#lucia joyce

[dwellsinparadise]

Lucia Joyce: the troubled daughter of James Joyce. Samuel Beckett kept a photograph of her in her silver fish costume.

Photograph: Berenice Abbott, mid 20s

[las-microfisuras]

Unknown photographer

Lucia Joyce, París 1925

Gelatin silver print

Courtesy of the Poetry Collection of the University Libraries, University at Buffalo, the State University of New York.

[abwwia]

Portrait of Lucia Joyce, 1927–28 by Berenice Abbott

Lucia Anna Joyce (26 July 1907 – 12 December 1982) was a professional dancer and the daughter of Irish writer James Joyce and Nora Barnacle. Once treated by Swiss psychiatrist Carl Jung, Joyce was diagnosed as schizophrenic in the mid-1930s and institutionalized at the Burghölzli psychiatric clinic in Zurich. In 1951, she was transferred to St Andrew's Hospital in Northampton, where she remained until her death in 1982. She was the aunt of Stephen James Joyce. Via Wikipedia

[transistoradio]

Lucia Joyce (daughter of James Joyce) photographed by Berenice Abbott, 1926-1927.

[grandhotelabyss]

Do you think there is truth that Joyce's daughter was actually a misunderstood soul and that Karl Jung actually ruined her life by his "treatment"?

Probably not. Even Foucauldian types skeptical of psychology like me believe schizophrenia—probably what she had—has a likely organic basis even if we don't understand it, i.e., more like a brain tumor than like a neurosis. Schizophrenia or, as this book suggests, congenital syphilis (though that book is slightly monomaniacal on the subject of syphilis). I know she's sort of an irresistible symbol with the thwarted dance career and everything, a modernist bacchante, even if we know we're not supposed to use illness as metaphor, and she even turns up briefly in one of the last chapters of my current work-in-progress, but I think the reality of the situation was unglamorous. She seems to have been incorrigibly physically violent, a danger to others, which doesn't come from being a misunderstood soul. Anyway, if we want, irresponsibly, to scandal-monger, speculatively to libel dead men, look not to the psychoanalyst but to the father himself:

Notwithstanding Mark Shechner's contention that "despite the ubiquity of confession in Ulysses and Joyce's other books, that crime remains as mysterious as Earwicker's crime in Phoenix Park," my conviction is that there is sufficient textual support in the novel, not only for fantasies of father/daughter incest, but for the actual occurrence.

—Jane Ford, "Why Is Milly in Mullingar?" James Joyce Quarterly, Vol. 14, No. 4 (Summer, 1977)

[viragfold]

"go una bella balla"

A többnyelvűségnek vagy a nyelvi keveredésnek a teremtő káosza csírázhat annak a levelezőlapnak a szövegében, melyet az 5 éves Lucia Joyce küldött 1912-ben Dublin-ból Triesztbe, az ott tartózkodó édesapjának, James Joyce-nak. Kb. olyan esetlen lehet ez, mint a mostani kivándorló/bevándorló közép-európai családok gyerekeinek üzenetei az otthon maradt rokonoknak - azzal a különbséggel, hogy napjainkban már nem annyira egy levelezőlapokon, hanem például a Messenger-en vagy a Viber-en zajlik mindez. Nemrég találtam egy cikket a The New York Times archívumában, mely szintén Lucia levelezőlapjával foglalkozik. Ők arra jutottak, hogy a 'go' itt valójában az 'ho' mutációja ('avere' egyes szám első személyben) , mely igen gyakori Trieszt környékén, s valószínűleg a szláv nyelvi behatás eredménye. Simán lehet, hogy igazuk van. De igazándiból a fene tudja, hisz van egy 5 éves kislány, aki Triesztben született angol nyelvű ír szülőktől, s épp egy angol nyelvű környezetből ír (!) olaszul (!) levelet a Triesztben tartózkodó apjának. Mindebbe az is beleférhet, hogy játszik a szavakkal, a jelentésekkel, a nyelvekkel és a nyelvjártásokkal. Biztosak nem lehetünk semmiben, csak abban, hogy mindez nagyon joyce-i…

[magistersomnia]

Round the Bend

Was she dead?  Was this her happy ever after-life, here at Saint Andrews Hospital on this instant in the day that seems to have her whole story in it, from the formation the big bang, dawn chorus sunrise of space-time, born out of an ever present quantum vacuum in the morning to the end of everything in the last cooling breath of an entropic sunset, just before the stars come and go out?  Is this her heaven or hell, she wonders, these elysian fields with her whole universe from start to finish somehow crystallised into each day, with every day eternal and with every day the same, reiterated endlessly down to the tiniest and most infinitesimal detail, though somehow she didn't notice the unending repetition, feasibly as a result of her premeditation?  Perhaps this is what the afterlife is like for everyone, not just for her.  Perhaps for everybody, their whole world and their whole life is one long and unusually eventful day that they will have forgotten by tomorrow morning when they wake as couldn't-care-less babies, to begin the same old timeless and beloved story all over again.

[hedghost]

muwfc players as responses to the ‘can you buy me pads’ text meme

jayde

tooney

phallon

melvine

lucia

maya

leah

millie

mary

keets

zel

geyse

grace

[mltcentral]

super leah providing the xmas jumper content we were wanting

via leahgalton11 on tiktok

[parure-d-insomnie]

Lucia Joyce (1930)____________photo Berenice Abbot.

[lessirussolvr]

[unitedbydevils]

Match Review: Liverpool Women 0-1 Manchester United Women

Bounce back accomplished.

Conti Cup action for United off the back of a weekend defeat at home to Manchester City, and a chance for slightly out-of-favour players to force their way back into Mark Skinner's plans.

Lucia Garcia back in the team, and wouldn't you know it, United looked SHARP with the sweary Spaniard hassling the Liverpool defence.

Garcia went close early on in the first half with a curled effort aimed at the top right corner, but the outswinging effort veered just wide. Rachel Williams also fluffed a straightforward header from a beautifully floated Nikita Parris cross. Parris decided to take manners into her own hands, and drifting from left to centre she held off three Liverpool players to ping a ball top left corner and 1-0 United.

Liverpool showed more bite in the second half, which led to some sensational keeping from United's no2 Phallon Tullis-Joyce. The American marine biologist didn't look like a fish out of water as she pulled off a clutch double save to preserve United's lead.

Lucia Garcia had a speculative effort in an attempt to make it 2-0, but the best chance fell to loanee Melvine Malard whose curling effort just wasn't quite angled wide enough to curve round the Liverpool keeper Micah and into the net.

A good win for United which on paper showed a slight advantage in possession and shots on target, which ultimately paid off. Not bad for a "second string" side, but with so many names who regularly play First XI the United squad is looking better in depth than perhaps it ever has before - albeit still with a few issues at full back.

Next up, a trip to Ashton Gate and southwest Bristol to face off against Bristol City; bottom of the WSL league. A record women's attendance has already been confirmed, and yours truly will be in amongst the away end cheering on United. Up the fucking reds!

[citizenscreen]

Barbara Pepper, Eve Arden, director Raoul Walsh, Marlene Dietrich, Lucia Carroll, and Joyce Compton during filming of MANPOWER (1941)

[bremser]

Berenice Abbott at 18 rue Servandoni

The portrait on the cover of Julia Van Haaften's 2018 biography "Berenice Abbott: A Life in Photography" and at the top of Abbott's wiki page is by an unknown photographer. It was taken for the small newspaper Paris-Midi, published June 14, 1928. Keystone France agency, and now Getty owns the rights and incorrectly dates it as 1927, while Wikipedia dates it as "1930s."

At the time, her studio was at 18 rue Servandoni in Paris, we see the fireplace and door in the background in other portraits, such as the portrait of James Joyce's daughter, Lucia. There's a classic Atget at 15 rue Servandoni, but it's from 1903-4. Atget died in 1927 and Abbott, along with Julien Levy, saved his archive. By 1930 she was in New York City, where Walker Evans made his great portrait of her.

Van Haaften writes that in search of lower rent, Abbott moved to the rue Servandoni studio in early 1928. Abbott kept a clipping of the newspaper, but there's no further detail about the portrait session in the biography.

I was curious about the photographer of the portrait and found Getty has a handful of other frames from the same session that I'd never seen.

Most interesting of those frames is this contemplative shot showing the windows of her studio, maybe some photo chemicals on the table. A puff of smoke emanates from Abbott's cigarette in the same place where someone has left their fingerprint on the negative or print. There's a strong reflection or light leak in the top left corner of the frame. Van Haaften describes the rue Servandoni studio offering "beautiful north light."

Looking at the building on Google Earth, there is one north-facing spot that has the large windows similar to the 1928 portrait, seen in the center of the screen grab below.

Another detail Van Haaften mentions is that it took Abbott months to install electricity. An electric spotlight is on a tripod behind Abbott in the standing portrait. In the alternate angle you can see a not-to-code wire dangling.

So, who made these portraits? The Keystone France agency was an off-shoot of a popular stereoview company based in Meadville, Pennsylvania, hence "keystone." If you've ever flipped through old stereoviews at a vintage shop, you recognize this brand. The French agency was founded by Alexandre Garai in 1927 (whose brother Bertram started a related Keystone in London in 1914). The Met has one photograph by Alexandre Garai, taken in 1927. The jpeg is tiny, but indicates a modern perspective. While it's possible Garai is the photographer, his brother's ethos seems to have been to be the boss ... and never touch a camera.

The identity could be buried deep in Getty's London warehouse, which stores 80 million photographs and negatives. When these frames were scanned and metadata added to Getty in 2010-2016, if there was a name on the back of the prints, it probably would have been added then.

From the photos themselves, it's difficult to say if Abbott had a rapport or was familiar with the photographer: her default intensity is remarkably consistent her entire life, up until the last portrait of her in 1991.

(left, rue Servandoni 1929, right: Hank O'Neal, Berenice Abbott, Last Portrait, Monson, Maine July 17, 1991)

From the resolution, the depth of field on the lens, these are probably shot with a 4x5 or larger camera. It looks like the photographer shot the lens wide open, the camera in the standing portraits looks very much in focus, while Abbott's face looks slightly out of focus.

Two of the four frames have similar damage, could be a development problem, but could be mold later while in storage. Abbott's Paris portraits of the period were shot on glass (as much of Atget's body of work was), though by the late 1920s glass plates had mostly been replaced by film. Annoyingly, Getty is one of the best places online to see her Paris portraits, but the Steidl book is highly recommended. Seen together, you realize why Man Ray felt threatened, or at least annoyed, by his former assistant.

The photographer was either challenged or in a challenging environment. Abbott was often a withering critic, one can imagine a green photographer shows up to make portraits and encounters a prickly subject. With the seated portrait above, at first glance, I thought maybe the print has a piece torn out of the left side? Or is it a modern lamp intruding on the composition?

It's difficult to tell with the window portrait how much of it is a metering mistake or the potential development issue, but it looks several stops overexposed to be of use in publication of that time. Today, with our phone cameras taking three frames and digitally merging exposure, we can romanticize the top half of her body dissolving into the light is as the "magic of film."

I'm calling this the "last" frame of the session, based only on the fact that her pose and facial expression has shifted from intensity to a mix of boredom and exasperation. The photographer told her to sit on the day bed with tea and a book, "look relaxed," but she wants nothing to do with it.

[heronstill]

Berenice Abbott. Lucia Joyce dancing (1920′s)

[princesssarisa]

Opera on YouTube 5

Nabucco

Teatro alla Scala, 1987 (Renato Bruson, Ghena Dimitrova; conducted by Riccardo Muti; no subtitles)

Teatro di San Carlo, 1997 (Renato Bruson, Lauren Flanigan; conducted by Paolo Carognani; no subtitles)

Ankara State Opera, 2006 (Eralp Kıyıcı, Nilgün Akkerman; conducted by Sunay Muratov; no subtitles)

St. Margarethen Opera Festival, 2007 (Igor Morosow, Gabriella Morigi; conducted by Ernst Märzendorfer; English subtitles)

Rome Opera, 2011 (Leo Nucci, Csilla Boross; conducted by Riccardo Muti; English and German subtitles)

Teatro Comunale di Bologna, 2013 (Vladimir Stoyanov, Anna Pirozzi; conducted by Michele Mariotti; Italian subtitles)

Rome Opera, 2013 (Luca Salsi, Tatiana Serjan; conducted by Riccardo Muti; no subtitles)

Gran Teatro Nacional, Perú, 2015 (Giuseppe Altomare, Rachele Stanisci; conducted by Fernando Valcárcel; Spanish subtitles)

Metropolitan Opera, 2017 (Plácido Domingo, Liudmyla Monastyrska; conducted by James Levine; Spanish subtitles)

Arena di Verona, 2017 (George Gagnidze, Susanna Branchini; conducted by Daniel Oren; English subtitles)

La Cenerentola (Cinderella)

Jean-Pierre Ponnelle studio film, 1981 (Frederica von Stade, Francisco Araiza, Paolo Montarsolo; conducted by Claudio Abbado; English subtitles)

Glyndebourne Festival Opera, 1983 (Kathleen Kuhlmann, Laurence Dale, Claudio Desderi; conducted by Donato Renzetti; no subtitles)

Salzburg Festival, 1988 (Ann Murray, Francisco Araiza, Walter Berry; conducted by Riccardo Chailly; English subtitles)

Tokyo Bunka Kaikan, 1991 (Lucia Valentini-Terrani, Toshiro Gorobe, Domenico Trimarchi; conducted by Antonello Allemandi; Japanese subtitles) – Act I, Act II

Houston Grand Opera, 1995 (Cecilia Bartoli, Raúl Giménez, Enzo Dara; conducted by Bruno Campanella; no subtitles)

Rossini Opera Festival, 2000 (Sonia Ganassi, Juan Diego Flórez, Bruno Praticó; conducted by Carlo Rizzi; Italian subtitles)

Gran Teatre del Liceu, 2008 (Joyce DiDonato, Juan Diego Flórez, Bruno de Simone; conducted by Patrick Summers; German subtitles)

Romeo Opera, 2015 (Serena Malfi, Juan Francisco Gatell, Alessandro Corbelli; conducted by Alejo Pérez; Italian and English subtitles)

Lille Opera, 2016 (Emily Fons, Taylor Stayton, Renato Girolami; conducted by Yves Parmentier; English subtitles)

Boboli Gardens, Florence, 2020 (Svetlina Stoyanova, Josh Lovell, Daniel Miroslaw; conducted by Sándor Károlyi; no subtitles)

Lucia di Lammermoor

Tokyo Bunka Kaikan, 1967 (Renata Scotto, Carlo Bergonzi; conducted by Bruno Bartoletti; English subtitles)

Mario Lanfranchi film, 1971 (Anna Moffo, Lajos Kosma; conducted by Carlo Felice Cillario; English subtitles)

Bregenz Festival, 1982 (Katia Ricciarelli, José Carreras; conducted by Lamberto Gardelli; no subtitles) – Part I, Part II

Opera Australia, 1986 (Joan Sutherland, Richard Greager; conducted by Richard Bonynge; English subtitles)

Teatro Carlo Felice, 2003 (Stefania Bonfadelli, Marcelo Álvarez; conducted by Patrick Fournillier; Japanese subtitles)

San Francisco Opera, 2009 (Natalie Dessay, Giuseppe Filianoti; conducted by Jean-Yves Ossonce; English subtitles)

Amarillo Opera, 2013 (Hanan Alattar, Eric Barry; conducted by Michael Ching; English subtitles)

Gran Teatre del Liceu, 2015 (Elena Mosuc, Juan Diego Flórez; conducted by Marco Armiliato; French subtitles)

Teatro Real de Madrid, 2018 (Lisette Oropesa, Javier Camerana; conducted by Daniel Oren; English subtitles)

Vienna State Opera, 2022 (Lisette Oropesa, Benjamin Bernheim; conducted by Evelino Pidó; English subtitles)

Il Trovatore

Claudio Fino studio film, 1957 (Mario del Monaco, Leyla Gencer, Fedora Barbieri, Ettore Bastianini; conducted by Fernando Previtali; English subtitles)

Wolfgang Nagel studio film, 1975 (Franco Bonisolli, Raina Kabaivanska, Viorica Cortez, Giorgio Zancanaro; conducted by Bruno Bartoletti; Japanese subtitles)

Vienna State Opera, 1978 (Plácido Domingo, Raina Kabaivanska, Fiorenza Cossotto, Piero Cappuccilli; conducted by Herbert von Karajan; no subtitles)

Opera Australia, 1983 (Kenneth Collins, Joan Sutherland, Lauris Elms, Jonathan Summers; conducted by Richard Bonynge, English subtitles)

Metropolitan Opera, 1988 (Luciano Pavarotti, Eva Marton, Dolora Zajick, Sherrill Milnes; conducted by James Levine; no subtitles)

Bavarian State Opera, 2013 (Jonas Kaufmann, Anja Harteros, Elena Manistinta, Alexey Markov; conducted by Paolo Carignani; English subtitles)

Temporada Lirica a Coruña, 2015 (Gregory Kunde, Angela Meade, Marianne Cornetti, Juan Jesús Rodriguez; conducted by Keri-Lynn Wilson; no subtitles)

Opéra Royal de Wallonie-Liége, 2018 (Fabio Sartori, Yolanda Auyanet, Violeta Urmana, Mario Cassi; conducted by Daniel Oren; French subtitles)

Arena di Verona, 2019 (Yusif Eyvazov, Anna Netrebko, Dolora Zajick, Luca Salsi; conducted by Pier Giorgio Morandi; German subtitles)

Teatro Verdi di Pisa, 2021 (Murat Karahan, Carolina López Moreno, Victória Pitts, Cesar Méndez; conducted by Marco Guidarini; no subtitles)