James Joyce and German Theory: The Romantic School and All that
James Joyce's aesthetic theories, as explicated by Stephen Dedalus in A Portrait of the Artist as a Young Man and in the Scylla and Charybdis chapter of Ulysses, have generally been assumed to be grounded in Aristotle and Aquinas. Indeed, Stephen mentions those thinkers especially in Portrait, at the same time as he rejects Romantic notions. This book investigates the extent to which Joyce's theories as well as his practice, beginning with his critical writings and Stephen Hero, are indebted to early German Romanticism. The allusions, affinities, and analogies, as well as differential relationships between the Joycean oeuvre and texts of Johann Wolfgang Goethe, Friedrich Schiller, Friedrich Schiegel, and Novalis are often palpable, sometimes tentative, but clearly present in most of his works, including Finnegans Wake.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
According aesthetic theory ancient argues artist beautiful becomes Benstock Bildungsroman Bloom Brivic calls chaos chapter character Circe cited parenthetically Classical concept creation creative critics dramatic epic epiphany essay Exiles father Faust Fichte Finnegans Wake fragments Friedrich Schlegel further references Geist genre German Romantics Gesprach ghost Goethe Goethe's Hamlet Helen Homer Ibid ideal ideas iiber infinite James Joyce Johann Wolfgang Goethe Joyce's aesthetic KFSA language literary Lucinde lyric Mangan mantic mirror modern myth mythology naive notion Novalis Novalis's novel objective play poet poetic Portrait present reader reflective Richard Ellmann Richard Rowan Romantic irony Romantic poetry Romanticism Romantische says Schiller and Schlegel Scholes and Corcoran sentimentalische Shakespeare Shaun Shem soul spirit Stephen Dedalus Stephen Hero Stephen's theory Studium Sturm und Drang synthesis T. S. Eliot tion transformed tween Uber Ulysses University Press villanelle Werke Wilhelm Meister writes