Now at seventy-three volumes, this popular MLA series (ISSN 10591133) addresses a broad range of literary texts. Each volume surveys teaching aids and critical material and brings together essays that apply a variety of perspectives to teaching the text. Upper-level undergraduate and graduate students, student teachers, education specialists, and teachers in all humanities disciplines will find these volumes particularly helpful.

As a novel that asks how we can live in a world of uncertain values and urgent identity politics, James Joyce's Ulysses could be more relevant than ever, but its textual complexity poses a steep burden to new readers. Teaching Joyce's Ulysses models a new method of teaching Joyce's novel using the theory of fictional possible worlds, which envisions texts as producing fictional universes comprised of the "textual actual world" in which the characters live, and all the possible worlds generated by their perceptions, obligations, memories, desires and dreams. Because contemporary undergraduate readers are already very skilled at parsing fictional universes like those of Harry Potter, Game of Thrones and Breaking Bad, this dissertation plays to readers' strengths by building a character-based methodology for approaching the fictional world of Ulysses that does not depend on reading each line of the novel. The introductory chapter lays out the pillars of this approach, in which I use the theory of fictional possible worlds to update and expand on the tenets of humanistic formalism, which understands texts as a product of human beings, written for humans and about humans. Each subsequent chapter takes as its subject one of the four major characters or presences in the text: Stephen Dedalus, Leopold Bloom, the Narrator-Artist, and Molly Bloom. Using A Portrait of the Artist as a Young Man, the second chapter proposes the use of the former novel and structure for broaching Ulysses' first three chapters and creating an understanding of Stephen Dedalus that will serve for the rest of the novel. The third chapter, on Leopold Bloom, uses "Calypso" to establish characteristics which readers can use to identify Bloom in the complex textual fabric of the novel as a whole and proposes the use of a short story by Yiddish writer Sholem Aleichem to help students understand the nature and stakes of Bloom's Jewish identity. The fourth chapter recommends the framing of the Narrator-Artist as the culmination of a teleological sequence of writer-artist figures in the Joycean canon and models how students can assimilate the novel's extreme textual complexity by understanding it as the self-conscious and capricious invention of the Narrator-Artist who resides above the text. The final chapter, on Molly Bloom, models feminist approaches which take female characters across the Joycean canon into account and uses the novel's critical reception history to make students more aware that we are also reading within a particular moment under the influence of the dominant social systems of our day.

This carefully crafted ebook: "ULYSSES (Modern Classics Series)" is formatted for your eReader with a functional and detailed table of contents. Ulysses is a modernist novel by Irish writer James Joyce. It is considered to be one of the most important works of modernist literature, and has been called "a demonstration and summation of the entire movement". Ulysses chronicles the peripatetic appointments and encounters of Leopold Bloom in Dublin in the course of an ordinary day, 16 June 1904. Ulysses is the Latinised name of Odysseus, the hero of Homer's epic poem Odyssey, and the novel establishes a series of parallels between its characters and events and those of the poem (the correspondence of Leopold Bloom to Odysseus, Molly Bloom to Penelope, and Stephen Dedalus to Telemachus). Joyce divided Ulysses into 18 chapters or "episodes". At first glance much of the book may appear unstructured and chaotic; Joyce once said that he had "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant", which would earn the novel "immortality". James Joyce (1882-1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses, the short-story collection Dubliners, and the novels A Portrait of the Artist as a Young Man and Finnegans Wake.

Reissued to commemorate the 100th anniversary of Bloomsday, Reading Joyce's 'Ulysses' includes a new preface taking account of scholarly and critical development since its original publication. It shows how the now important issues of post-colonialism, feminism, Irish Studies and urban culture are addressed within the text, as well as a discussion of how the book can be used by both beginners and seasoned readers. Schwarz not only presents a powerful and original reading of Joyce's great epic novel, but discusses it in terms of a dialogue between recent and more traditional theory. Focusing on what he calls the odyssean reader, Schwarz demonstrates how the experience of reading Ulysses involves responding both to traditional plot and character, and to the novel's stylistic experiments.

Recipient of the 2015 PEN New England Award for Nonfiction “The arrival of a significant young nonfiction writer . . . A measured yet bravura performance.” —Dwight Garner, The New York Times James Joyce’s big blue book, Ulysses, ushered in the modernist era and changed the novel for all time. But the genius of Ulysses was also its danger: it omitted absolutely nothing. Joyce, along with some of the most important publishers and writers of his era, had to fight for years to win the freedom to publish it. The Most Dangerous Book tells the remarkable story surrounding Ulysses, from the first stirrings of Joyce’s inspiration in 1904 to the book’s landmark federal obscenity trial in 1933. Written for ardent Joyceans as well as novices who want to get to the heart of the greatest novel of the twentieth century, The Most Dangerous Book is a gripping examination of how the world came to say Yes to Ulysses.

On the fictional morning of June 16, 1904—Bloomsday, as it has come to be known—Mr. Leopold Bloom set out from his home at 7 Eccles Street and began his day’s journey through Dublin life in the pages of James Joyce’s novel of the century, Ulysses. Commemorating the 100th anniversary of Bloomsday, Yes I Said Yes I Will Yes offers a priceless gathering of what’s been said about Ulysses since the extravagant praise and withering condemnation that first greeted it upon its initial publication. From the varied appraisals of such Joyce contemporaries as William Butler Yeats (“It is an entirely new thing. . . . He has certainly surpassed in intensity any novelist of our time”) and Virginia Woolf (“Never did I read such tosh”), to excerpts from Tennessee Williams’ term paper “Why Ulysses is Boring” and assorted wit, praise, parody, caricature, photographs, anecdotes, bon mots, and reminiscence, this treasury of Bloomsiana is a lively and winning tribute to the most famous day in literature.

One of the most important books ever written on Uylsses, Dublin's Joyce established Hugh Kenner as a significant modernist critic. This pathbreaking analysis presents Uylsses as a "bit of anti-matter that Joyce sent out to eat the world." The author assumes that Joyce wasn't a man with a box of mysteries, but a writer with a subject: his native European metropolis of Dublin. Dublin's Joyce provides the reader with a perspective of Joyce as a superemely important literary figure without considering him to be the revealer of a secret doctrine.