{"id":292,"date":"2016-06-22T05:06:40","date_gmt":"2016-06-22T12:06:40","guid":{"rendered":"https:\/\/blogs.ubc.ca\/jpaltin\/?p=292"},"modified":"2016-07-07T15:25:28","modified_gmt":"2016-07-07T22:25:28","slug":"forthcoming-article-music-intermediality-and-shock-in-ulysses","status":"publish","type":"post","link":"https:\/\/blogs.ubc.ca\/jpaltin\/2016\/06\/22\/forthcoming-article-music-intermediality-and-shock-in-ulysses\/","title":{"rendered":"Forthcoming article: \u201cMusic, Intermediality, and Shock in Ulysses\u201d"},"content":{"rendered":"<p><em>James Joyce Quarterly, <\/em>issue not yet scheduled.<\/p>\n<p>\u201cWith us, there is a house, a lamp, a plate of soup, a fire, wine and pipes at the back of every important work of art.\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 &#8211;Jean Cocteau<a href=\"#_edn1\" name=\"_ednref1\">[i]<\/a><\/p>\n<p>This essay argues that particular qualities of music as a nonfigural art are crucial to the ways that experience, memory, identity, and affect are formalized for characters\u2019 relief and psychic defense in <em>Ulysses<\/em>. Continental, British and Irish modernisms all became interested in experimenting with layered intermedialities, and, in particular, with their contributions to the complexity of possible signification. As a literary text which interprets visual arts, music and sounds, <em>Ulysses<\/em> may be a turning point in intermedial compositional practice, going beyond musical reference or mimetic transcription to reconfigure textual articulations of knowledge, sociality and emotion.<\/p>\n<p><a href=\"#_ednref1\" name=\"_edn1\">[i]<\/a> Jean Cocteau, <em>Coq et Arlequin <\/em>(1918), at &lt;https:\/\/archive.org\/details\/lecoqetlarlequi00coctgoog&gt; (viewed 15 May 2015).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>James Joyce Quarterly, issue not yet scheduled. \u201cWith us, there is a house, a lamp, a plate of soup, a fire, wine and pipes at the back of every important work of art.\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 &#8211;Jean Cocteau[i] This essay argues that particular &hellip; <a href=\"https:\/\/blogs.ubc.ca\/jpaltin\/2016\/06\/22\/forthcoming-article-music-intermediality-and-shock-in-ulysses\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":25013,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-292","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/posts\/292","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/users\/25013"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/comments?post=292"}],"version-history":[{"count":2,"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/posts\/292\/revisions"}],"predecessor-version":[{"id":305,"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/posts\/292\/revisions\/305"}],"wp:attachment":[{"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/media?parent=292"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/categories?post=292"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ubc.ca\/jpaltin\/wp-json\/wp\/v2\/tags?post=292"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}