The adventures of Telemachus, the son of Ulysses /

Each vol. has separate t.-p.

The adventures of Telemachus, the son of Ulysses /

Mode of access: Internet.

Ulysses Homer; or, A discovery of the true author of the Iliad and Odyssey,

Tr. from the French.

Key to the first eight books of the adventures of Telemachus, the son of Ulysses : with the help of which, any person can learn how to translate French into English /

"Stereotyped by L. Johnson."

Key to the first eight books of the Adventures of Telemachus, the son of Ulysses /

Mode of access: Internet.

The adventures of Telemachus, the son of Ulysses /

Added t.p.: Las aventuras de Telémaco, hijo de Ulises.

The adventures of Telemachus, the son of Ulysses. From the French of Salignac de la Mothe-Fenelon ...

Leather label on spine.

The first eight books of the adventures of Telemachus the son of Ulysses /

Each part has special t.p.

De terugkomst van Ulysses; treurspel.

Mode of access: Internet.

The story of Ulysses, for boys and girls.

Mode of access: Internet.

Shake-speare England's Ulysses, the masque of Love's labor's won; or, The enacted will.

"The name of this new heir to the Shakespearian mantle ... is that of ... Robert Devereux, second earl of Essex."--Introd.

The 1969 Edition of Ulysses: the making of a Penguin Classic.

The status of Ulysses as a classic in the United Kingdom, and, more specifically, its adoption within the academic canon, resulted from its first publication as a paperback by the Penguin Press in 1969. The decisions that Penguin made about price, size, design, additional matter, and marketing were directed towards enhancing that status. This represented an abandonment of the previous markets for the novel: the avant-garde (and its two subsidiaries—the aspirant high-culture consumer and the fine-book collector) and the pornographic. A discussion of the nature of these markets is integrated with evidence drawn from archival sources.

Geometry and topography in James Joyce's Ulysses and Finnegans Wake

Following the development of non-Euclidean geometries from the mid-nineteenth century onwards, Euclid’s system had come to be re-conceived as a language for describing reality rather than a set of transcendental laws. As Henri Poincaré famously put it, ‘[i]f several geometries are possible, is it certain that our geometry [...] is true?’. By examining Joyce’s linguistic play and conceptual engagement with ground-breaking geometric constructs in Ulysses and Finnegans Wake, this thesis explores how his topographical writing of place encapsulates a common crisis between geometric and linguistic modes of representation within the context of modernity. More specifically, it investigates how Joyce presents Euclidean geometry and its topographical applications as languages, rather than ideally objective systems, for describing visual reality; and how, conversely, he employs language figuratively to emulate the systems by which the world is commonly visualised. With reference to his early readings of Giordano Bruno, Henri Poincaré and other critics of the Euclidean tradition, it investigates how Joyce’s obsession with measuring and mapping space throughout his works enters into his more developed reflections on the codification of visual signs in Finnegans Wake. In particular, this thesis sheds new light on Joyce’s developing fascination with the ‘geometry of language’ practised by Bruno, whose massive influence on Joyce is often assumed to exist in Joyce studies yet is rarely explored in any great detail.