{"id":307,"date":"2013-09-30T16:17:10","date_gmt":"2013-09-30T16:17:10","guid":{"rendered":"https:\/\/grupo.us.es\/iberjoyce\/?p=307"},"modified":"2013-11-16T21:03:46","modified_gmt":"2013-11-16T19:03:46","slug":"the-scallop-of-saint-james","status":"publish","type":"post","link":"https:\/\/grupo.us.es\/iberjoyce\/the-scallop-of-saint-james\/","title":{"rendered":"The Scallop of Saint James"},"content":{"rendered":"

\"Scallop\"<\/a><\/p>\n

The Scallop of Saint James: An Old Pilgrim\u0092s Hoard. Reading Joyce from the Peripheries \/ Leyendo a Joyce desde las periferias.<\/em>
\nSusana Dom\u00ednguez Pena, Margarita Est\u00e9vez Sa\u00e1 y Anne MacCarthy, eds. Weston, Florida: Netbiblo, 2006. ISBN: 0-9729892-4-2.<\/p>\n

Garc\u00eda Tortosa, Francisco. Introducci\u00f3n: Ulises<\/i>: novela de diversi\u00f3n y de estudio.<\/p>\n

Alonso Gir\u00e1ldez, Jos\u00e9 Miguel.\u00a0 \u00abCervantes,Borges y\u00a0 Joyce. tres en compa\u00f1\u00eda.\u00bb 169-182<\/p>\n

Caneda Cabrera, M\u00aa Luisa. \u201c\u2019This Country and This Race Produced Me: Identidad personal e histeria colectiva en A Portrait of the\u00a0 Artist As a Young <\/i>Man<\/i>.\u201d 123-132.
\nCissell, Matthew M.\u00a0 \u201cThe Ludic Element in Joyce\u201d.\u00a0 103-112.
\nClark, David y Mar\u00eda Vidal Rodr\u00edguez-Sabio.\u00a0 \u201cJoyce como material did\u00e1ctico: el ejemplo de \u2018Clay\u2019.\u201d 113-122.<\/p>\n

Est\u00e9vez Sa\u00e1, Jos\u00e9 Manuel.\u00a0 \u201c\u2019Nubecillas\u2019 en la obra de James Joyce y Joseph O\u2019Connor.\u201d 233-42.<\/p>\n

Garc\u00eda Le\u00f3n, Rafael.\u00a0 \u201cLa obra de James Joyce: \u2018The Same thing Anew\u2019.\u201d 5-14.<\/p>\n

Jarazo \u00c1lvarez, Rub\u00e9n. \u201cJames Joyce en la prensa gallega: un art\u00edculo de \u00c1lvaro de Cunqueiro.\u201d 215-222.<\/p>\n

Mac Candless, Ian y Francisco Mart\u00ednez Torres.\u00a0 \u201cLa melod\u00eda infinita y \u2018Stream of Consciousness\u2019: Posibles influencias de Richard Wagner en James Joyce.\u201d 183-192.<\/p>\n

Mart\u00ednez Rodr\u00edguez, Carmen M\u00aa.\u00a0 \u201c\u2019Like an Angry Stone Image\u2019.\u00a0 Acci\u00f3n y par\u00e1lisis femenina en Dubliners<\/i>.\u201d 91-102.<\/p>\n

Medina Casado, Carmelo.\u00a0 \u201cLos demonios de la perversi\u00f3n, depravaci\u00f3n y obscenidad.\u00a0 La censura legal a la obra de Joyce.\u201d\u00a0 29-47.<\/p>\n

Morales Ladr\u00f3n, Marisol.\u00a0 \u00abDel centro literario a los m\u00e1rgenes: The Dalkey Archive<\/i> de Flann O’Brien y la metaficci\u00f3n joyceana.\u00bb 203-214.<\/p>\n

Morato Agrafofo, Yolanda. \u201cCuando tu enemigo es \u201cel enemigo\u201d: desencuentros literarios entre James Joyce y Windham Lewis.\u201d 193-202.<\/p>\n

P\u00e9rez Sim\u00f3n, Andr\u00e9s.\u00a0 \u201cEl mon\u00f3logo de Molly Bloom: la transferencia semi\u00f3tica desde la narrativa al teatro.\u201d 133-140.<\/p>\n

Porcel Garc\u00eda, M\u00aa Isabel.\u00a0 \u201cChez Joyce<\/i>: su biblioteca en franc\u00e9s.\u201d 15-28.Tejedor Cabrera.\u00a0 \u201cAlgunas ventanas en Joyce.\u201d 48-64.<\/p>\n

R\u00edo Molina, Benigno del. \u201c \u201c\u2019Hades\u2019 como danza de la muerte.\u201d 155-168.<\/p>\n

Simons, Jefferey.\u00a0 \u201cOrality, Literacy, Joyce. 65-78.\u201d<\/p>\n

Sixto Rey, Susana. \u201cPar\u00e1lisis g\u00f3tica en Dubliners<\/i> de James Joyce.\u00a0 An\u00e1lisis de tres relatos.\u201d 79-90.<\/p>\n

Venegans Lag\u00fcens, M\u00aa Luisa. \u201cTranslating Repetition in Ulysses<\/i>.\u201d 140-154.<\/p>\n","protected":false},"excerpt":{"rendered":"

The Scallop of Saint James: An Old Pilgrim\u0092s Hoard. Reading Joyce from the Peripheries \/ Leyendo a Joyce desde las periferias. Susana Dom\u00ednguez Pena, Margarita Est\u00e9vez Sa\u00e1 y Anne MacCarthy, eds. Weston, Florida: Netbiblo, 2006. ISBN: 0-9729892-4-2. Garc\u00eda Tortosa, Francisco. Introducci\u00f3n: Ulises: novela de diversi\u00f3n y de estudio. Alonso Gir\u00e1ldez, Jos\u00e9 Miguel.\u00a0 \u00abCervantes,Borges y\u00a0 Joyce. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-307","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-noticias","7":"entry"},"_links":{"self":[{"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/posts\/307","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/comments?post=307"}],"version-history":[{"count":3,"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/posts\/307\/revisions"}],"predecessor-version":[{"id":683,"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/posts\/307\/revisions\/683"}],"wp:attachment":[{"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/media?parent=307"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/categories?post=307"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/grupo.us.es\/iberjoyce\/wp-json\/wp\/v2\/tags?post=307"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}