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This thesis focuses on James Joyce's writings, collaborations and publications in London, the political and publishing centre of the British Empire and the matrix for Anglophone modernism. The period covered is from 1900 to 1939 and is marked by Joyce's first and last London publications: the article on Ibsen in the Fortnightly Review, and Finnegans Wake, published by Faber and Faber. The first part of the thesis historicises Joyce's encounters with and perceptions of the imperial metropolis and his aspirations to publish his work there in order to reach the largest reading public in the world. It then discusses the composition of parts of Ulysses (1922) and Finnegans Wake (1939), which responded to London-centred literary texts and socio-political formations. The second part of the thesis outlines the publication background of several manifestations of Joyce's work in a variety of formats, from contributions to anthologies, to H.M.V. records. Here the thesis explores in particular Joyce's engagement with multifarious networks of publishers, intellectuals and institutions, including the BBC, Robert Lynd and the New Statesman, Jacob Bronowski, co-founder with William Empson of the Cambridge magazine Experiment, T. S. Eliot and Faber, C. K. Ogden's Orthological lnstitute and Herbert Hughes at the Daily Telegraph. By drawing on the methodology of New Modernist studies and my original archival research, carried out thanks to the immense generosity of the Christine Bolt Scholarship 2007, the thesis introduces a new interpretative framework able to position Joyce's work within a cultural and political context that is crucial for Irish and British modernism. It thus sheds light on Joyce's interventions designed to promote the cultural and symbolic value of his writings on Dublin in London's literary marketplace, and explores the cultural politics affecting how Joyce, the Dublin writer, published and promoted his work through London, the imperial metropolis. |
