Annotated Bibliography
I know it is probably too late for these articles to help anyone else for Tuesday’s paper, but I hope you find them interesting. Unfortunately, I just found out that all of the formatting that made this a nice and neat bibliography seems to have disappeared, along with all of my web addresses, and I don't know how to get them back. If you want to know how I got these sources, let me know.
Fischer, Andrea. “Strange Words, Strange Music: The Verbal Music of ‘Sirens.’” Bronze by Gold: The Music of Joyce. Ed. Sebastian D.G. Knowles. New York: Garland Publishing, 1999. 245-262.
Fischer took a linguistic approach to “Sirens,” examining the intonation, rhythm, and signification inherent in both language and music and then applying it to specific passages in the episode. She particularly focused on the phrase “Bronze by Gold” and the repetition of the colors.
Rogers, Margaret. “Mining the Ore of ‘Sirens’: An Investigation of Structural Components.” Bronze by Gold: The Music of Joyce. Ed. Sebastian D.G. Knowles. New York: Garland Publishing, 1999. 263-275.
The bulk of Roger’s article was a detailed examination of the coding of “notes” in “Sirens” based on Renaissance system that had its roots in Pythagoras’s concept of music and mathematics. Rogers used the tools of cryptography to decode the episode and focused her analysis on the opening lines as the outline of the fugue, which she then encoded to correspond to musical notes and chords for her analysis.
Smith, Don Noel. “Musical Form and Principles in the Scheme of Ulysses.” Twentieth Century Literature, 18.2 (1972): 79-92. 25 Sep. 2004. [J-Stor Database]
Smith used musical forms as his analogy to interpret the Ulysses and pointed to history of scholarship that uses musical concepts and terminology to analyze the work. The episodes were categorized into sections and then those sections were assigned musical forms based on the dominant themes and techniques of the chapters.
Hayman, David. “James Joyce, Paratactitian.” Contemporary Literature, 26.2 (1985): 155-178. 25 Sep. 2004. [J-Stor Database]
Hayman analyzed Joyce’s use of parataxis, the subordination or coordination of clauses without an indication of connection in a text, across several works, including Ulysses and A Portrait of the Artist as a Young Man.
Heusel, Barbara Stevens. “Joyce and the Drama of Cognition: Escher as Visual Analogue.” Twentieth Century Literature, 34.4 (1988): 395-406. 25 Sep. 2004. [J-Stor Database]
Heusel used M.C. Escher’s visual (and mathematically based) “tricks” to analyze several of Joyce’s works, including Ulysses and Stephen Hero, comparing Joyce’s verbal tricks with Escher’s visual ones to examine the way in which both manipulate audience reactions.
Zimmerman, Nadya. “Musical Form as a Narrator: The Fugue of the Sirens in James Joyce’s Ulysses.” Journal of Modern Literature, 26.1 (2002): 108-118. Literature Resource Center. Thomson Gale. Lehigh University Lib. 25 Sep. 2004.
Zimmerman’s article is based on the evidence that Joyce himself indicated that “Sirens” was based on a fugal structure. Her detailed analysis was intended to move beyond the question of the success of Joyce’s translation from music to language and into issues of the impact of such an attempt, specifically looking at its effect on narratology.
Fischer, Andrea. “Strange Words, Strange Music: The Verbal Music of ‘Sirens.’” Bronze by Gold: The Music of Joyce. Ed. Sebastian D.G. Knowles. New York: Garland Publishing, 1999. 245-262.
Fischer took a linguistic approach to “Sirens,” examining the intonation, rhythm, and signification inherent in both language and music and then applying it to specific passages in the episode. She particularly focused on the phrase “Bronze by Gold” and the repetition of the colors.
Rogers, Margaret. “Mining the Ore of ‘Sirens’: An Investigation of Structural Components.” Bronze by Gold: The Music of Joyce. Ed. Sebastian D.G. Knowles. New York: Garland Publishing, 1999. 263-275.
The bulk of Roger’s article was a detailed examination of the coding of “notes” in “Sirens” based on Renaissance system that had its roots in Pythagoras’s concept of music and mathematics. Rogers used the tools of cryptography to decode the episode and focused her analysis on the opening lines as the outline of the fugue, which she then encoded to correspond to musical notes and chords for her analysis.
Smith, Don Noel. “Musical Form and Principles in the Scheme of Ulysses.” Twentieth Century Literature, 18.2 (1972): 79-92. 25 Sep. 2004
Smith used musical forms as his analogy to interpret the Ulysses and pointed to history of scholarship that uses musical concepts and terminology to analyze the work. The episodes were categorized into sections and then those sections were assigned musical forms based on the dominant themes and techniques of the chapters.
Hayman, David. “James Joyce, Paratactitian.” Contemporary Literature, 26.2 (1985): 155-178. 25 Sep. 2004
Hayman analyzed Joyce’s use of parataxis, the subordination or coordination of clauses without an indication of connection in a text, across several works, including Ulysses and A Portrait of the Artist as a Young Man.
Heusel, Barbara Stevens. “Joyce and the Drama of Cognition: Escher as Visual Analogue.” Twentieth Century Literature, 34.4 (1988): 395-406. 25 Sep. 2004
Heusel used M.C. Escher’s visual (and mathematically based) “tricks” to analyze several of Joyce’s works, including Ulysses and Stephen Hero, comparing Joyce’s verbal tricks with Escher’s visual ones to examine the way in which both manipulate audience reactions.
Zimmerman, Nadya. “Musical Form as a Narrator: The Fugue of the Sirens in James Joyce’s Ulysses.” Journal of Modern Literature, 26.1 (2002): 108-118. Literature Resource Center. Thomson Gale. Lehigh University Lib. 25 Sep. 2004
Zimmerman’s article is based on the evidence that Joyce himself indicated that “Sirens” was based on a fugal structure. Her detailed analysis was intended to move beyond the question of the success of Joyce’s translation from music to language and into issues of the impact of such an attempt, specifically looking at its effect on narratology.
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