1: Patrick A. McCarthy: ‘ Reading in Ulysses
2: Daniel P. Gunn, ‘ The Name of Bloom
3: Suzette Henke, ‘Joyces New Womanly Man
4: Zack Bowen, ‘Comic Narration
Bowen characterizes Dowies end speech as “a coughmixture for linguistic inflammation, a concluding burst of understandable comic exuberance to reinforce the episodes murky comic prognostication that little meaning can ever come from either literature or language in general.” [And leaves us hanging there.]
Bowen announces an important but unpublished discovery made by Ruth Bauerle that the opening phrase of Penelope - ‘Yes because he never did a thing like that before - is the line of a musichall song. 
.. happier with the view that Ulysses is a magnificent comic celebration of life.
[Although the introduction talks about varied epistemological strategies, this is beginning to sound like a rather conservative gathering.]
5: Susan Brienza, Murphy, Shem, Morpheus, and Murphies: Eumaeus meets the Wake
[This is an absurd thesis, absurdly expressed. It diminishes the works and robs them of their native spirit.]
6: Shari Benstock, Apostrophes: Framing Finnegans Wake
A footnote criticising John Bishop: ‘JBs reading the Wake draws together sleep, dreams, and memory to suggest ways of Wakean obscurity, its language serving (in Joyces words) ‘to reconstruct the nocturnal life. ( Book of the Dark, 1986, p. 4). ... Bishops study does not concentrate on dreams, per se, and thus he extends the dream frame to mark the internal boundary between sleep and dreams, between the ‘hole and the ‘whole continually passing the bar between that which is barred from memory and that which is available only in dream. His entrance to the Wake are those which mark a falling asleep (presumably the first pages) and the coming awake (the closing pages). Postulating that the clearest renderings of the Wake themes and structures are available here, Bishop rigorously tries to render a comprehensive, literary interpretation of the text, which the text itself defeats. 
Her general argument is summarised in a footnote (4): ‘The notion that the Wake is somehow more available, more understandable, when read aloud, that its language frequently empowers aural rather than visual techniques of wordplay, has long been a commonly held assumption. Indeed, a standard method of teaching FW is to read it aloud, which suggests that what is heard in the Wake may be more evident, even more trustworthy than what is seen . What apostrophe - in all its forms - suggests is not merely that the opposite might be true (writing takes precedence over telling in the Wake ) but that the relationship between telling and writing is far more complex that we have so far thought. In its genre, apostrophe evokes through writing an image of voice that is possible only in writing. That the writing effects of the Wakean use of the vocative have been systematically overlooked, even denied, is an inescapable effect of the Wakes own law, wherein the difference between telling and writing is inscribed . 
7: Vincent Cheng, ‘The Bawk of Bats in Joyces Belfry
8: Bernard Benstock, The Olefactory Factor.
9: Richard Corballis, ‘Wilde .. Joyce .. OBrien .. Stoppard, Modernism and Postmodernism in Travesties .
Finds ‘Stoppards notion of sensibility and texture different from standard modernist definitions of those things and Stoppard himself increasingly ‘interested in human emotions .. enthusiast for the traditional ways of the English gentleman .. and the great humanistic tradition of English literature .. in which Joyce can, with some sleight of hand, be incorporated. [163-64]
Points numerous out verbal and structural similarities with Ulysses . It is true that Stoppard - like the Joyce he depicts in Act I - has created ‘a corpse that will dance for some time yet and leave the world precisely as it finds it. But it needs to be stressed tht he did not take the easiest road to this inconclusive conclusion. He could have allowed his slick simulcra of Joyce to preside over two acts of empty carnival; instead he emulated the real Joyce and, in act 2, penetrated deeper - to the inner conflcts, uncertainties, and .. the drama .. 
ultimately [he shows] modernism evoking what postmoderism demonstrates - that art and politis do not mix, and revolution in one bears no obvious relation to revolution in the other. 
10: Fritz Senn, ‘Joycean Prevections
The man got carried away [cases cited] .. being carried way determines a large part of Joyce .. the victim of powerful impulses, which could be seen as obsession  .. characters carried away in Dubliners ..  ftn quotes Quintillian audacia provecti, Ist. Orat., 1.3.4., and FW, good Sanskrit, ‘ Vah ! [594.1]
Paddy Dignam is summoned by provection [transformation] after a reference to ghosts, and warns ‘CK not to ‘pile it on.
Introducing the word provection [augmentation, intensification, hypertrophy, amplification; also some divergence .. in relation to some implied norm], Senn offers a description of Joycean plots by means of iconic vectors. 
the Joycean text often deviates almost instantly into parody  .. from snotgreen into scrotumtightening, from consubstantiality into contransmagnifandjewbangtantiality .
Whether we call this parody or hyperbole, the form itself consists in overstepping limits of reserve, which in actuality might be due to sincerity of feelings [cf. ‘let the s. of my f. be the excuse for my boldness, Bob Doran, in Oxen], but in its verbal excess points to the opposite. 
one of the Latin meanings of provehere is to promote in rank : Senn cites the apotheosis of Bloom, in Cyclops.  from ‘the Cliffs of Moher to ‘the delta in the constellation of Cassiopeia and into ‘incalculable eons of peregrinations ( Ithaca ) 
Joyce answering Pounds charge of “going too far”: ‘it is not capricious. To show new angles of the noncapriciousness of Joyces ways has now become a mainstream scholarly occupation. The tendency is now to charcterize the Ulysses chapters precisely in terms of their prevections.
Re Michael Grodens Ulysses in Progress ( Princeton 1977): three stages [of which] the third one, was the ebullient Circe chapter, whose continual excrescences affected the rest of the novel, including what had already been written. Revising Circe, Joyce once more changed gear, and decisively so. 
to his semi-coinage provective, Senn adroitly adds quote FW ‘vectorious readyeyes (298) which follows the greater than or less than iconic typography, and reads it : vectious ready eyes, a way of reading FW and the other works.
from topsawyers .. exaggerated themselves [ agger, a rock-pile L], to EXSOGGERERAIDER! Senn argues that Homers Odyssey is an provection from the intended journey.
as readers, we take and bundle our vectoreal choices and call them interpretation. .. it has to be admitted that a certain prvective conditioning seems to be the trademark of the Joycean reader who is likely to become spoiled, in the process, beyond retrieval. We get carried away physically [to] Dublin, Trieste .. Leeds, Seville, .. New Zealand or Milwaukee . .. we are the provectors, the exaggerators .. we keep piling it on, we deviate .. we go beyond the boundaries and sometimes have tobe called back by Bloomian common-sense. ... On the whole, unlike the old Daedalian  provector, we excel more by quantitative magnification than by inspired bangs.  BRAVO!
11: Sidney Feshbach, ‘The Veripatetic Ego
F. has shown that Joyce used neo-platonic ideas of the birth of the soul to organise his novel, in ‘A Slow Dark Birth of the Soul, JJQ 4 (Summer 1967) 289-300. Here he matches the essentialist and sequential - Platonist and Aristotelian - aspects of Thomass discussion of Divine attribution to the aspects of Stephens argument.
The precise context of the discussion of pulchritudino is that Aquinas says Beauty can be applied to the Son because it ‘bears a resemblance to [His] properties.
Feschbach includes a silly interpretation of Lynchs phrase, ‘Bulls eye! Also connects Stephens ‘thoughtenchanted silence (AP213 Viking) with Gabriel Conroys ‘thought-tormented music and ‘thought-tormented age (D192, 293).
12: Mary Reynolds, ‘Davins Boots: Joyce, Yeats, and Irish History
George Moore reported to have called his Day of the Rabblement ‘preposterously clever.
Mangan was not a model as he was for Yeats, but a cautionary example, a warning.
Reynolds quotes 1902 essay in which Joyce speaks of Finn and Cuchulain as ‘the latest and worst part of a legend upon which the line has never been drawn out and which divides against itself as it moves down the cycles. she asks, “Why did Joyce object to Celtic legends?”
Sanguinary motives: Ireland as ‘an abject queen upon whom, because of the bloody crimes that she has done and of those as bloody that were done to her, madness is come and death is coming. Joyce accuses Yeats of failing to see the bloody reality behind the myth .
Joyces relationship with the Literary Revival did not prosper. .. He left behind a bitter poem: ‘... though they spurn me from their door / My soul shall spurn them evermore.
Meeting Synge in Paris, where Synge gave him the MS of Riders to the Sea, to which J responded with severe criticism, though he recognised something new and important in it. His true impression: ‘Thanks be to God Synge isnt an Aristotelian.
Synges letter to Lady Gregory, describing Joyce, has been published in Ellmann, JJ2, 125n.
Reynolds adeptly characterises Gogartys relation to Joyce as malicious, viz, his attempt to make a drinker of him, and his exploitation of his unpopularity with the Lady Gregory crowd for comedy in literary court circles. Joyce supplied the final line for Gogartys poem, which won the Chancellors prize at TCD; the line was singled out for commendation.  A group of Gogartys letters shows in his own contemporary account the kinds of tales he was telling about Joyce at parties.
In this context, she interprets “The Holy Office”: Joyces point is that they [the lit. rev. writers] enjoy vicariously the spectacle of drunkenness and fornication for which he has become notorious. “My scarlet leaves them white as wool.”
In ‘The Holy Office he first identified his own background, in contrast to the Ascendancy background, as the true mainstream of Irish national consciousness. 
Reynolds interpretation of ‘The Dead is exemplarily simple: ‘Gabriels flash of understanding broadens into an awareness that he knows nothing of his [wife,] his own country, nothing of his own people. 
Joyce saw In The Shadow of the Glen in 1903. His woman in Davins story is conditioned by that. Reynolds notes Joyces depicted of Davin as a peasant in which ‘the dull stare of terror and the terror of soul of a starving Irish village are still apparent, and calls it a greater realism than Synges or Yeatss. Joyce followed Synges career with rapt envy. ‘Synge is a storm center but I have done nothing, he wrote to Stan. ‘This whole affair has upset me. I feel like a man in a house who hears a row in the street and voices he knows shouting but cant get out to see what the hell is going on. It has put me off the story I was “going to write” (SL, 148-50)- to wit, “The Dead”.
After some impertinent remarks about Joyce not being read in Dublin, she ends with a quotation from Seamus Deane.