There is James Joyce, the lionised author; there is young Jim Joyce, full of confidence and with nothing to justify it and no good reason to believe he ever will; and there is Stephen Dedalus, the fictional altar of his ego.
Bloomsday in Melbourne’s new immersive play explores the year that made James Joyce, 1903-4.
Two new OAM recipients with connection to Tintean
Ulysses’ ‘interiorization’ is one reason why the book is considered to be unfilmable. Ulysses in Plaguetime deals with this problem by having Dedalus and Bloom speak directly to the viewer in Proteus and Lotus Eaters, as if in video diaries.
As host of the seminar, Philip Harvey saw his task as to ask questions, some pre-worded others impromptu; to figure out what several people were saying at once; and to direct the dialogue so it didn’t fall off a bridge into the Liffey.
Bloomsday in the Year of Plague. A metempsychosis.
Papers will range from Irish orphan stories, Mary Lee, women in the 1916 Rising and conscription, Irish nuns and identity, chain migration, women in World War 1, through to the 20th century ‘Troubles’ and abortion reform and neonatal deaths.
It is easy today to forget the extreme ways that nineteenth-century British society divided along sectarian lines.
Bloomsday in Zurichbegan with a tram trip to Fluntern Cemetery ….
A novelist, a bolshevik, and a dadaist walked into a bar, is one way of getting the joke that is Travesties. Or it’s a demonstration of how The Importance of Being Earnest is a Marxist tract.