Never a Crossword – A Joycean Review in Nine Clues The show examines what it meant to Joyce to be using the language of his oppressors, and explores the ambivalence of his celebration and deformation of English, and his continual need, with each new artefact, to outdo himself in language and innovation.

Blooomsday in Melbourne once again commissioned Rod Baker to compose for a series of ballets based on Joycean poetry and the Seachange ballet. Joyce also meets Hildegard, and the subject of promiscuous lists (sacred and profane) are agenda in a dramatic and breathtakingly oral and liturgical form. Joyce's virtuosity in dialogue is examined on the way to Howth Hill by tram.

 

Seminar: Joyce and Language

Dymphna Lonergan talked about Joyce's use of Irish. He, of course, suppressed the Irish frameworks of Ulysses, in favour of foregrounding with his earliest critics its European Homeric scaffold, and Shakespreare and Dante were more explicitly part of the fabric of the text. Joyce has a vested interest in being taken up not as a sectional or parochial writer but one who traded in the literary culture of the widest possible field. Dymphna, a scholar of linguistics and Irish, cast more light on the relative invisibility of Joyce's Irish lexicon. Peta Logan, a Deakin undergraduate, has an interest in Joyce's lists, and analysed one of them, the "love loves to love love" list from the Cyclops chapter, for its subversive potential. The final paper, by Philip Harvey (given breath by Juliette Hughes), mobilised Wakese in order to explore Joyce's view of how language is produced in the body.