Springtime for Ulysses.
Why did Mel Brooks name one of the main characters in The Producers (1967) after James Joyce's Leopold Bloom? Tracing the meanings of that name over the course of a half century, from Joyce's Ulysses (1922) to the stage adaptation Ulysses in Nighttown (1958) to Brooks's film, illuminates how the lan...
| Publicado en: | PMLA: Publications of the Modern Language Association of America Vol. 136; no. 5; pp. 728 - 746 |
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| Formato: | Artículo |
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Cambridge University Press
Oct2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=153886391&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 153886391 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00308129 PML jtl: PMLA: Publications of the Modern Language Association of America issn: 00308129 maglogo: N pubinfo: dt: Oct2021 vid: 136 iid: 5 pid: 15979 pub: Cambridge University Press artinfo: ui: 153886391 10.1632/S0030812921000420 ppf: 728 ppct: 18 formats: tig: atl: Springtime for Ulysses. aug: au: GREENBERG, JONATHAN affil: Professor of English and department chair at Montclair State University su: Ulysses (Book : Joyce) Joyce, James, 1882-1941 Bloom, Leopold (Fictional character) Fictional characters Producers, The (Film) Brooks, Mel, 1926- Ulysses in Nighttown (Theatrical production) Stage adaptations sug: subj: Ulysses (Book : Joyce) Joyce, James, 1882-1941 Bloom, Leopold (Fictional character) Fictional characters Producers, The (Film) Brooks, Mel, 1926- Ulysses in Nighttown (Theatrical production) Stage adaptations ab: Why did Mel Brooks name one of the main characters in The Producers (1967) after James Joyce's Leopold Bloom? Tracing the meanings of that name over the course of a half century, from Joyce's Ulysses (1922) to the stage adaptation Ulysses in Nighttown (1958) to Brooks's film, illuminates how the landmark modernist novel not only acquired outsize significance for American Jewish readers but in fact became a Jewish text. Having affiliated itself with highbrow Joycean modernism in a bid for respectability, Jewish culture discovered in the source of that respectability something not so highbrow and hardly respectable at all: an enjoyable perversity rooted in popular comic performance. The Jewish form and content of both Ulysses and The Producers turn out to celebrate ethnic, racial, sexual, and class difference in defiance of Christian norms of taste, health, and citizenship; and it is in Brooks's popular citation of the literary that this defiance becomes visible. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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