My paper focuses on the corporeal discourse in James Joyce’s Ulysses, called by the author “the epic of the human body”. I use Foucault’s category of the ancient “regimens” of diet and sexuality; according to The History of Sexuality those referred not so much to medical recommendations as to the art of living. The paper claims that the concept of regimens was still alive in the Modernist culture. For Nietzsche, physiology was a fundamental science and his whole anthropology was built upon it. The management of body functions, dietetic schemes, walks and the choice of a proper climate were essential for his philosophy of life. The paper defines Bloom’s corporeal regimen in Ulysses as one that celebrates the body and affirms life in its material forms. Bloom’s relaxed rules on sexuality and consumption and his joyful glorification of the material world (as in chapter four where he prepares a kidney and chapter seventeen where he opens two drawers that – among other things – include a variety of objects and representations of the human body) can be seen as a Modernist counter-project to the disciplining “ascetic ideals” of the Christian tradition.
 

James Joyce and Siergei Eisenstein: A Story of One Meeting

This article considers the affinity, influences, and theoretical or ideological connections between two pioneers of 20th century – James Joyce, a novelist, poet, and one of the most important writers of Modernism, and Sergei Eisenstein, a Russian film director, film theorist, and author of the theory of montage practically illustrated in his movies. The author tries to describe the kinship between the stylistics of Joyce’s and Eisenstein’s works. Eisenstein’s theories of montage are very important for the study of Joyce, taking into account Joyce’s visions based on elements of film technique and the Modernist reception of the cinema, and his use of methods analogous to film montage. The meeting of the two creators in 1929 was a significant moment for both of them. Eisenstein stressed the connections between Joyce’s texts and his own work, which were meaningful in his search for ways to demonstrate the cinema’s links to other forms of art.
 

Per deam Partulam et Pertundam nunc est bibendum! Some Remarks on the Small Gods in the Light of the Fourteenth Episode of James Joyce’s Ulysses

The “Oxen of the Sun” episode contains a brief mention of two little-known Roman goddesses of child-bearing and procreation. The present paper traces the ancient descriptions of “small gods”, particularly those associated with child-bearing and rearing, and their importance in Roman religion. It is argued that Malachi Mulligan, by alluding to eons of gods, evokes in this episode the concept of the universe filled with an infinite multitude of divinities, and thus stands in opposition to Stephen Dedalus, who argues for the presence of one all-father. A similar opposition was noticeable in the Roman religion (the process of major gods “absorbing” the smaller ones).
The allusion to the small gods also serves as a transition between the “Oxen of the Sun” and “Kirke” episodes: Partula, the goddess of birth, is firmly associated with the former episode, while Pertunda, the goddess of (broadly speaking) sex, with the latter. The Latin invocation to the goddesses ends with the Horatian phrase “nunc est bibendum”, an exhortation to drink: it references the “victory” of Mina Purefroy over death (i.e. the content of the current episode) and introduces the subject of drinking and revelry, which is to follow.
 

Fascination and Condemnation. Reception of Ulysses in the Soviet Union in the 1920s and 1930s.

This article discusses the reception of James Joyce’s novel Ulysses in the Soviet Union during the 1920s and 1930s. In the 1920s, the reception was limited to short press releases. The only exception was the film director Sergei Eisenstein, who drew an analogy between his own works and the method used in Ulysses, and placed great value on the works of Joyce. In the 1930s, the interpretation of Ulysses was subject to the requirements of the Soviet ideology, and the work itself was condemned. Joyce was accused of extreme formality and subjectivity. His work was regarded as one of reactionary and counter-revolutionary significance. Ulysses was called “a product of decay and degeneration of bourgeois consciousness”. However, despite this interpretation, some famous Soviet writers and scholars of that time (Pasternak, Akhmatova, Shklovsky, Bakhtin) knew Ulysses and read it with delight.
 

Klaus Buhlert’s Radio Drama Ulysses and James Joyce’s Novel

Ulysses (2012) is the title of a German radio drama directed by Klaus Buhlert. It is a production of “Südwestrundfunk” based on James Joyce’s famous novel of that same title. For the first time the 22 hour-long radio drama was broadcast on “Bloomsday” 2012 and achieved widespread popularity in Germany, which is the most important market for audio plays worldwide. It was recorded on 23 audio CDs. Many of the best German actresses and actors, including Birgit Minichmayr, Anna Thalbach, Dietmar Bär, Jens Harzer, Ernst Stötzner, Werner Wölbern and Josef Bierbichler took part in the radio drama. The article provides an analysis of some problematic aspects related to the adaptation of James Joyce’s novel.
 

Two Visits to a Restaurant. James Joyce and Daniil Kharms about Hunger

The analysis juxtaposes two literary visits in a restaurant, one in Ulysses by James Joyce, the other one in an untitled short prose by the Russian avant-garde poet and performer Daniil Kharms. The comparison aims at highlighting the different aspects of the politics of hunger and the experience of hunger as depicted by two authors. The paper explores the implications of the hunger experience for the conceptualization of the relation between words and food.
 

The Singularity of the Postcolonial Joyce

The paper discusses the complex relation between the postcolonial theory and the Joyce studies that enabled the introduction of the concept of a postcolonial Joyce. Starting from a comparison, proposed by Derek Walcott, between the writings of the Martiniquais author Patrick Chamoiseau and James Joyce, the analysis draws attention to the transformations of the postcolonial field that make such comparisons possible. The paper goes beyond the common postcolonial theoretical concepts and proposes that it is the very failure of the postcolonial theory to deliver the expected specific answers to the colonial questions that makes the postcolonial – in its solitude and bitterness – sensible in the context of Joyce’s poetics.
 

James Joyce seems to have been well acquainted with Indian thought. In Finnegans Wake he abundantly employs Sanskrit terms, especially those connected with Buddhist philosophy. The Sanskrit words are oftentimes straightforward and can be identified with some degree of certainty thanks to the context in which they appear. The aim of this paper is to enumerate and gloss the Sanskrit terms that appear in Finnegans Wake with particular attention being paid to Book IV.