![]() These scavenger hunts add nothing fresh to the hunter’s interpretive endeavor. This Foucauldian author function leads criticism about Joyce’s early work on wild, specious tangents which sometimes follow impotent allusions. Dubious leaps gain traction through the distorting reflection of Joyce’s reputation as “the ultimate literary magpie,” a man who compulsively and brilliantly stockpiled textual references in his later works Ulysses and Finnegan’s Wake (143). The formalist interpretive protocols identified by Rabinowitz infect Joyce criticism, layering Joyce’s prose with overlapping, contradictory etymological associations due to expectations of perfect unity. Rabinowitz thus displaces Gabriel’s disorientation at the moment he gazes up the stairwell towards Gretta onto the reader (137). ![]() ![]() 1 The reader experiences Gabriel’s vertiginous sensibility due to the Joyce-specific reading rules of “hyperdense intertextuality” and “infinite etymology” (143). ![]() Rabinowitz, in the idiom of reader-response criticism, labels this suction “interpretive vertigo,” while ironically adding to its collective pull. ![]() Burdened by the tomes housing Joyce criticism, new texts that examine “The Dead” risk sinking into a critical vacuum. ![]()
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