Themes |
Episodes |
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3 |
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5 |
6 |
7 |
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9 |
10 |
11 |
12 |
13 |
14 |
15 |
16 |
17 |
18 |
The Artist’s Isolation |
X |
x |
x |
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x |
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x |
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x |
x |
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x |
x |
x |
x |
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“‘History,’ Stephen said, ‘is a nightmare from which I am trying to awake’” |
x |
x |
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x |
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x |
X |
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x |
x |
x |
x |
x |
x |
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“a shout/noise/cries in the street” |
x |
x |
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x |
x |
x |
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x |
x |
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x |
x |
x |
x |
x |
x |
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Drowning |
x |
x |
x |
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x |
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x |
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x |
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x |
x |
x |
x |
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Oxen, Cattle, and Horses |
x |
x |
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x |
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x |
x |
x |
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x |
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x |
x |
x |
x |
x |
A Mother’s Love |
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x |
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x |
x |
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x |
x |
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x |
x |
x |
x |
The fox and the holly bush, a gypsy dog, and midwives |
x |
x |
x |
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x |
x |
x |
x |
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x |
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x |
x |
x |
x |
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Sadomaschoism |
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x |
x |
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x |
x |
x |
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x |
x |
x |
x |
x |
Buttons and Pins |
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x |
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x |
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x |
x |
x |
x |
x |
x |
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x |
x |
x |
x |
The Faithless Wife |
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X |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
Scents |
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x |
x |
x |
x |
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x |
x |
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x |
x |
x |
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Swoons and narcotics |
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x |
x |
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x |
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x |
x |
x |
x |
x |
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Suicide |
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x |
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x |
x |
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x |
x |
x |
x |
x |
x |
x |
The Odyssey as a Substructure for Ulysses, Bloom as Odysseus |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
The Exotic East |
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x |
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x |
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x |
x |
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x |
x |
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x |
x |
x |
x |
x |
x |
Metempsychosis, Shared Experiences, Transformation, and Shape-Changing |
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x |
x |
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x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
x |
The reliability and malleability of sensation |
x |
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X |
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x |
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x |
x |
x |
x |
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x |
x |
x |
x |
Prophesy, the coming of Elijah, and “almosting” |
x |
x |
x |
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x |
x |
x |
x |
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x |
x |
x |
x |
x |
x |
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Shakespeare |
x |
x |
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x |
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x |
x |
x |
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x |
x |
x |
x |
x |
x |
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