Georgina Binnie-Wright – författare

James Joyce and Photography is the first book to explore in-depth James Joyce's personal and professional engagement with photography. Photographs, photographic devices and photographically-inspired techniques appear throughout Joyce’s work, from his narrator's furtive proto-photographic framing in Silhouettes (c. 1897), to the aggressively-minded 'Tulloch-Turnbull girl with her coldblood kodak' in Finnegans Wake (1939).Through an exploration of Joyce's manuscripts and photographic and newspaper archival material, as well as the full range of his major works, this book sheds new light on his sustained interest in this visual medium. This project takes Joyce’s intention in Dubliners (1914) to ‘betray the soul of that hemiplegia or paralysis which many consider a city’ as key to his interaction with photography, which in his literature occupies a dual position between stasis and innovation.

James Joyce and Photography is the first book to explore in-depth James Joyce''s personal and professional engagement with photography. Photographs, photographic devices and photographically-inspired techniques appear throughout Joyce''s work, from his narrator''s furtive proto-photographic framing in Silhouettes (c. 1897), to the aggressively-minded ''Tulloch-Turnbull girl with her coldblood kodak'' in Finnegans Wake (1939).Through an exploration of Joyce''s manuscripts and photographic and newspaper archival material, as well as the full range of his major works, this book sheds new light on his sustained interest in this visual medium. This project takes Joyce''s intention in Dubliners (1914) to ''betray the soul of that hemiplegia or paralysis which many consider a city'' as key to his interaction with photography, which in his literature occupies a dual position between stasis and innovation.

James Joyce and Photography is the first book to explore in-depth James Joyce''s personal and professional engagement with photography. Photographs, photographic devices and photographically-inspired techniques appear throughout Joyce''s work, from his narrator''s furtive proto-photographic framing in Silhouettes (c. 1897), to the aggressively-minded ''Tulloch-Turnbull girl with her coldblood kodak'' in Finnegans Wake (1939).Through an exploration of Joyce''s manuscripts and photographic and newspaper archival material, as well as the full range of his major works, this book sheds new light on his sustained interest in this visual medium. This project takes Joyce''s intention in Dubliners (1914) to ''betray the soul of that hemiplegia or paralysis which many consider a city'' as key to his interaction with photography, which in his literature occupies a dual position between stasis and innovation.