Dissertations / Theses on the topic 'Dubliners (Joyce, James)'

Orientador: Fabio Akcelrud Durão
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O fato de existirem sete traduções do "Dubliners" de James Joyce poderia indicar duas situações diametralmente opostas: de um lado, que é possível já existir uma versão cujo brilho seria capaz de apagar, pelo menos temporariamente, a necessidade de se retraduzir os quinze contos; de outro, que há algo neste livro que resistiu e segue resistindo às mais obstinadas tentativas de tradução. O estudo destas traduções, entretanto, demonstrará que poucas são as divergências nas propostas que as animam, diferindo entre si tão-somente no grau de ousadia com que buscaram recriar o "Dubliners" em português: no geral, todas as sete (quatro brasileiras e três lusitanas) seriam filhas dum mesmo desejo de preservar a camada superficial de sentido a qualquer custo, mesmo que isto implique em apagar algumas das características mais intrigantes da prosa joyceana (a saber, a possibilidade de usos verbais dos personagens inadvertidamente despontarem na voz do narrador, as experiências coloquiais que abundam em qualquer dos contos [desvios da norma culta, expressões que não conhecem registro nos principais dicionários da língua, giros lexicais de sentido obscuro, peculiaridades do inglês falado na Irlanda, falas vazias de significação ou demasiado vagas, etc.] e as repetições que criam uma teia de sentidos dentro da obra). Pensando nisto e munido de um conhecimento minucioso tanto do texto inglês quanto do das versões em nosso idioma, empreendi uma nova tentativa de tradução do "Dubliners", tradução de viés acadêmico por vir acompanhada de notas e de um arcabouço teórico sólido, mas que não coloca em segundo plano a necessidade de se recriar a instigância do original irlandês. No que toca à obra joyceana, o crítico Hugh Kenner será uma das pedras de toque do projeto, enquanto que, no tocante à teoria da tradução, Walter Benjamin servirá como iluminador de caminhos. A versão castelhana de Guillermo Cabrera Infante, o genial escritor cubano e um admirador de Joyce, será um modelo de possibilidades criativas: não temos uma versão que se lhe equipare, uma versão que se proponha a criar uma obra rigorosa e de fato literária. Eis o desafio a que me proponho nesta dissertação
Abstract: The fact that there are seven translations of James Joyce's "Dubliners" could indicate two diametrically opposite situations: on the one hand, that it is possible that the splendour of one of these versions would be able to suppress, temporarily at least, the need for another translation; on the other, that there is something in this book that resisted and keeps resisting to the most obstinate attempts of translation. However, the analysis of these translations will show that there are few differences between their proposals: in general terms, all them ( four Brazilians and three Lusitanians) descended from the same desire of preserving at any cost the superficial layer of sense, even when it deletes some of his most intriguing characteristics (as some idioms of the characters appearing in the narrator's voice, or the numerous coloquial experiences, or the repetitions that create a web of signifiers inside the work). With that in mind and provided with a thorough knowledge of the English text as well as of the Portuguese translations, I undertake another attempt to translate it, an academic attempt with plenty of notes and a solid framework but bringing also to foreground the necessity of recreating a literary work, a work that deserves to be called literature. Hugh Kenner will be the touchstone regarding the Joycean criticism, while Walter Benjamin will illuminate new paths in translation studies. Guillermo Cabrera Infante, the bright Cuban writer and an admirer of Joyce, was my model of creative possibilities: we do not have a version as good as this one. This is my challenge with this dissertation
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

Le corps en tant qu'objet litteraire offre un champ d'application riche et divers, particulierement chez joyce. Si ulysses est explicitement designe comme une epopee du corps humain, dubliners contient deja les signes d'un interet profond pour le corps, ce corps que joyce considerait comme << a new province of material >>. C'est a l'exploration de cette terra incognito, que nous convie cette etude qui fournit des clefs de lecture permettant de mettre a jour la reelle complexite de la premiere uvre en prose de joyce. L'etude du corps dans dubliners pose la question de la constitution de l'identite a partir du visage, du fonctionnement du corps lorsque l'organique se confond avec la mecanique ainsi que la question des dereglements du corps qui sont les symptomes de conflits psychiques. Ainsi, comme l'ecriture, le corps est a la fois surface et profondeur, sorte de point de rencontre ou s'exerce le jeu du langage. Ecriture avant tout insidieuse ou l'uvre dissimule une complexite derriere une facade de simplicite. Ecriture parodique ou l'uvre renvoie a sa propre ecriture : certains moments paraissent etre des reecritures d'autres moments du recueil. Ecriture minutieuse ou fourmillentles details, l'uvre cree tout un systeme de reflets et d'echos. A l'image du corps, dubliners pose donc la question des rapports entre le tout et ses parties - question fondamentale dans cette ~uvre dont l'elucidation passe par la reconnaissance de son systeme de symetrie et d'entrecroisements, meticuleusement voulu par joyce.

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The present report, then, will focus on the “The Dead”, mainly, to show its intrinsic worth and the possible relations existing between it and the other stories within Dubliners, and Joyce’s next work, A Portrait of the Artist as a Young Man.

La these se propose de montrer que l'oeuvre de joyce emprunte, consciemment et inconsciemment, a l'esthetique et aux pratiques artistiques du baroque en les renouvelant les modernisant. Le baroque euphemise, proche des origines du mouvement, a l'expression quelque peu balbutiante des nouvelles de dubliners, puis le baroque proliferant et "distancie", post-moderniste avant l'heure de ulysses informent l'oeuvre dans son ensemble. Est toutefois exclus de notre etude finnegan's wake qui exacerbe et complexifie la vision baroque en explorant de vertigineux abimes linguistiques et mythiques. Dans ulysses, mais aussi dans giacomo joyce ou les poemes de chamber music, joyce propose impose le depassement, la subversion du langage et de la vision classique, en une demarche qui calque et prend ses distances avec celle des poetes francais du 17e siecle, des musiciens baroques, ou des architectes espagnols, en integrant les techniques et les images de la modernite. Son choix de certaines figures mythiques, son usage des effets de miroirs et de trompe-l'oeil, son retour a la metaphore-anamorphose puisent aux sources du baroque et le renouvellement, sur le mode ludique et parodique. Un vaste panorama mythographique, entrelacant figures ornementales et masques emblematiques de vie et de mort, laisse emerger la figure d'un eros baroque du 20e siecle. Unifiant ainsi la tradition et la novation, annoncant a bien des egards les visions et le techniques de la litterature post-moderne de france ou des ameriques
Through baroque art appeared in specific historical conditions, modern critics consider that the baroque vision and baroque forms of expression have outlived the conditions of their birth. Joyce's work may be interpreted in the light of that enduring tradition. It seems to derive from the baroque aesthetics, to renew, to modernize it. The shor-stories of dubliners evolve from a euphemized baroque to more ornemental forms, which are turned in ulysses into a monstrous proliferation of figures and situations. The world of ulysses, as well as that of chamber music, and even giacomo joyce is a world of games of displacement, mirror effects, labyrinthine quests, illusory devices, make-believe, etc. . . Joyce's work transcends its origins. Subverts both classical language and classical vision. A whole network of mythic figures, embedding ornemental and emblematic masks of life and death (including the dominant one of eros), structures and unifies joyces's work. As a tentative of synthetic unification, ulysses establishes a link between tradition and renewed visions, foretelling the linguistic and stylistic experimentations of finnegan's wake and post-modernist literature

James Joyce é conhecido por seus grandes romances, mas podem-se destacar os contos de Dubliners por integrarem parte fundamental do que se entende por um projeto estético do autor. Cada um dos textos apresenta um aspecto e uma perspectiva específicos sobre a vida em Dublin, a qual Joyce descreveu em minúcia. Esta dissertação procura analisar os diferentes usos da voz narrativa que o autor faz na coletânea e como isso deixa entrever tal projeto estético. Oscilando entre primeira e terceira pessoas, os narradores tentam assemelhar seu estilo à maneira de falar das personagens de cada estória, o que se nota principalmente pelo vocabulário e, no segundo caso, pelas associações mentais que tentam reproduzir em discurso indireto livre. Assim, é como se a voz narrativa dissonante e perfeitamente identificável buscasse progressivamente se harmonizar ao contexto em que se insere.
James Joyce is well-known for his novels, but the short stories in Dubliners are a fundamental part of what can be considered his aesthetic project. Each story reveals a specific aspect and perspective of Dublins life, which Joyce described in detail. This dissertation aims at analysing the different uses the author makes of the narrative voice in his stories, and how this unveils such aesthetic project. From first person to third person narrative, his narrators try to bring their styles close to the way characters speak, which can be identified mainly because of the vocabulary and the mental associations reproduced through free indirect speech. Therefore, it is as if the dissonant and distinguishable voice of the narrator slowly came to be in harmony with the context.

Mediante levantamento da fortuna crítica e da leitura atenta da obra de Joyce, este trabalho investiga os empregos da música em Dubliners, tanto no âmbito da forma quanto no conteúdo. Quanto aos usos formais, destacam-se estratégias comuns à poesia, como assonâncias, aliterações, ritmos, métricas, onomatopeias, além de elementos estruturais mais complexos, próprios da linguagem musical, como leitmotiv, contraponto, tema e variação. A dissolução da causalidade e a maneira diversa de lidar com a tensão para a construção do enredo se assemelham a alguns recursos musicais aplicados pelos modernistas que produziram o gradativo desmantelamento do sistema tonal. Quanto aos usos musicais que atuam diretamente no conteúdo, destacam-se as alusões a obras musicais e tem papel decisivo para a construção da atmosfera, caracterização de personagens, e desenvolvimento do enredo. A hipótese do trabalho é que a utilização de elementos musicais na literatura está atrelada diretamente às recorrências temáticas da morte, da paralisia, do contexto histórico irlandês, do amor, da sexualidade e da cultura celta. A aproximação entre música e literatura é em Dubliners seminal e Joyce a desenvolverá amplamente de forma experimental nas obras posteriores, principalmente em Ulysses e em Finnegans Wake, nas quais as transformações de elementos musicais intersectam com a palavra.
Through a survey of the critical fortune and the close reading of James Joyces work, this research investigates the employment of music in Dubliners, both in form and in content. Concerning the formal uses, some strategies common to poetry stand out, such as assonances, alliteration, rhythm, metric, onomatopoeia, apart from more complex structural elements, inherent of musical language, such as leitmotiv, counterpoint, as well as theme and variation. The dissolution of causality and the distinct manner to deal with tension, aiming the building of the plot, resembles some musical resources used by the modernists that produced the gradual dismantling of the tonal system. Concerning the musical uses that act directly on the content, the allusions to musical pieces stand out and play a decisive role in building the atmosphere, constructing characters, and developing the plot. The hypothesis of this study is that the use of musical elements in Joyces text is directly connected with the thematic recurrences of death, paralysis, Irish historical context, love, sexuality, and Celtic culture. The rapprochement between music and literature is seminal in Dubliners and Joyce is going to largely develop it in later works, in which the transformation of musical elements intersect with the words.

One rarely sees the names James Joyce and Ernest Hemingway together in the same sentence. Their obvious differences in writing styles, nationalities, and lifestyles prevent any automatic comparison from being made. But when one compares their early short story collections, Dubliners and In Our Time, many surprisingly similarities appear. Both are collections of short stories unified in some way, written by expatriates who knew each other in Paris. A mood of despair and hopelessness pervades the stories as the characters are trapped in the human condition. By examining the commonalities found in their methods of organization, handling of point of view, attitudes toward their subjects, stylistic techniques, and modes of writing, one is continually brought back to the differences between Joyce and Hemingway in each of these areas. For it is their differences that make these artists important; how each author chose to develop his craft gives him a significant place in literature.

This essay focuses on the concepts of relationship to local culture, identity and third space writing found in migrant literature and explores their relevance to James Joyce’s Dubliners in order to support a migrant reading of the collection. James Joyce has already been read as a migrant writer; however, Dubliners has not been considered as being an important contribution to this mode of writing. In this essay, the postcolonial theories of identity, third space writing and relationship to local culture are used in an in-depth reading of seven of the stories in the collection which I argue are written in the migrant mode of writing. With an introduction given on migrant writing and the concepts used, the platform is thus laid out for a thorough reading of the stories. What these stories depict is that of Ireland’s perpetual state of underdevelopment, due to its colonial past under British rule. In reading the stories in theoretical terms of migrant writing, one uncovers the way they construct Ireland as a colonized space, reiterating Joyce’s version of home and its decaying, cultural potential. What one finds is not only the ironic voice of Joyce’s narrative describing the repetitive outplaying of British stereotypes of Irishness but also of a quieter tone tinged with hope and longing for a true, cultural change. This essay shifts the interpretative focus to specific issues that would otherwise not be visible if one were to read it as merely being modernist. It establishes the migrant quality of the collection and solidifies the standing of Joyce as a migrant writer.

Cette étude a pour but premier de repenser la relation entre Dubliners et les mots « paralysis », « gnomon » et « simony » figurant dans le premier paragraphe de « The Sisters ». Dans la mesure où la critique les a abordés suivant divers actes de centralisation, dé-centralisation et re-centralisation du recueil de Joyce, le concept de rhizome, tel qu'exposé par Deleuze et Guattari dans Mille Plateaux, peut être un modèle pertinent pour présenter la variation des rapports de territorialité entre l’œuvre et ces trois mots. A l'issue de cette étude, ces derniers se voient attribuer des statuts successifs qui remettent en question la notion de centre ou de noyau structurel (l'arborescent). L'architecture de cette étude est la suivante : trois mouvements rhizomatiques reflétant la faculté de ces mots à autoriser sans cesse des constructions, effondrements et reconstructions du territoire textuel, à savoir la territorialisation, la déterritorialisation et la reterritorialisation. Cette démarche de type ritournelle aboutit ainsi à la reconnaissance de l'irréductibilité de l'écriture de Joyce dès ses premiers écrits
This study aims primarily at re-thinking the relationship between Dubliners and the words "paralysis", "gnomon", and "simony" which appear in the very first paragraph of "The Sisters". Given that critics have approached them following patterns leading to the centering, de-centering and re-centering of Joyce's collection, the concept of rhizome, as developed by Deleuze and Guattari in A Thousand Plateaus, can be a relevant tool to present the variation of territoriality relationships between the work and the three words. At the end of this study, the latter are granted successive statuses, which challenge the idea of a structural center or core (the arborescent). The framework of this study is as follows: three rhizomatic movements illustrating the capacity of these words to allow for endless building, collapsing, and re-building of the textual territory, namely territorialization, deterritorialization, and reterritorialization. This ritournelle style approach leads to the identification of Joyce's irreducible writing technique in his early period

Interessa equacionar algumas das fontes da imaginação moderna partindo do pressuposto que a arte e a literatura, enquanto campos criativos férteis se permeabilizam mutuamente, recorrendo, por vezes, à mesma matéria de inspiração. Em Joyce e com Dubliners o impacto visual assumirá sumo relevo na concepção da arte enquanto espectáculo e epifania, contribuindo para a composição de "quadros"de uma Dublin vinda como uma pintura. Nesta Odisseia da imagem Turner será o aliado esolhido de Joyce, através de uma narrativa de imagens. Sugerem-se diferentes direcções para se estudar a relação entre arte e literatura, delineandouma teorização em torno do conceito de obra de arte, de signo e de símbolo, segundo uma abordagem essencial/semiótica e psicanalítica (vertente simbólica).

Interessa equacionar algumas das fontes da imaginação moderna partindo do pressuposto que a arte e a literatura, enquanto campos criativos férteis se permeabilizam mutuamente, recorrendo, por vezes, à mesma matéria de inspiração. Em Joyce e com Dubliners o impacto visual assumirá sumo relevo na concepção da arte enquanto espectáculo e epifania, contribuindo para a composição de "quadros"de uma Dublin vinda como uma pintura. Nesta Odisseia da imagem Turner será o aliado esolhido de Joyce, através de uma narrativa de imagens. Sugerem-se diferentes direcções para se estudar a relação entre arte e literatura, delineandouma teorização em torno do conceito de obra de arte, de signo e de símbolo, segundo uma abordagem essencial/semiótica e psicanalítica (vertente simbólica).

In my research, I will examine James Joyce’s Dubliners as a collection of stories that is unified by an ongoing theme; escape or the desire to escape. In the collection, the want or need to escape serves a major purpose throughout the characters and their lives. This thesis explores five stories that share this theme in particular: “The Sisters,” “Eveline,” “Araby,” “An Encounter,” and “The Dead.” Each story will be discussed in the context of how each story progresses from a want to an actual escape. In addition, the thesis also considers how these stories exhibit a progression towards isolation and paralysis in the living until the final story, “The Dead.” “The Dead” can be interpreted as a positive, hopeful ending to the bleak collection, but I will argue its ending is anything but optimistic along with its crucial role as a conclusion to Dubliners.

L’écriture joycienne se distingue par la conscience aiguë dont elle témoigne de l’histoire des mots. Cette tendance est le produit de l’émergence de la grammaire comparée et de la sémantique historique au XIXe siècle, disciplines qui avaient bouleversé le concept d’étymologie et légitimé, en apparence, la prise en compte du passé de la langue dans son emploi. Pourtant, quand Joyce écrit, cette approche est irrémédiablement dépassée, et ses nombreuses contradictions critiquées. Aussi les œuvres de l’écrivain, loin de constituer un reflet fidèle et stable du discours sur l’étymologie du siècle où il naquit, en mettent-elles à nu les paradoxes et les partis pris. La stratégie d’écriture de Dubliners, si elle repose sur une exploitation fréquente des données mises au jour par les comparatistes et les sémanticiens, prend ainsi le contrepied de toute démarche transcendantale et tire profit de la nature subjective et aléatoire de l’activation des potentialités étymologiques des mots par le lecteur. La volonté affichée par Stephen dans A Portrait of the Artist as a Young Man de trouver une justesse supérieure dans la motivation directe puis indirecte des noms fait place, dans le roman suivant, à un rejet amer de « l’imposture des sons ». Mais Ulysses éclaire également les failles des théories linguistiques de son époque : sa mise en lumière du rôle joué par l’étymologie populaire dans le fonctionnement de la langue implique une critique du positivisme saussurien et s’inscrit dans une dénonciation plus large de toute conception pseudo-rationnelle et supra-individuelle de l’histoire
One of the hallmarks of Joyce’s prose is the acute consciousness it reflects of the history of words. This tendency is the product of the emergence of comparative linguistics and historical semantics in the 19th century, both of which had revolutionized the concept of etymology and seemed to make the history of words relevant to their use. Yet that approach soon became irremediably outdated and its numerous contradictions had been subjected to severe criticism by the time Joyce wrote his books. Accordingly, his works, far from giving a faithful and stable image of the etymological discourse prevalent in the century of his birth, reflect its biases and contradictions. Although the writing strategy of Dubliners relies on a constant exploitation of the data unveiled by linguists, it opposes any transcendental philosophy and makes much of the subjective and random nature of the activation of words’ etymological potentialities by the reader. Stephen’s attempts at finding a superior meaning in the direct and then indirect motivation of names in A Portrait of the Artist as a Young Man evolves, in the next novel, into a bitter rejection of the “imposture of sounds”. Ulysses, however, also brings into relief the inconsistencies of the linguistic theories of its own time: in highlighting the role played by folk etymology in the use of language, it constitutes an implicit criticism of Saussure’s positivist claims and calls into question any pseudo-rational and supra-individual conception of history

The work analyses representation of modern experience in James Joyce's "The Dubliners". Due to economic, political and philosophic revolutions of the 19th century people have experienced severe changes in there lives. Alienation, loneliness, death and paralysis of social and cultural life has become their reality which is depicted in everyday lives of the Dubliners.

Ce travail analyse les strategies d'ecriture dans trois oeuvres de james joyce, dubliners, a portrait of the artist as a young man et ulysses, et cela a partir des trois notions de scenario, modele et ecart. Le scenario est ce qui fait de l'ecriture une programmation aleatoire jouant sur les ecarts possibles a partir d'un modele. Dubliners offre des recits programmatiques dans lesquels le deroulement semble obeir a une matrice virtuelle. Nous y examinons successivement la question des cycles perturbes ("the sisters"), de la mediation devoyee (du fantasme comme brouillage optique ("araby"), de la figure de la boucle ("eveline"), du mimodrame emblematique ("two gallants"), du temps programmatique ("the boarding house"), de la copie comme subversion ("counterparts"), du texte gauchi ("clay"), du cliche comme scenario ("a painful case") et du moi comme frontiere ("the dead"). Le portrait montre d'une part un modele liturgique fonde sur des rites d'incarnation, d'autre part un modele dialogique fonde sur une dynamique de l'echange verbal et gestuel. Dans ulysses, les distorsions s'amplifient : conductivite et circulation dans "calypso" ; brouillage du corps par la fluidite musicale dans "sirens" ; montage entre la repetition de la voix et la reproduction du stereotype dans "cyclops" ; decalage entre le texte trompe-l'oeil de gerty et les ecarts du laboratoire bloomien dans "nausicaa" ; fabrication dans "circe" d'un texte gigogne fantasmatique ; subversion du questionnement catechistique par la clarification scolastique dans "ithaca". Nous concluons que dans ulysses la boucle bloomienne est une dialectique de l'ecart
This thesis analyses the writing strategies in three works by james joyce : dubliners, a portrait of the artist as a young man and ulysses, and this according to the notions of scenario, model and deviation. In a scenario, writing becomes a variable programming displaying possible deviations from a model. Dubliners offers programmatic narratives whose unfolding seems to conform to a virtual matrix. We examine successively the question of perturbed cyctes ("the sisters"), of perverted mediation ("an encounter"), of the figure of the loop ("eveline"), of emblematic mimodrama ("two gallants"), of programmatic time ("the boarding house"), of copy as subversion ("counterparts"), of writing as a warping process ("clay"), of cliche as scenario ("a painful case") and of the ego as frontier ("the dead"). The portrait shows both a liturgical model based on rites of incarnation and a dialogical model based on a dynamic exchange of words and gestures. In ulysses the gaps widen : conductivity and circulation in "calypso" ; blurring of the bodily functions by the fluidity of music in "sirens" ; montage of vocal repetition and stereotyped reproduction in "cyclops" ; contrast between gerty's trompel'oeil text and the experiments in the bloomian laboratory ; constitution in "circe" of a fantasmic texte gigogne ; subversion of catechistic questioning by scholastic clarificatio in "ithaca". We conclude that in ulysses the bloomian figure of the loop involves a dialectic of deviation

The thesis considers Joyce's short stories "Araby," "A Painful Case," and the "The Dead," illustrating how these works present three intellectually and emotionally similar protagonists, but at different stages of life, with the final tale "The Dead" suggesting a sort of limited solution to the conflicts that define the earlier works. Taken together, "Araby" and "A Painful Case," represent a sort of life cycle of alienation: the boy of "Araby" is an isolated, deeply introspective youth who lives primarily within his own idealized mental world before discovering, through a failed romantic quest at the story's end, the complete impracticality of his own highly abstracted desires. In contrast, Duffy of "A Painful Case" is an extremely rigid, middle-aged bachelor who lives in a self-imposed exile from Irish society in an ultimately unsuccessful attempt to escape the sort of mental and emotional pain that affects the boy, with his final epiphany being that such ideals still exist within him, but he now no longer has any hope of changing his life or taking part in society. The stories suggest that such idealized desires can neither be ignored nor fulfilled, and it is not until the chronologically final story "The Dead" that Joyce suggests any sort of limited solution to the dilemma. Gabriel of "The Dead" again displays the introversion, emotional fragility and extreme idealism of the earlier protagonists, but he, as a young, adult man, presents a break in the cycle and an alternate path. In contrast to the earlier protagonists, Gabriel refuses to exist within his own mental world alone, and instead takes part in and attempts to accommodate the desires of both society as a whole, and of specific individuals close to him, such as his aunts and his wife Gretta. Though Gabriel's attempts are not an unmitigated success, he earns a degree of satisfaction for his efforts, with his final revelation being of his connection to the rest of humanity, in contrast to the self-absorbed and hopeless reflections of the earlier protagonists.

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The general objective of this work is to analyze the work of James Joyce, specifically, the analysis of A Portrait of the Artist as a Young Man.

The major characteristics of Joyce's stylistic achievement in the organic unity of contents and expressions are, firstlyp the 'style* is not intended to reveal the author but the whatness, of his characters and subjects described and secondly Joyce's 'style' contains in itself particular meanings beyond the limits of the semantic and lexical contents of words. These features are more specifically defined as his use of the language for mimetic purposes to revealp suggest and represent consciousness (sometimes even unconscious and subconscious) mood, emotion mental patterns thought processes physical movement situation impression and sound effects through his command of the rhythmical syntactical and other grammatical, and phonological possibilities of his medium. In his earlier worksp Dubliners and A Portrait of the Artist as a Young Man(and Stephen Hero for comparison with the Portrait) examination of the variety of his mimetic devices and their purposes contributes to the better comprehension of his works where each stylistic pattern, whether occurring in limited locality or throughout is woven into the whole design of the works. The main recurrent devices can roughly be distinguished as follows andt accordingly, Joyce's mimetic creative ability and variety in his earlier works are to be examined under the following classification: 1. Rhythmic (defined as 'repetition with variations') devices to represent and reveal certain concealed aspects and qualities of his characters; firstly, for characterization by means of special devices of appellations and secondly for revealing the preoccupations and concerns. II. Syntactical grammatical and rhythmic devices to represent, reflect and suggest firstly, his characters thought processes mental patterns emotion, mood and other psychological aspects, and secondly physical movement situation, atmosphere and impression. III. Phonological devices to imitate and suggest actual and imaginary sounds.

Ce travail s'intéresse aux états dont les personnages joyciens font l'expérience. Il vise à rendre compte des fluctuations de présence au monde par le repérage et l'analyse de tout un éventail d'états cliniques, mystiques et cognitifs dans les premières œuvres de James Joyce : Dubliners, A Portrait of the Artist as a Young Man, et Stephen Hero.Si nous replaçons la notion d'état dans le contexte historique des textes de Joyce à travers l'influence combinée de Walter Pater, William James et Friedrich Nietzsche, nous l'utilisons également dans une acception très contemporaine en nous appuyant sur les neurosciences.L'état joycien est envisagé dans sa dimension pathologique par le biais, sur un plan médical,d'Hippocrate et de William Harvey, entre autres, et par l'intermédiaire, sur un plan littéraire, de Gerard Manley Hopkins et Thomas Stearns Eliot. Les notions de tempérament et d'état sont ensuite repensées à l'aune du mysticisme par le relais de Denys l'Aréopagite (Pseudo-), Thérèse d'Avila et Marguerite-Marie Alacoque. La cognition permet de mettre en valeur les processus mentaux à l'origine de ces états.Cette réflexion sur la notion d'état se double d'une approche linguistique du texte. Il s'agit de formaliser le passage d'états spirituels à des états grammaticaux. Les adverbes d'intensité et de manière, ainsi que leur combinaison, peuvent être indicateurs de dispositions mentales et physiologiques.L'éclairage linguistique corrobore notre représentation de l'état joycien comme un réceptacle qui oscille entre la saturation et la disponibilité, de même qu'il permet de saisir la contiguïté poreuse qui existe entre l'état et l'événement dans le texte joycien.

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This essay will deal with an aspect that cannot be ignored nor go unnoticed when we read A Portrait of the Artist as a Young Man; Joyce's interest in the theme of religion, or the importance of religion in the development of the artist as a young man, according to Joyce.

James Joyce é um dos escritores mais famosos do século 20, sendo sua obra muito comentada por leitores e acadêmicos, especialmente devido ao alto nível de complexidade de Ulisses e Finnegans Wake, os romances da fase madura. O foco da presente dissertação, todavia, são os primeiros livros de Joyce que, apesar de serem mais acessíveis ao público em geral, também contêm toda a elaboração linguística e simbólica que caracteriza o autor. Trato especificamente do volume de contos Dublinenses e do romance Um Retrato do Artista Quando Jovem, utilizando para análise deste o suporte oferecido pelo outro romance anterior, não publicado em vida, Stephen Hero. O objetivo da pesquisa é investigar aspectos presentes na prosa de Joyce que revelem a formulação e a aplicação de sua teoria estética. Como a cidade de Dublin surge como uma metáfora sobre as circunstâncias de ser irlandês, interessa ao leitor adquirir alguma familiaridade com a cultura e a história daquele país e com as relações existentes entre os irlandeses e sua terra natal, especialmente no que tange às questões sobre religiosidade e sobre a dominação inglesa. A dissertação vem estruturada em quatro capítulos. O primeiro apresenta James Joyce tanto como pessoa quanto como escritor em formação, nascendo e crescendo em Dublin na virada dos séculos XIX e XX. São analisadas as influências exercidas pelo contexto católico de sua criação e pela crise social e econômica enfrentadas tanto pelo país quanto pela família do autor. O segundo capítulo lida com Dublinenses, o conjunto de contos que apresenta a visão de Joyce sobre a cidade de Dublin. Esses contos podem ser lidos individualmente, mas a obra assume um significado maior quando considerada de forma unificada em termos de linguagem, simbologia, estratégias narrativas e objetivos, em um plano de evolução que abrange fases da infância, da adolescência, da maturidade e da vida pública. As personagens compartilham características comuns: paralisia, falta de perspectivas e incapacidade de entender ou de reagir aos fatores históricos e sociais que os colocam naquela posição. Entre tais fatores predominam três, a cultura católica, a dominação inglesa e a inabilidade das pessoas para reagir de maneira criativa e produtiva aos problemas que se apresentam. O terceiro capítulo analisa a evolução do fazer artístico de Joyce a partir do binômio Stephen Hero e Um Retrato do Artista Quando Jovem, tendo como elemento comum a ideia do Künstlerroman. No quarto e último capítulo, apresento um comentário sobre as marcas de individuação de Joyce em relação a alguns de seus contemporâneos que também tratam sobre questões envolvendo arte, história e tradição. Ao término do trabalho, espero que a minha percepção sobre o conjunto de fatores que propiciaram o surgimento de um autor como Joyce possa ser de utilidade para pessoas que, como eu, acreditam tanto na importância estética quanto na relevância política e social desses três primeiros livros, os primeiros retratos de Dublin que James Joyce produziu.
James Joyce is one of the most famous writers in the 20th century, whose work is very commented both by readers and scholars, especially because of the high level of complexity of Ulysses and Finnegans Wake, the two mature masterpieces. The focus of the present thesis, however, lies on the first books written by Joyce, because they are more manageable for reading, and yet bear all the linguistic and symbolic sophistication that marks Joyce’s production. The corpus of the research comprises the book of short stories Dubliners and the novel A Portrait of the Artist as a Young Man, using as support to the analysis of the latter, the previous novel, never published in life, Stephen Hero. The aim of this thesis is to investigate aspects of Joyce’s prose that expose the stages of construction and application of his aesthetic theory. The city of Dublin comes as a metaphor about the condition of being Irish. As a consequence, some familiarity with Irish history and culture is relevant for a better understanding of the books, and of the complex relations involving the Irish and their land, especially in matters concerning Catholicism and English domination. The thesis is divided in four chapters. The first draws on James Joyce, considered both as a person and as a writer in progress, born and raised in Dublin in the turn of the 19th into the 20th centuries. The chapter centres on the relations involving the influence of the Catholic context of his formation and the economic and social crises experienced by Ireland and by the Joyce family at the time. Chapter two is about Dubliners, the collection of short stories that presents Joyce’s view about the city of Dublin. These stories can be read independently from one another, but they acquire a finer meaning if considered as a unit in terms of language, symbolism, narrative strategies and goals, besides following a plan of evolution from childhood to adolescence, and to maturity, and public life. The characters share common characteristics: paralysis, lack of perspective, incapacity to understand or to react to the historical and social factors that put them in that position. Among those factors we have the Catholic tradition, the English domination and the inability of the people to react to circumstantial problems in a creative and productive way. Chapter three analyses the evolution of Joyce’s craftsmanship through the duo Stephen Hero/A Portrait of the Artist as a Young Man, using the notion of Künstlerroman as a starting point. In the last chapter I deal with the peculiarities in Joyce’s style, contrasting them to the practice of some other contemporary authors who also state their views about art, history and tradition. As an aftermath to this thesis, I hope that my comments about the body of elements that propitiated the rise of Joyce as the author he is may prove useful to other people like me, who believe in the relevance of his contribution to the aesthetics of literature and to the discussion about political and social issues related to Ireland, in the first portraits of Dublin displayed in Joyce’s three first books.

碩士
國立清華大學
外國語文學系
92
Abstract My thesis focuses on Joyce’s conception of conscience in terms of the Irish political, religious and cultural context. The word “conscience” comes from Portrait to reveal two aspects of Joyce’s intention of writing Dubliners: first, to demonstrate his literary conscience against the image of Ireland in the colonial discourse and to challenge definition of Irishness in the revival movement. And second, Joyce also starts a self-critical view of his own cultural mission and his own artistic role of being an Irish artist in the nationalist movement. This introduction begins with my interrogation of the cultural project of the Irish Revival. It is a critical survey on the issues of the Gaelic Revival initiated by Douglas Hyde and W. B. Yeats. This interrogation anticipates my assertion of Joyce’s portrait of Ireland’s debasement. In Chapter One, I explore the Irish colonization and subjugation under the British oppression of the Great Famine in the nineteenth century. I will explore the destruction of the Irish economy on the themes of sexuality, gender and marriage. However, Joyce realizes that the Irish subjugation and victimization are not only the result of the British colonialism but also the Irish own degradation when they are willing to become the consent subservience and grateful for being the oppressed. In Chapter Two, I discuss the theme of betrayal in the Irish nationalism as well as the Church’s involvement in the political movements. And I would highlight the theme of betrayal with Seamus Deane’s discourse of “Ireland’s traditional unfaithfulness” to explore the Catholic Church as a political institution for her involvement in the nationalist movement. In Chapter Three, I discuss the longest story “The Dead”. First, I examine the critical reviews about the final vision and assert my assumption of how Joyce concludes his Dublin world as a world of rebirth through Gabriel’s confrontations with three females (Lily, Miss Ivors and Gretta) and imagines his motherland by Gabriel’s epiphanic journey to Galway in the snow vision. In the conclusion, I will assert Joyce’s contribution of writing Dubliners that serves as a “moral chapter” of demonstrating his literary conscience against the superficial practices of the revivalists’ cultural enterprise and the British colonial discourse in naturalizing the Great Famine. I will re-examine the importance of Joyce’s Dubliners in the Irish Revival movement.

碩士
國立高雄師範大學
英語學系
89
This thesis attempts to discuss the representation of subjectivity and Irish identity in James Joyce''s Dubliners in terms of the theories of Jacques Lacan and Homi K. Bhabha. In this work, James Joyce seems to hold up a mirror to the Irish to see their own image of “paralysis”─ their fragmented subjectivity and mimic and ambivalent Irish identity. In the introductory chapter, I offer the background of James Joyce''s life so as to survey his portrayal of his motherland and his countrymen. I also explore the forces that have had a profound influence on the Irish─ Catholicism, colonialism and their patriarchal society. Also, I offer a brief literary review of critical approaches to reading Dubliners and then explain why I use Jacques Lacan''s and Homi K. Bhabha''s concepts to examine the representation of subjectivity and Irish identity in Dubliners. In the following three chapters, I choose seven stories to discuss the issues of “subjectivity” and “Irish identity” on the basis of Jacques Lacan''s and Homi K. Bhabha''s theories. In Chapter Two, I use Lacan''s theory to analyze the three stories: “The Sisters,” “An Encounter,” and “Eveline.” I illustrate the way each of the characters is so trapped in the Symbolic order of church, school, and family that they fail to escape from their oppression. Their desires are thwarted by “the-Name-of-the-Father”; they eventually realize their subjectivites are still conditioned by the forces of Catholicism and patriarchal society and are compelled to see their fragmented and incomplete subjectivities. Chapter Three deals with the relation between the British Empire and the Irish race (the colonizer and the colonized) in the light of Homi K. Bhabha''s notion of colonial discourse and mimicry. Being ruled by England for over seven hundred years, Ireland had fallen into conditions of extreme poverty and oppression, which are shown in Dubliners. In view of Bhabha''s concept, the characters in “After the Race,” “A Little Cloud,” and “Counterparts” all reveal themselves to be the victims of colonial domination. Though they suffer from colonialism, the Irish have internalized the values and ideology of the colonizer and become the “counterparts” of the colonizer. They are unable to secure their authentic identity but rather have acquired the “mimicry” of Englishness. Chapter Four focuses on “The Dead” to examine the dilemma of a colonized Irish as victims under the forces of patriarchal ideology. This story seems to prefigure Joyce''s literary revolt against his motherland. In his view, Roman Catholicism can’t offer the Irish spiritual comfort and guidance but only the imprisonment of their minds. The patriarchal society can''t guarantee the women and children any sense of security but causes domestic violence. What''s more, the colonization of England not only has devastated Ireland''s economy but also produced in the Irish mind an inferiority complex. Consequently, in Joyce''s narration, the protagonist, Gabriel Conroy realizes the Irish’s state of “paralysis,” making them like “the dead.” Chapter Five concludes my thesis, summarizing the main points of the previous chapters and the contribution that my reading of Dubliners makes.

This thesis uses a combination of psychoanalysis and Marxism to demonstrate how James Joyce's writing enabled him to break away from his unconscious attachments to capitalism. Offering a detailed reading of Joyce's Dubliners. it makes three central claims. First. that Joyce's writing is neurotic in structure, not perverse. as is commonly thought. Second, that Joyce's writing depicts neurotic characters struggling in a social. cultural and political context that privileges the perverse. And lastly, that Joyce locates the source of this ongoing privilege in capitalist ideology. The conclusion is that Joyce's writing may be said to "hystericize" the perverse subject of capitalism; Joyce's neurotic writing style provokes the perverse subject of capitalist ideology into questioning his or her disavowing complicity of the dominance of capital. Ultimately, therefore, this thesis illuminates how Joyce's writing presents -- and continues to present -- a remarkable challenge to contemporary modes of control upon the modern subject.

Traditional interpretations of James Joyce's Dubliners have often focused on the pervasive "paralysis" of the city, covered in the stories' range of "childhood, adolescence, maturity, and public life." However, these approaches have limited their focus on the women in the stories, often spotlighting the male characters--and the author--through a Freudian lens; consequently, the interpretations have overlooked important considerations in light of developing feminist criticism. Through a selection of the stories, this thesis attempts to show how the text of Dubliners offers a cultural critique of the ways in which women were oppressed and constrained by the Irish Catholic ideology which established their roles within society. By the close of the collection, however, Joyce's creation of an inchoate image of the multi-dimensional, sexualized women of his mature works, Ulysses and Finnegans Wake, is embodied in the character of Gretta Conroy in "The Dead." Using Judith Butler's theory of performative acts of gender construction and Julia Kristeva's cultural dynamic of "the maternal" in the Stabat Mater, this criticism of the text lifts the female characters from the backgrounds of Dubliners and reveals the diseased culture of Dublin from another perspective. The female characters in the text act out expected cultural roles, often modeled after the Irish Catholic ideal of the Blessed Virgin Mary. Through the speech, silence, and physical acts of the female characters in Dubliners, "the female" in Irish-Catholic-Victorian culture is constructed--and reinforced--for Joyce's audience. This reading then furthers our understanding of the institutions, values, and practices which defined "womanhood" in nineteenth-century Dublin.
Graduation date: 1999

Relatório de projeto de mestrado em Tradução e Comunicação Multilingue
O presente projeto foi realizado no âmbito do Mestrado em Tradução e Comunicação Multilingue, tendo como objetivo a tradução e análise de uma obra literária, assim como um estudo sobre a intertextualidade. A obra traduzida é uma colectânea de contos intitulada New Dubliners (2006), publicada em celebração dos 100 anos de Dubliners (em Portugal, Gente de Dublin) de James Joyce (1914). Para além da análise da proposta de tradução da primeira obra, será estudada a intertextualidade entre ambas as obras referidas. Numa primeira fase, será apresentada a metodologia utilizada pela aluna, e será feito um enquadramento sobre o autor James Joyce e sobre a obra comemorativa escrita por vários autores. Em seguida será feita a análise da proposta de tradução onde serão exploradas as dificuldades e soluções encontradas pela tradutora. Por fim será estudada a intertextualidade, com recurso às duas obras já referidas, bem como a importância do conhecimento da cultura do texto de partida para a compreensão e tradução de um texto.
The present project is submitted within the Master’s degree in Multilingual Translation and Communication and consists of the translation and analysis of a literary work, as well as a study on intertextuality. The translated work is a collection of short stories entitled New Dubliners (2006), published in celebration of the 100 anniversary of James Joyce's Dubliners (1914). In addition to the analysis of the th proposed translation, the intertextuality between the two works will also be studied. In the first stage, the methodology used will be presented as well as a contextualization about James Joyce and about the commemorative work written by several authors. Following this is the analysis of the translation proposal where the difficulties and solutions encountered by the translator will be explored. Finally, a study on intertextuality will be presented using the two works previously mentioned, as well as the importance of the knowledge of the source text’s culture to the understanding and translation of a text.

This study of James Joyce's transmodal techniques explores, first, Joyce's implementation of non-language based media into his works and, second, how digital technologies might assist in identifying and studying these implementations. The first chapter introduces the technique of re-rendering, the artistic practice of drawing out certain characteristics of one medium and, by then depicting those characteristics in a new medium, calling attention to both media and their limitations and potentials. Re-rendering can be content-based or form-based. Joyce employs content-based re-rendering when he alludes to a piece of art in another medium and form-based re-rendering when he superimposes the form of another medium onto his text. The second chapter explores Dubliners as a panoramic catalog of the various aspects involved in re-rendering media. The collection of stories, or the fragmented novel, shows synaesthetic characters, characters engaged in repetition and revision, and characters translating art across media by superimposing the forms, materials, and conventions of one medium onto another. Dubliners culminates in the use of coda, a musical structure that commonly finalizes a multi-movement work. The third chapter analyzes of A Portrait of the artist as a young man, focusing on its protagonist who exhibits synaesthetic qualities and a penchant for repeating phrases. With each repetition he also revises, a practice that foreshadows the form-based re-rendering Joyce employs in Ulysses and Finnegans Wake. The fourth chapter explores the "Sirens" episode of Ulysses. In this episode, Joyce isolates the structure of the musical medium and transfers it to a literary medium. This technique shows his advanced exploration of the effects of one artistic medium on another and exemplifies his innovative technique of re-rendering art forms. Finally, the fifth chapter explores how we might use digital technologies to visualize Joyce's techniques of re-rendering. Based on these visualizations, we might identify further connections Joyce makes across his works.
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