“Signs on a White Field”: The Shadow of Ulysses
Abstract
This essay employs a poststructuralist approach to James Joyce’s Ulysses through affect: the dynamic method that considers bodies and their sensory experiences along-
side the emotionally-formed forces that motivate them into relation. Through the examination of my own encounter with the Robert Amos painting, Dedalus on the Shore (2016), and the Proteus episode of Ulysses it depicts, I advocate for the novel’s endurance as a global cultural monument beyond its high-literary disposition. Utilising Rita Felski’s discussion of Edmund Husserl’s phenomenology, I explore reproductions of Ulysses that shift focus from the novel’s stature in literary history to the influential power engendered by its essence, and our delight in its stylistic whims.
Copyright (c) 2023 Erin Kroi, Robert Amos
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Any submissions made by the author to the Albatross are in agreement of release under the Creative Commons Attribution-Noncommercial 3.0 Unported license. This license permits The Albatross as well as others to share this work through any means for non-commercial purposes given that proper attribution is given to the author as well as the publisher.
Authors retain copyright of their work.
By submitting their article to The Albatross, the author grants the The Albatross the rights for first publishing.
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
