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“OMNIUM GATHERUM”

221

protagonists, Joyce’s portrayals of these “talents” reveal his

critique of those corrupt intellectuals who fail to live up to that

name, and, more subtly, his intricate dialogue with those who

exercised such a profound influence over modern Ireland.

2

II. The Intellectual: Some Concepts

To dissect Joyce’s representations of intellectuals, it is of

use to examine some background theoretical concepts. For

Said, the intellectual is “an individual with a specific public

role in society that cannot be reduced simply to being a faceless

professional, a competent member of a class just going about

her/his business”; rather, this individual is “endowed with a

various walks of life, and hence is more representative of the Irish

intelligentsia as a whole.

2

A large number of Joyce scholars have delved into the episode of “Aeolus”;

the majority of these studies focus on rhetorical figures and newspaper

headlines. M. J. C. Hodgart’s research, for instance, is a classic study of

Joyce’s deployment of classical rhetoric (1974: 115-130). Karen R. Lawrence

examines headlines and rhetorical figures (1980: 389-405). David Mikics

concentrates on rhetoric, looking into the politics and histories hidden in the

speeches (1990: 533-558). Stephen Donovan’s article is devoted to the

investigation of newspaper typography, another study of Joyce’s use of

headlines (2003: 519-541). None of these readings centers on the topic of

the intellectual. Some researches on Joyce and journalism, however, are

relevant to my study, although they do not address the issue of the

intellectual directly. Cheryl Herr explores Joyce’s anatomy of the press,

arguing that “Joyce interrogates, often comically, the conditions of

production of Irish journalism and the replication of those conditions in

other professions such as education and law” (1986: 67). R. Brandon

Kershner dissects Joyce’s close connection to journalism and the newspapers

and periodicals referred to in

Ulysses

, seeing the

Freeman’s Journal

office as

“the arena for performances” for the group of pretentious Dubliners (2010:

83). In his survey of the relation between the Irish press and Catholic

nationalism, Len Platt deems the pressmen in “Aeolus” to be the products of

conservative reaction to the post-Parnellite era (1998: 735-746). These

critiques have shed light on my reading of the intellectuals represented in the

episode.