Margot Norris is a professor of English and comparative literature at the University of California, Irvine.

• AcknowledgmentsAbbreviationsPart I. The Artist Chapter 1. Textual Raveling: A Critical and Theoretical Introduction 1. Joycean Canonization and Modernism2. Joyce, Feminism, and the Ideologically Self-Critical Text3. Intertexted WeavingsChapter 2. Patronage and Censorship: The Production of Art in the Social Real 1. Patronage as Communist “Grace”2. Ibsen, Censorship, and Art!’s Social Function in Stephen HeroChapter 3. Stephen Dedalus, Oscar Wilde, and the Art of LyingChapter 4. “Shem the Penman”: Joyce’s Tenemental Text 1. Cranly, Materialism, and Art2. Shem as BÉte Noire of ModernismPart II. The Women Chapter 5. “Who Killed Julia Morkan?”: The Gender Politics of Art in “The Dead” 1. Stifled Back Answers2. The Woman as Objet d’Art3. Woman as the Other Woman4. Songs, Romance, and the Social Real5. The Silencing of Female ArtChapter 6. Narration under a Blindfold: Reading the “Patch” of “Clay”Chapter 7. The Work Song of the Washerwomen in “Anna 139 Livia Plurabelle” 1. Samuel Butler and the Desublimation of Myth2. The Social Politics of Washerwomen in History3. Washerwomen’s Working Talk4. Ablution and AbsolutionChapter 8. Modernism, Myth, and Desire in “Nausicaa”Part III. The Children Chapter 9. The Politics of Childhood in “The Mime of Mick, Nick, and the Maggies” 1. Tea Parties2. Exile3. HomeNotesWorks ConsultedIndex

"There is no question that Professor Norris' book will constitute a significant contribution to the field...some of the finest, most politically sensitive and informed feminist criticism yet published on Joyce. ... it will have a major impact on the field of Joyce studies ... " Vicki Mahaffey, associate professor of English, University of Pennsylvania

Margot Norris is a professor of English and comparative literature at the University of California, Irvine.

• AcknowledgmentsAbbreviationsPart I. The Artist Chapter 1. Textual Raveling: A Critical and Theoretical Introduction 1. Joycean Canonization and Modernism2. Joyce, Feminism, and the Ideologically Self-Critical Text3. Intertexted WeavingsChapter 2. Patronage and Censorship: The Production of Art in the Social Real 1. Patronage as Communist “Grace”2. Ibsen, Censorship, and Art!’s Social Function in Stephen HeroChapter 3. Stephen Dedalus, Oscar Wilde, and the Art of LyingChapter 4. “Shem the Penman”: Joyce’s Tenemental Text 1. Cranly, Materialism, and Art2. Shem as BÉte Noire of ModernismPart II. The Women Chapter 5. “Who Killed Julia Morkan?”: The Gender Politics of Art in “The Dead” 1. Stifled Back Answers2. The Woman as Objet d’Art3. Woman as the Other Woman4. Songs, Romance, and the Social Real5. The Silencing of Female ArtChapter 6. Narration under a Blindfold: Reading the “Patch” of “Clay”Chapter 7. The Work Song of the Washerwomen in “Anna 139 Livia Plurabelle” 1. Samuel Butler and the Desublimation of Myth2. The Social Politics of Washerwomen in History3. Washerwomen’s Working Talk4. Ablution and AbsolutionChapter 8. Modernism, Myth, and Desire in “Nausicaa”Part III. The Children Chapter 9. The Politics of Childhood in “The Mime of Mick, Nick, and the Maggies” 1. Tea Parties2. Exile3. HomeNotesWorks ConsultedIndex

"There is no question that Professor Norris' book will constitute a significant contribution to the field...some of the finest, most politically sensitive and informed feminist criticism yet published on Joyce. ... it will have a major impact on the field of Joyce studies ... " Vicki Mahaffey, associate professor of English, University of Pennsylvania

Margot Norris is a professor of English and comparative literature at the University of California, Irvine.

• AcknowledgmentsAbbreviationsPart I. The Artist Chapter 1. Textual Raveling: A Critical and Theoretical Introduction 1. Joycean Canonization and Modernism2. Joyce, Feminism, and the Ideologically Self-Critical Text3. Intertexted WeavingsChapter 2. Patronage and Censorship: The Production of Art in the Social Real 1. Patronage as Communist “Grace”2. Ibsen, Censorship, and Art!’s Social Function in Stephen HeroChapter 3. Stephen Dedalus, Oscar Wilde, and the Art of LyingChapter 4. “Shem the Penman”: Joyce’s Tenemental Text 1. Cranly, Materialism, and Art2. Shem as BÉte Noire of ModernismPart II. The Women Chapter 5. “Who Killed Julia Morkan?”: The Gender Politics of Art in “The Dead” 1. Stifled Back Answers2. The Woman as Objet d’Art3. Woman as the Other Woman4. Songs, Romance, and the Social Real5. The Silencing of Female ArtChapter 6. Narration under a Blindfold: Reading the “Patch” of “Clay”Chapter 7. The Work Song of the Washerwomen in “Anna 139 Livia Plurabelle” 1. Samuel Butler and the Desublimation of Myth2. The Social Politics of Washerwomen in History3. Washerwomen’s Working Talk4. Ablution and AbsolutionChapter 8. Modernism, Myth, and Desire in “Nausicaa”Part III. The Children Chapter 9. The Politics of Childhood in “The Mime of Mick, Nick, and the Maggies” 1. Tea Parties2. Exile3. HomeNotesWorks ConsultedIndex

"There is no question that Professor Norris' book will constitute a significant contribution to the field...some of the finest, most politically sensitive and informed feminist criticism yet published on Joyce. ... it will have a major impact on the field of Joyce studies ... " Vicki Mahaffey, associate professor of English, University of Pennsylvania