtd. in Bulson, 82). Joyce even composed some episodes with the map of Dublin in front of him (Budgen, qtd. in Knuth and Hart, 121-122, qtd. in Bulson, 83). Joyce is also dealing with “colonial past” of Ireland as he gazed at the map of Dublin in a country that is not his homeland (Bulson, 83).
How the object would be connected to the project (Ross)
I think this object would be important because the Ulysses has made many references to places in Dublin (Joyce). By delving into the map, I could learn about the cultural and political events that were taking place in Dublin and whether these events affected the layout of Dublin. It might be helpful to note that, back in 1904, majority of the inhabitants in Dublin belong to the “lower social groups” (Brady). The well-to-do residents “on the south side of Dublin” are reluctant to “cross the O’Connell Bridge” and venture into the north side “across the Liffey” on a frequent basis (Brady; Goldring qtd. in Brady). I could also delve into the finding out why a large number of residents in Dublin suffered economically at this time. And by knowing which are the “nice” areas and which are the “slums” area, I could learn more about the motive behind the character choosing a certain route or choosing to go to a certain place. Seidel argues that the characters of Ulysses move in a way that mimic characters in Odyssey (123). I could also look into Joyce’s upbringing to see how the socioeconomic background of his family and the education he received affected his view of Dublin (Cullen). I could also look into which map Joyce used (Hegglund, 165). I could also look into how the political landscape of Dublin has shifted between the period the novel is set in and the period Joyce published Ulysses (Hegglund, 165). I would argue how Dublin plays an important role as the setting in Ulysses.
Works Cited:
Brady, Joseph. “James Joyce’s Dublin: a city of contrasts”. The Irish Times, Jun 9., 2015. https://www.irishtimes.com/culture/books/james-joyce-s-dublin-a-city-of-contrasts-1.2243035.
Bulson, Eric. “Joyce’s Geodesy.” Journal of Modern Literature, vol. 25, no. 2, 2001, p. 80-96. EBSCOhost, https://doi-org.ezproxy.library.uvic.ca/10.2979/JML.2001.25.2.80.
Cullen, L.M. “Dublin.” James Joyce in Context, edited by John McCourt, Cambridge University Press, 2009, pp. 173-183.
Hegglund, Jon. “Ulysses and the Rhetoric of Cartography.” Twentieth Century Literature, vol. 49, no. 2, 2003, pp. 164–92, https://doi.org/10.1215/0041462X-2003-3004.
Joyce, James. Dubliners. Dover Publications, 1991.
Joyce, James. Ulysses, Edited by Hans Walter Gabler with Wolfhard Steppe and Claus Melchoir, Vintage Classics, 2022.
Rooney, Sally. Normal People: a Novel. Knopf Canada, 2019.
Ross, Stephen. Syllabus for STUDIES IN A MAJOR FIGURE: James Joyce's Ulysses. Winter 2022. University of Victoria, BC.
Seidel, Michael A. “PRELIMINARY MAPPINGS: ORIENTATIONS, WANDERINGS, NOSTOS.” Epic Geography, edited by MICHAEL A. SEIDEL , Princeton University Press, 2014, pp. 84-104.
Stevens, J.L. “James Joyce’s Modernist Dublin: Leopold Bloom and the Critical Eye of Ulysses’ Outsider”. FORUM: University of Edinburgh Postgraduate Journal of Culture & The Arts, no. 33, Sept. 2022, pp. 1-11. University of Victoria Library, doi:10.2218/forum.33.7447.
Ulysses: Map of Dublin. Dublin; London: Signa Limited, Design Consultants. 1963.
Literature Review
In “Joyceʼs Geodesy”, Bulson talked about how Joyce was staying abroad when he composed Ulysses and how he illustrates the “paradox of physical absence and imaginative, geographical proximity” (Bulson 80). Joyce’s description of Dublin is almost “encyclopedic” (Bulson 81). The map helped allowed Joyce to create “topographical representation and autobiographical reminiscences” (Bulson 81). Joyce’s presentation could also be interpreted as a “confrontation with the colonial past” and an assertive “political gesture” since the “Ordnance Survey” is a map of Ireland produced by the British (Lloyd qtd. in Bulson 83 n13). The survey is also partially leads to “cultural and national awakening of Young Ireland” (Hamer, qtd. in Bulson n40).
In “Ulysses and the Rhetoric of Cartography”, Hegglund states the idea that Joyce “arranges interlocking narratives on a coherent grid of time and space” (Hegglund 165). Hegglund argues that Joyce consulted the “comprehensive British survey of Ireland” (Hegglund 165). Hegglund argues that Joyce’s intention, which is “a spatial complexity”, is neither “imperialist domination nor postcolonial nationalist resistance” (Hegglund 166). The survey, which undergoes “scientific method”, seems to omit the past of “Anglo-Irish relations” (166). Maps are also sensitive to “cultural position of the reader” (167). Harley posits that “scientific rhetoric” of the cartography is invoked to perpetuate “systems of state and imperial domination” (qtd. in Hegglund 168). “British Ordnance Survey” was part of the grand project to transform “physical territory into archival knowledge” and to erase “haphazard, local geographies of towns, estates, and counties” (Hegglund 168). “[I]deal construction of archival knowledge” is also reliant on the “conceptually blank[ness]” of the map (Hegglund 171).
In “Setting: Dublin 1904/1922”, Duffy notes that the novel is set in the “final phase of British colonial rule in Ireland “ (1). Ulysses revolves around “lower-middle-class men who are only precariously employed” (Duffy 3). There is an incessant “search for work” (Duffy 3). Thus this “insecure middle class” is characterized by “aimless quality, their drunkenness” (Duffy 3). Duffy also mentions the role of “Catholic Church in late-Victorian Ireland” as “vanguard of the middle class” (Duffy 4). Joyce also expresses “suspicion of Celticism” which is the foundation of “modern nationalisms” In Ireland (Anderson, qtd. in Duffy 6). Joyce also documents middle class members’ migration to “urban centers, the extension of the franchise, the rise in literacy” (Duffy 7).
In “Ulysses: Mired in the Universal”, Horowitz points out that “Dublin of 1904” was not a city in great shape and “had lost its place among the advanced European capitals” (Ellmann qtd. in Horowitz 871). Dublin portrayed by Joyce still retained “a village character”( Horowitz 872). Characters from Ulysses indulge in both “pre-capitalist pleasures” and pleasures derived from capitalism ( Horowitz 875). Joyce utilized “map, compass, and stopwatch” during the process of composing Ulysses ( Horowitz 876). Joyce also convert hallmarks of Victorina culture into “indistinguishable dross” ( Lewis, qtd. in Horowitz 883). Modernist works are characterized by “secularization (a ‘realization’) of transcendence” (Clark, qtd. in Horowitz 882).
In “From “Dear Dirty Dublin” to “Hibernian Metropolis”’, Weng presents the image of Dublin through its trams. Trams travel across various sites of the cities. Joyce’s Dublin is characterized by “emerging technological modernity” (Weng 29). Joyce does not want to present “the Irish people as merely ‘‘‘belated.’’’ (Weng 29) Some scholars also argue that Joyce utilizes “pamphlets containing itineraries and routes of Dublin’s tramways” when composing Ulysses (Budgen, qtd. in Weng 30). Tram transports characters and influences “their interior preoccupations, preferences, and productivity” (Weng 32). Joyce wants to challenge the “undeveloped and immature in everything from intellect to industrialization” image of Ireland (Joyce, Mathison, Hoare qtd. in Weng 38- 39).
Works Cited:
Bulson, Eric. “Joyce’s Geodesy: Document View.” Journal of Modern Literature, vol. 25, no. 2, 2001, p. 80–96.
Duffy, Enda. “Setting: Dublin 1904/1922.” The Cambridge Companion to Ulysses, edited by Sean Latham, Cambridge University Press, 2014, pp. 81–94, https://doi.org/10.1017/CCO9781139696425.009.
Hegglund, Jon. “Ulysses and the Rhetoric of Cartography.” Twentieth Century Literature, vol. 49, no. 2, 2003, pp. 164–92, https://doi.org/10.1215/0041462X-2003-3004.
Horowitz, Evan Cory. “Ulysses: Mired in the Universal.” Modernism/modernity (Baltimore, Md.), vol. 13, no. 1, 2006, pp. 869–87, https://doi.org/10.1353/mod.2006.0017.
Weng, Julie Mccormick. “From ‘Dear Dirty Dublin’ to ‘Hibernian Metropolis’: A Vision of the City through the Tramways of Ulysses.” Joyce Studies Annual, vol. 2015, 2015, pp. 28–54.
Short Paper Assignment
The object and the approach relate to Ulysses since Ulysses has mentions of addresses scattered throughout the book. However, some of the address is not accurate. For example, “MacConnell’s corner” which is supposedly “MacConnell's pharmacy”, is actually not located “on the corner” (Joyce, p. 185, Hart, qtd. in McCormick 32). However, “narrative design” does not explain this mistake (Hart, qtd. in McCormick 32). Hart also believes that this mistake could be explained by Joyce utilizing “a Dublin directory” (qtd. in McCormick 32).
Furthermore, certain locations also have political connotations. For example, “where Wolfe Tone’s statue was not” (Joyce 188). Wolfe “ sought to overthrow English rule in Ireland” (The Editors of Encyclopaedia “Wolfe”). However, this statute is situated in “unionist territory to challenge unionist political and cultural hegemony” (Jones 9). Joyce is skeptical and mentioned the statue and “five tallwhitehatted sandwichmen” within the same sentence (Benjamin, qtd in. Jones 11). These “sandwichmen” which serves as the context represent the invisibility of their “faceless underclass” (Jones 11). In the chapter “Wandering Rocks”, some characters are mobile while others are stagnant (Pereira , Fabula and Sjužet in “Wandering Rocks-Wandering Rocks). The mini stories of this chapter are often disrupted from characters from other mini stories in this episode (Pereira, Fabula and Sjužet in “Wandering Rocks -Wandering Rocks). Most of the characters in this episode would be able to witness “viceregal cavalcade riding from Phoenix Park to the Mirus Bazaar in Ballsbridge” which passes through “ downtown Dublin” (Pereira, Fabula and Sjužet in “Wandering Rocks-Wandering Rocks). The details Dedalus’ residence’s address is not mentioned and this suggest their “family’s instability” (guide section 4). Some of the addresses would be visited by the characters in the books which some would only be mentioned by them in conversations or appear in their thoughts (Pereira, Fabula and Sjužet in “Wandering Rocks -Help ). The chapter also echoes earlier chapter by depicting the journey of the “hand-out Mr. Bloom tossed into the Liffey back in “Lestrygonians”’ and now it is “under Loopline bridge” (Joyce 186). This episode also mentioned “saint Mary’s abbey where silken Thomas proclaimed himself a rebel in 1534” (Joyce 189). Silken Thomas Thomas Fitzgerald led “a major Irish rebellion against King Henry VIII of England (The Editors of Encyclopaedia Britannica, “Thomas Fitzgerald” ). In the last mini-story of this episode, the cavalcade travelled from “lower gate of Phoenix park” and then “proceeded past Kingsbridge along the northern quays” (Joyce 207). In the first mini story of the episode, Father Conmee’s itinerary is mainly “south-north” (Hastings, EPISODE 10: WANDERING ROCKS-SECTION 19: THE VICEREGAL CAVALCADE). Father Conmee travelled from “Mountjoy square” to “Saint Joseph’s Church” (Joyce 181). Father Conmee symbolizes “Roman Catholic Church” while on the other hand Cavalcade symbolizes “British colonial rule” (Hastings, EPISODE 10: WANDERING ROCKS-SECTION 19: THE VICEREGAL CAVALCADE). Their paths intersect to form a “a cross over the city” and the interconnectedness of both forces in Dublin (Hastings, EPISODE 10: WANDERING ROCKS-SECTION 19: THE VICEREGAL CAVALCADE). In the first mini story of the episode we also see Father Conmee on an “outward bound tram” to avoid stepping into “the dingy way past Mud Island” (Joyce 182).
Works Cited
“Help?-Fabula and Sjužet in “Wandering Rocks”’ Moacir P. de Sa Pereira., 2017, https://muziejus.github.io/wandering-rocks/#section_1
“Wandering Rocks?- Fabula and Sjužet in “Wandering Rocks” Moacir P. de Sa Pereira., 2017, https://muziejus.github.io/wandering-rocks/#section_1.
Britannica, The Editors of Encyclopaedia. "Thomas Fitzgerald, 10th earl of Kildare". Encyclopedia Britannica, 30 Jan. 2022, https://www.britannica.com/biography/Thomas-Fitzgerald-10th-Earl-of-Kildare. Accessed 24 November 2022.
Britannica, The Editors of Encyclopaedia. "Wolfe Tone". Encyclopedia Britannica, 15 Nov. 2022, https://www.britannica.com/biography/Wolfe-Tone. Accessed 24 November 2022.
Hastings, Patrick. “EPISODE 10: WANDERING ROCKS”.Ulysses Guide, 2020, https://www.ulyssesguide.com/10-wandering-rocks.
Jones, Ellen Carol. “History's ghosts: Joyce and the politics of public memory.” Journal of Irish Studies, vol. 25, 2010, https://www.jstor.org/stable/41228964.
Joyce, James. Ulysses, Edited by Hans Walter Gabler with Wolfhard Steppe and Claus Melchoir, Vintage Classics, 2022.
McCormick, Kathleen. “Psychoanalytic and Ideological Pleasures in Reading Joyce.” Literature, Interpretation, Theory, vol. 2, no. 1, 1990, pp. 27–39, https://doi.org/10.1080/10436929008580043.