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Joyce, Joyceans, and the
Rhetoric of Citation
by Eloise Knowlton
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this Book now
James Joyce never used quotation marks,
calling them "perverted" and "unreal." This book springs
from that aversion, presenting the first full account of citation from the
ancient world forward and tracing Joyce's transgressive relation to that history
from Memorabilia to Finnegans Wake.
Eloise Knowlton argues that Joyce's rejection of the mark signals a wider and
deeper rejection of the system it implements, one in which the subject/object
separation presents an orderly containment of language and of readers. In part
through his Irish oral heritage, Joyce inherited a tradition that dissolves
these boundaries. Knowlton thus reads Joyce as both hinge and transition, as a
voice moving between modern literary and philosophic history and what she calls
a "postmodern meltdown of intertextuality."
From the literature of classical antiquity to Foucault, Barthes, and Derrida,
Knowlton locates the rhetoric of quotation at four places crucial to
contemporary debates: authorship, feminism, historiography, and modern
criticism. While exploring the long-standing and incomplete discussion about
language ownership, the book offers an original assessment of difficult Joyce
texts and Joyce criticism and an illuminating discussion of the status of modern
scholarship.
Eloise Knowlton is assistant professor of humanities at Boston
University. Her essays have appeared in Style, Children's Literature
Association Quarterly, and in the anthology Re-Reading the New.
The Florida James Joyce Series
1998. 176 pp. 6 X 9.
3 b&w illustrations,
notes, bibliography, index.
ISBN 0-8130-1610-X
Cloth, $55.00
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"Not just a book on Joyce, as if that weren't enough. It is a book about the politics of citation in an academic context. A work that is sure to be cited in any future study of Joyce's language."
-- Irish Studies Review
"A provocative study of a convention that has both trapped and released
us."--English Literature in Transition 1880-1920
"A new way to discuss Joyce's
nearly impossibly complex compositional habits. . . . Knowlton
has so sensitized the reader to the issue of
‘quotation’ that . . . [she] permits discussions which
have simply not been possible before."--Garry
Leonard, University of Toronto
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