How Much Is James Joyce Worth?

January 1, 2020

James Joyce Net Worth

James Joyce makes how much a year? For this question we spent 25 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.

The main source of income: Actors
Total Net Worth at the moment 2022 year – is about $151,2 Million.



James Joyce information Birth date: April 15, 1988 Death date: 1941-01-13 Birth place: Ormskirk, Lancashire, England, UK Height:6 3 (1.91 m) Profession:Actor Nationality:Irish Spouse:Nora Barnacle Children:Giorgio

Height, Weight

:How tall is James Joyce – 1,89m.
How much weight is James Joyce – 58kg


James Joyce Net Worth
James Joyce Net Worth
James Joyce Net Worth
James Joyce Net Worth


James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homers Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters.Joyce was born in 41 Brighton Square, Rathgar, Dublin—a kilometre from his mothers birthplace in Terenure—into a middle-class family on the way down. A brilliant student, he excelled as a student at the Jesuit schools Clongowes and Belvedere, winning gold medals and exhibitions, despite the chaotic and precarious family life imposed by his fathers love of drink, gambling and good company. He was a brilliant student at University College Dublin.In 1904, in his early twenties he emigrated permanently to continental Europe with his partner Nora Barnacle. They lived in Trieste, Paris, and Zurich. Though most of his adult life was spent abroad, Joyces fictional universe centres on Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there, Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses he elucidated this preoccupation somewhat, saying, For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal.
Biography,1882–1904: DublinJoyces birth and baptismal certificateJames Augustine Aloysius Joyce was born on 2 February 1882 to John Stanislaus Joyce and Mary Jane May Murray, in the Dublin suburb of Rathgar. He was baptised according to the Rites of the Catholic Church in the nearby St Josephs Church in Terenure on 5 February by Rev. John OMulloy. His godparents were Philip and Ellen McCann. He was the eldest of ten surviving children, two of his siblings died of typhoid.His fathers family, originally from Fermoy in County Cork, had once owned a small salt and lime works. Joyces father and paternal grandfather both married into wealthy families, though the familys purported ancestor, Sean Mor Seoighe (fl. 1680) was a stonemason from Connemara. In 1887, his father was appointed rate collector (i.e., a collector of local property taxes) by Dublin Corporation, the family subsequently moved to the fashionable adjacent small town of Bray 12 miles (19 km) from Dublin. Around this time Joyce was attacked by a dog, which engendered in him a lifelong cynophobia. He also suffered from astraphobia, as a superstitious aunt had described thunderstorms to him as a sign of Gods wrath.In 1891 Joyce wrote a poem on the death of Charles Stewart Parnell. His father was angry at the treatment of Parnell by the Catholic church, the Irish Home Rule Party and the British Liberal Party and the resulting collaborative failure to secure Home Rule for Ireland. The Irish Party had dropped Parnell from leadership. But the Vaticans role in allying with the British Conservative Party to prevent Home Rule left a lasting impression on the young Joyce. The elder Joyce had the poem printed and even sent a part to the Vatican Library. In November of that same year, John Joyce was entered in Stubbs Gazette (a publisher of bankruptcies) and suspended from work. In 1893, John Joyce was dismissed with a pension, beginning the familys slide into poverty caused mainly by his drinking and general financial mismanagement.Joyce aged six, 1888Joyce had begun his education at Clongowes Wood College, a Jesuit boarding school near Clane, County Kildare, in 1888 but had to leave in 1892 when his father could no longer pay the fees. Joyce then studied at home and briefly at the Christian Brothers OConnell School on North Richmond Street, Dublin, before he was offered a place in the Jesuits Dublin school, Belvedere College, in 1893. This came about because of a chance meeting his father had with a Jesuit priest who knew the family and Joyce was given a reduction in fees to attend Belvedere. In 1895, Joyce, now aged 13, was elected to join the Sodality of Our Lady by his peers at Belvedere. The philosophy of Thomas Aquinas continued to have a strong influence on him for most of his life.Joyce enrolled at the recently established University College Dublin (UCD) in 1898, studying English, French and Italian. He also became active in theatrical and literary circles in the city. In 1900 his laudatory review of Henrik Ibsens When We Dead Awaken was published in Fortnightly Review, it was his first publication and, after learning basic Norwegian to send a fan letter to Ibsen, he received a letter of thanks from the dramatist. Joyce wrote a number of other articles and at least two plays (since lost) during this period. Many of the friends he made at University College Dublin appeared as characters in Joyces works. His closest colleagues included leading figures of the generation, most notably, Thomas Kettle, Francis Sheehy-Skeffington and Oliver St. John Gogarty. Joyce was first introduced to the Irish public by Arthur Griffith in his newspaper, The United Irishman, in November 1901. Joyce had written an article on the Irish Literary Theatre and his college magazine refused to print it. Joyce had it printed and distributed locally. Griffith himself wrote a piece decrying the censorship of the student James Joyce.[11] In 1901, the National Census of Ireland lists James Joyce (19) as an English- and Irish-speaking scholar living with his mother and father, six sisters and three brothers at Royal Terrace (now Inverness Road), Clontarf, Dublin.[12]Bust of Joyce on St Stephens Green, DublinAfter graduating from UCD in 1902, Joyce left for Paris to study medicine, but he soon abandoned this. Richard Ellmann suggests that this may have been because he found the technical lectures in French too difficult. Joyce had already failed to pass chemistry in English in Dublin. But Joyce claimed ill health as the problem and wrote home that he was unwell and complained about the cold weather.[13] He stayed on for a few months, appealing for finance his family could ill afford and reading late in the Bibliotheque Sainte-Genevieve. When his mother was diagnosed with cancer, his father sent a telegram which read, NOTHER [sic] DYING COME HOME FATHER.[14] Joyce returned to Ireland. Fearing for her sons impiety, his mother tried unsuccessfully to get Joyce to make his confession and to take communion. She finally passed into a coma and died on 13 August, James and his brother Stanislaus having refused to kneel with other members of the family praying at her bedside.[15] After her death he continued to drink heavily, and conditions at home grew quite appalling. He scraped a living reviewing books, teaching, and singing—he was an accomplished tenor, and won the bronze medal in the 1904 Feis Ceoil.[16][17]On 7 January 1904 Joyce attempted to publish A Portrait of the Artist, an essay-story dealing with aesthetics, only to have it rejected by the free-thinking magazine Dana. He decided, on his twenty-second birthday, to revise the story into a novel he called Stephen Hero. It was a fictional rendering of Joyces youth, but he eventually grew frustrated with its direction and abandoned this work. It was never published in this form, but years later, in Trieste, Joyce completely rewrote it as A Portrait of the Artist as a Young Man. The unfinished Stephen Hero was published after his death.[18]The same year he met Nora Barnacle, a young woman from Galway city who was working as a chambermaid. On 16 June 1904, they first stepped out together, an event which would be commemorated by providing the date for the action of Ulysses (as Bloomsday).Joyce remained in Dublin for some time longer, drinking heavily. After one of these drinking binges, he got into a fight over a misunderstanding with a man in St Stephens Green,[19] he was picked up and dusted off by a minor acquaintance of his father, Alfred H. Hunter, who took him into his home to tend to his injuries.[20] Hunter was rumoured to be a Jew and to have an unfaithful wife, and would serve as one of the models for Leopold Bloom, the protagonist of Ulysses.[21] He took up with medical student Oliver St John Gogarty, who formed the basis for the character Buck Mulligan in Ulysses. After staying for six nights in the Martello Tower that Gogarty was renting in Sandycove, he left in the middle of the night following an altercation which involved another student he lived with, the unstable Dermot Chenevix Trench (Haines in Ulysses), who fired a pistol at some pans hanging directly over Joyces bed.[22] Joyce walked the 8 miles (13 km) back to Dublin to stay with relatives for the night, and sent a friend to the tower the next day to pack his trunk. Shortly thereafter he left Ireland with Nora to live on the continent.1904–20: Trieste and ZurichJoyce in Zurich, in 1915Joyce and Nora went into self-imposed exile, moving first to Zurich in Switzerland, where he had supposedly acquired a post to teach English at the Berlitz Language School through an agent in England. It turned out that the agent had been swindled, the director of the school sent Joyce on to Trieste, which was then part of Austria-Hungary (until the First World War), and is today part of Italy. Once again, he found there was no position for him, but with the help of Almidano Artifoni, director of the Trieste Berlitz School, he finally secured a teaching position in Pola, then also part of Austria-Hungary (today part of Croatia). He stayed there, teaching English mainly to Austro-Hungarian naval officers stationed at the Pola base, from October 1904 until March 1905, when the Austrians—having discovered an espionage ring in the city—expelled all aliens. With Artifonis help, he moved back to Trieste and began teaching English there. He remained in Trieste for most of the next ten years.[23]Later that year Nora gave birth to their first child, George, also known as Giorgio. Joyce then managed to talk his brother, Stanislaus, into joining him in Trieste, and secured him a position teaching at the school. Joyces ostensible reasons were desire for Stanislauss company and the hope of offering him a more interesting life than that of his simple clerking job in Dublin. Joyce also hoped to augment his familys meagre income with his brothers earnings.[24] Stanislaus and Joyce had strained relations throughout the time they lived together in Trieste, with most arguments centring on Joyces drinking habits and frivolity with money.[25]Joyce became frustrated with life in Trieste and moved to Rome in late 1906, having secured employment as a letter-writing clerk in a bank. He intensely disliked Rome, and moved back to Trieste in early 1907. His daughter Lucia was born later that year.[26]Joyce returned to Dublin in mid-1909 with George, to visit his father and work on getting Dubliners published. He visited Noras family in Galway and liked Noras mother very much.[27] While preparing to return to Trieste he decided to take one of his sisters, Eva, back with him to help Nora run the home. He spent only a month in Trieste before returning to Dublin, this time as a representative of some cinema owners and businessmen from Trieste. With their backing he launched Irelands first cinema, the Volta Cinematograph, which was well-received, but fell apart after Joyce left. He returned to Trieste in January 1910 with another sister, Eileen, in tow.[28] Eva became homesick for Dublin and returned there a few years later, but Eileen spent the rest of her life on the continent, eventually marrying Czech bank cashier Frantisek Schaurek.[29]Joyce returned to Dublin again briefly in mid-1912 during his years-long fight with Dublin publisher George Roberts over the publication of Dubliners. His trip was once again fruitless, and on his return he wrote the poem Gas from a Burner, an invective against Roberts. After this trip, he never again came closer to Dublin than London, despite many pleas from his father and invitations from fellow Irish writer William Butler Yeats.One of his students in Trieste was Ettore Schmitz, better known by the pseudonym Italo Svevo. They met in 1907 and became lasting friends and mutual critics. Schmitz was a Catholic of Jewish origin and became a primary model for Leopold Bloom, most of the details about the Jewish faith in Ulysses came from Schmitzs responses to queries from Joyce.[30] While living in Trieste, Joyce was first beset with eye problems that ultimately required over a dozen surgical operations.[31]Joyce concocted a number of money-making schemes during this period, including an attempt to become a cinema magnate in Dublin. He also frequently discussed but ultimately abandoned a plan to import Irish tweed to Trieste. Correspondence relating to that venture with the Irish Woollen Mills were for a long time displayed in the windows of their premises in Dublin. Joyces skill at borrowing money saved him from indigence. What income he had came partially from his position at the Berlitz school and partially from teaching private students.The so-called James-Joyce-Kanzel (plateau) at the confluence of the Sihl and Limmat rivers in Zurich where Joyce loved to relaxIn 1915, after most of his students in Trieste were conscripted to fight in the First World War, Joyce moved to Zurich. Two influential private students, Baron Ambrogio Ralli and Count Francesco Sordina, petitioned officials for an exit permit for the Joyces, who in turn agreed not to take any action against the emperor of Austria-Hungary during the war.[32] In Zurich, Joyce met one of his most enduring and important friends, the English socialist painter Frank Budgen, whose opinion Joyce constantly sought through the writing of Ulysses and Finnegans Wake. It was also here that Ezra Pound brought him to the attention of English feminist and publisher Harriet Shaw Weaver, who would become Joyces patron, providing him with thousands of pounds over the next 25 years and relieving him of the burden of teaching to focus on his writing. While in Zurich he wrote Exiles, published A Portrait…, and began serious work on Ulysses. Zurich during the war was home to exiles and artists from across Europe and its bohemian, multilingual atmosphere suited him. Nevertheless, after four years he was restless, and after the war he returned to Trieste as he had originally planned. He found the city had changed, and some of his old friends noted his maturing from teacher to artist. His relations with his brother Stanislaus (who had been interned in an Austrian prison camp for most of the war due to his pro-Italian politics) were more strained than ever. Joyce went to Paris in 1920 at an invitation from Ezra Pound, supposedly for a week, but the family ended up living there for the next twenty years.1920–41: Paris and ZurichIn Paris, 1924. Portrait by Patrick Tuohy.Joyce set himself to finishing Ulysses in Paris, delighted to find that he was gradually gaining fame as an avant-garde writer. A further grant from Miss Shaw Weaver meant he could devote himself full-time to writing again, as well as consort with other literary figures in the city. During this time, Joyces eyes began to give him more and more problems and he often wore an eyepatch.[33] He was treated by Dr Louis Borsch in Paris, undergoing nine operations before Borschs death in 1929. Throughout the 1930s he travelled frequently to Switzerland for eye surgeries and for treatments for his daughter Lucia, who, according to the Joyces, suffered from schizophrenia. Lucia was analysed by Carl Jung at the time, who after reading Ulysses is said to have concluded that her father had schizophrenia.[34] Jung said that she and her father were two people heading to the bottom of a river, except that Joyce was diving and Lucia was sinking.[35][36][37]Grave of James Joyce in Zurich-FlunternIn Paris, Maria and Eugene Jolas nursed Joyce during his long years of writing Finnegans Wake. Were it not for their support (along with Harriet Shaw Weavers constant financial support), there is a good possibility that his books might never have been finished or published. In their literary magazine transition, the Jolases published serially various sections of Finnegans Wake under the title Work in Progress. Joyce returned to Zurich in late 1940, fleeing the Nazi occupation of France.DeathOn 11 January 1941, he underwent surgery in Zurich for a perforated ulcer. While he at first improved, he relapsed the following day, and despite several transfusions, fell into a coma. He awoke at 2 a.m. on 13 January 1941, and asked for a nurse to call his wife and son, before losing consciousness again. They were still on their way when he died 15 minutes later.Joyces body was interred in the Fluntern Cemetery near Zurich Zoo. Buried originally in an ordinary grave, he was moved in 1966 to a more prominent honour grave, with a seated statue of Joyce by American artist Milton Hebald nearby. Swiss tenor Max Meili sang Addio terra, addio cielo from Monteverdis LOrfeo at the burial service. Although two senior Irish diplomats were in Switzerland at the time, neither attended Joyces funeral, and the Irish government later declined Noras offer to permit the repatriation of Joyces remains. Nora, who had married Joyce in London in 1931, survived him by 10 years. She is buried by his side, as is their son Giorgio, who died in 1976.Joyce and religionBlue plaque, 28 Campden Grove, Kensington, LondonThe issue of Joyces relationship with religion is somewhat controversial. Early in life, he lapsed from Catholicism, according to first-hand testimonies coming from himself, his brother Stanislaus Joyce, and his wife:My mind rejects the whole present social order and Christianity—home, the recognised virtues, classes of life and religious doctrines. […] Six years ago I left the Catholic church, hating it most fervently. I found it impossible for me to remain in it on account of the impulses of my nature. I made secret war upon it when I was a student and declined to accept the positions it offered me. By doing this I made myself a beggar but I retained my pride. Now I make open war upon it by what I write and say and do.[38]My brother’s breakaway from Catholicism was due to other motives. He felt it was imperative that he should save his real spiritual life from being overlaid and crushed by a false one that he had outgrown. He believed that poets in the measure of their gifts and personality were the repositories of the genuine spiritual life of their race and the priests were usurpers. He detested falsity and believed in individual freedom more thoroughly than any man I have ever known. […] The interest that my brother always retained in the philosophy of the Catholic Church sprang from the fact that he considered Catholic philosophy to be the most coherent attempt to establish such an intellectual and material stability.[39]When the arrangements for Joyces burial were being made, a Catholic priest offered a religious service, which Joyces wife Nora declined, saying: I couldnt do that to him.[40]However, L. A. G. Strong, William T. Noon, Robert Boyle and others have argued that Joyce, later in life, reconciled with the faith he rejected earlier in life and that his parting with the faith was succeeded by a not so obvious reunion, and that Ulysses and Finnegans Wake are essentially Catholic expressions.[41] Likewise, Hugh Kenner and T. S. Eliot believed they saw between the lines of Joyces work the outlook of a serious Christian and that beneath the veneer of the work lies a remnant of Catholic belief and attitude.[42] Kevin Sullivan maintains that, rather than reconciling with the faith, Joyce never left it.[43] Critics holding this view insist that Stephen, the protagonist of the semi-autobiographical A Portrait of the Artist as a Young Man as well as Ulysses, is not Joyce.[43] Somewhat cryptically, in an interview after completing Ulysses, in response to the question When did you leave the Catholic Church, Joyce answered, Thats for the Church to say.[44] Eamonn Hughes maintains that Joyce takes a dialectic approach, both affirming and denying, saying that Stephens much noted non-serviam is qualified—I will not serve that which I no longer believe…, and that the non-serviam will always be balanced by Stephens I am a servant… and Mollys yes.[45] It is also known from first hand testimonies and his own writing that Joyce attended Catholic Mass and Orthodox Sacred Liturgy, especially during Holy Week, purportedly for aesthetic reasons.[46] His sisters also noted his Holy Week attendance and that he did not seek to dissuade them.[46] One friend witnessed him cry secret tears upon hearing Jesus words on the cross and another accused him of being a believer at heart because of his frequent attendance at church.[46]Umberto Eco compares Joyce to the ancient episcopi vagantes (wandering bishops) in the Middle Ages. They left a discipline, not a cultural heritage or a way of thinking. Like them, the writer retains the sense of blasphemy held as a liturgical ritual.[47]Some critics and biographers have opined along the lines of Andrew Gibson: The modern James Joyce may have vigorously resisted the oppressive power of Catholic tradition. But there was another Joyce who asserted his allegiance to that tradition, and never left it, or wanted to leave it, behind him. Gibson argues that Joyce remained a Catholic intellectual if not a believer since his thinking remained influenced by his cultural background, even though he dissented from that culture.[48] His relationship with religion was complex and not easily understood, even perhaps by himself. He acknowledged the debt he owed to his early Jesuit training. Joyce told the sculptor August Suter, that from his Jesuit education, he had learnt to arrange things in such a way that they become easy to survey and to judge.[49]Joyce and musicMusic is central to Joyces Biography, and to the understanding of his writings.[50] In turn, Joyces poetry and prose became an inspiration for composers and musicians. There are at least five aspects to consider:1. Joyces musicality: Joyce had considerable musical talent, which expressed itself in his singing, piano and guitar playing, as well as in a melody that he composed. His own musicality (which once made him consider music as a profession) is the root of his strong adoption of music as a major driving force in his fiction, in addition to his own experience of music in Ireland before he left in 1904. Joyce had a light tenor voice, he was taught by Vincent OBrien and Benedetto Palmieri, in 1904 won a bronze medal at the competitive music festival Feis Ceoil. His only composition is a melody to his poem Bid adieu, to which a piano accompaniment was added in the 1920s in Paris by the American composer Edmund J. Pendleton (1899–1987).[citation needed]2. The music Joyce knew: Music frequently found its way into Joyces poetry and prose. Often this happens in the form of allusions to (or partial quotations from) texts of Irish traditional songs, popular ballads, Roman Catholic chant and opera arias. His operatic references include works by Balfe, Wallace and Arthur Sullivan, in addition to Meyerbeer, Mozart, and Wagner (among many others). Joyce also makes frequent use of the Irish Melodies of Thomas Moore and ballads such as George Barkers Dublin Bay and J.L. Molloys Loves Old Sweet Song.[citation needed]3. Opera as a genre: Joyce had a lifelong preoccupation with opera as a generic precedent for his own fiction. Although Joyce scholarship has long identified an explicit recourse to musical structures in Ulysses (in particular the Sirens episode) and Finnegans Wake, more recent criticism has established a decisive reliance on Wagners Ring in Finnegans Wake[51] and an attempt to adapt the structures of opera and oratorio to the medium of fiction, notably in the Cyclops episode of Ulysses.[52] George Antheils unfinished setting of Cyclops as an opera attests this attempt.4. Music to Joyces words: Music that uses Joyces texts most frequently appears as settings of his poems in songs, and occasionally as excerpts from prose works. Irish composers were among the first to set Joyces poetry, including Geoffrey Molyneux Palmer (1882–1957), Herbert Hughes (1882–1937) and Brian Boydell (1917–2000),[53] but the musical qualities of Joyces verse also attracted European and North American composers, with early settings by Karol Szymanowski (Songs to Words by James Joyce op. 54, 1926) and Samuel Barber (Three Songs op. 10, 1936) in addition to settings by major exponents of the 1950s and 60s avant-garde such as Elliott Carter (String Quartet No. 1, 1951) and Luciano Berio (Chamber Music, 1953, Thema (Omaggio a Joyce), 1958, etc.) In 2015 Waywords and Meansigns presented an unabridged version of Finnegans Wake, collaboratively read and set to music, by contributors from around the globe.[54]5. Music inspired by Joyce: Often, instrumental music was also inspired by Joyces writings, including works by Pierre Boulez, Klaus Huber, Rebecca Saunders, Toru Takemitsu and Gerard Victory. With Luciano Berios Thema (Omaggio a Joyce (1958) there is also a key work in the development of electro-acoustic music. In 2014 the English composer Stephen Crowe set Joyces explicit letters to Nora as a song-cycle for tenor and ensemble.[citation needed]Joyce himself took a keen interest in musical settings of his work, performed some of them himself, and corresponded with many of the composers. He was particularly fond of the early settings by Palmer.[55]


Wikipedia Source: James Joyce

No Comments

Leave a Reply