Browse Results
Search returned 36 record(s). Results sorted by publication date.
2
|
Creasy, Matthew. Review of Crispi, Luca,
Joyce's Creative Process and the Construction of Characters in Ulysses: Becoming the Blooms,
2015.
Style 51,
ii (October 2017):
263-70.
https://doi.org/10.5325/style.51.2.0263.
|
|
10
|
Mosher, Harold F., Jr. "The Narrated and Its Negatives: The Nonnarrated and the Disnarrated in Joyce's Dubliners." Style,
27,
iii (Fall 1993):
407-27.
http://www.jstor.org/stable/42946061.
|
|
12
|
Style
25,
iii (Fall 1991):
.
Special issue: "James Joyce's Dubliners", eds. Rosa Maria Bollettieri Bosinelli and Christine van Boheemen.
|
|
15
|
Brian, Michael. "'A Very Fine Piece of Writing': An Etymological, Dantean, and Gnostic Reading of Joyce's 'Ivy Day in the Committee Room'." Style,
25,
iii (Fall 1991):
466-87.
http://www.jstor.org/stable/42945931.
|
|
21
|
Valente, Joseph. "Examining Uncertainty." Review of Herring, Phillip F.,
Joyce's Uncertainty Principle,
1987.
Style 25,
iii (Fall 1991):
506-13.
http://www.jstor.org/stable/42945933.
|
|
23
|
Youmans, Gilbert. "Measuring Lexical Style and Competence: The Type-Token Vocabulary Curve." Style,
24,
iv (Winter 1990):
584-99.
http://www.jstor.org/stable/42946163. Statistical analysis of the vocabulary used in twenty texts including passages from "The Dead," P, U, and FW.
|
|
25
|
Fishelov, David. "Types of Character, Characteristics of Types." Style,
24,
iii (Fall 1990):
422-39.
http://www.jstor.org/stable/42945871. Comparison of characters encountered in the stagecoach in Fielding's Joseph Andrews with those encountered by Bloom at Dignam's funeral in "Hades," 432-36.
|
|
27
|
Doherty, Gerald. "From Encounter to Creation: The Genesis of Metaphor in A Portrait of the Artist as a Young Man." Style,
21,
ii (Summer 1987):
219-36.
http://www.jstor.org/stable/42946148.
|
|
30
|
Smith, John B. "Computer Criticism." Style,
12,
iv (Fall 1978):
326-56.
https://www.jstor.org/stable/45108824. In part, on a computer analysis of J's use of the word "fire" in A Portrait of the Artist as a Young Man.
|
|
|