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Dissertations / Theses on the topic 'James Joyce's Ulysses'

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Published: 4 June 2021

Last updated: 8 February 2022

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1

Carey, Stephen Joseph. "Comedy in James Joyce's Ulysses." Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:80539d29-5f34-44af-b2a6-265d85000258.

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The comic in Ulysses needs more attention. The few studies that exist disregard the problems: the adoption of assumptions which limit discussion, the inconsistent terminology, the lingering prejudice regarding comedy as inferior to tragedy. This study begins by examining the common assumption that comedy in Ulysses is either a restraint on Joyce's saeva indignatio, or an affirmation of life; and then looks at the difficulties of comic criticism. Chapter two considers modern comedy, distinguishes three schools of theory, and indicates how these will be considered in relation to Ulysses. Chapter three, countering the assumptions observed in chapter one, discusses the book's refusal to indulge the reader's desire for certainty, illustrating this with a criticism of Kenner's conception of Joycean irony and Goldberg's reading of the 'Nausicaa' episode. Chapter four examines Mulligan: "in risu veritas: for nothing so reveals us as cur laughter" (Joyce). Using Freud's study of aggressive jokes, it works backwards from 'Circe,' where Mulligan is revealed in his true (motley) colours. Chapter five evaluates Bloom's comic/ heroism, working with Bergson's study of social laughter and against Darcy O'Brien. The final chapter considers farce, particularly in 'Cyclops' and 'Circe,' using Bergson's body-as-machine theory and Bakhtin's study of the medieval carnival in Rabelais and his World<.em>.

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2

Barron, Graham. "The self in conversation : James Joyce's Ulysses." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60607.

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Following and at times reworking the relation between language, society and selfhood in the antifoundationalist philosophies of Charles Taylor and Richard Rorty, the thesis develops the idea of the novel as a kind of conversation. The thesis takes James Joyce's Ulysses as a progression of thought and style in which its three principal characters, Stephen Dedalus, Leopold Bloom and Molly Bloom, expound their views and then lapse into silence as part of an ongoing conversation. Three episodic conversations in particular are discussed: for Stephen, Scylla and Charybdis; for Bloom, Cyclops; and for Molly, Penelope. These conversations, it is suggested, parallel Joyce's evolving novelistic theories, and mark a movement from a metaphysical, to a scientized, and eventually to an ironist understanding of selfhood and society.

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Yi, Jongil. "Order and disorder in James Joyce's Ulysses." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265198.

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4

Greenwell, Joseph E. "Time, History, and Memory in James Joyce's Ulysses." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1343339298.

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5

Haufe, Carly E. "Contingency, Choice and Consensus in James Joyce's Ulysses." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1428665589.

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6

Pape, Daniel Joseph. "'Up out of this' metatextuality in Joyce's Ulysses /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1564034061&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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7

Hayward, Matthew Chistopher. "Advertising and Dublin's consumer culture in James Joyce's Ulysses." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5914/.

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This thesis reconsiders James Joyce’s representation of advertising and Dublin’s consumer culture in Ulysses. Against earlier, generalising accounts, it applies a carefully historicising methodology to demonstrate the cultural specificity of Joyce’s engagement. It does so in three ways. To begin with, it establishes that Irish consumerism did not simply follow British advances, but developed in a distinct and inflected fashion. Chapters 2 and 3 show that while Joyce incorporates all of the material characteristics of Dublin’s relatively advanced consumer culture, he downplays its advertising industry, making it appear less developed in 1904 than was historically the case. Secondly, it analyses the distortions introduced by Joyce’s own historical remove from the consumer culture he depicts. Chapter 4 identifies for the first time the sources of Joyce’s “Advertising” notes from his so-called “Notes on Business and Commerce,” and establishes that his representation of Bloom’s advertising consciousness reflects advances in advertising theory that only got seriously underway in the decade between 1904, when the novel is set, and 1914, when Joyce began to write it. Finally, having analysed the material and compositional background to Joyce’s portrayal of early-twentieth-century consumerism, this thesis analyses Joyce’s engagement with two of its dominant ideologies. Chapter 5 concentrates on the ‘Lestrygonians’ and ‘Ithaca’ episodes to argue that Joyce lays bare the overdetermined nature of colonial consumption, depicting the naturalisation of British commodities on the Irish market, and contesting the spurious claim to disinterestedness presented by imperial consumerist discourses. Chapter 6 develops intertextual readings of the ‘Nausicaa’ chapter to show that Joyce’s narrative is even more fully comprised of the language of female-oriented advertising than has been recognised. It argues that the chapter responds to a particular ideological complex, in which consumerist imperatives struggled with more conservative patriarchal interests. Overall, this thesis brings together historical, genetic and intertextual critical approaches to uncover the stylistic and chronological manipulations involved in Joyce’s fictionalisation of early-twentieth-century Irish consumerism. It argues that Ulysses stands as both a reflection of this crucial period of socio-economic change, and a politicised response to its dominant ideological coercions.

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8

Udayakumar, P. "Repetition, time and structure in Ulysses." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329022.

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9

Butts, Gerald Michael. "Between two roaring worlds : personal identity in James Joyce's Ulysses." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29770.

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When I first encountered James Joyce's Ulysses, at the age of sixteen, I was predictably unprepared for the book. Its shifts in narrative voice, extensive use of stream of consciousness, and ostensible disorder make the book a daunting task for the first time reader. Fortunately, my age allowed me to consign my lack of understanding to naivete, rather than, as did many early critics, to authorial deficiencies. In addition to my ignorance regarding Ulysses itself, I was completely unaware of the extensive critical debates surrounding its myriad aspects, from the supposed "communion" between Stephen and Bloom in "Ithaca" to the fact that the very edition I was reading (the Gabler text) was the source of considerable controversy in the Joycean community.
Having experienced frustrations common to many readers of the book, I can understand why so many readers "give up" on Ulysses. Obviously, I was drawn back to the book, but by neither its encyclopaedic nature, nor the various games it plays with literary traditions, nor any other "technical" aspect of the author's virtuosity; I was, of course, ignorant to these features. Rather, I found---and continue to find---Ulysses an extremely compelling work of art because of the manner in which it seems to be energized with "warm fullblooded life," in the words of Bloom. The impressive extent to which Joyce has successfully created ostensibly real human beings is both remarkable and often remarked upon. Less well documented are the underlying philosophical assumptions which inform Joyce's meticulous method of characterization. The present study of Ulysses aims to uncover these assumptions.

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Butts, Gerald Michael. "Between two roaring worlds, personal identity in James Joyce's Ulysses." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ55119.pdf.

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11

Wakely, Maria Eve. "The historical consciousness of Ulysses : James Joyce's gendered, national aesthetics." Thesis, University of Wolverhampton, 1996. http://hdl.handle.net/2436/97368.

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12

McMorran, Ciaran. "Geometry and topography in James Joyce's Ulysses and Finnegans Wake." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7385/.

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Following the development of non-Euclidean geometries from the mid-nineteenth century onwards, Euclid’s system had come to be re-conceived as a language for describing reality rather than a set of transcendental laws. As Henri Poincaré famously put it, ‘[i]f several geometries are possible, is it certain that our geometry [...] is true?’. By examining Joyce’s linguistic play and conceptual engagement with ground-breaking geometric constructs in Ulysses and Finnegans Wake, this thesis explores how his topographical writing of place encapsulates a common crisis between geometric and linguistic modes of representation within the context of modernity. More specifically, it investigates how Joyce presents Euclidean geometry and its topographical applications as languages, rather than ideally objective systems, for describing visual reality; and how, conversely, he employs language figuratively to emulate the systems by which the world is commonly visualised. With reference to his early readings of Giordano Bruno, Henri Poincaré and other critics of the Euclidean tradition, it investigates how Joyce’s obsession with measuring and mapping space throughout his works enters into his more developed reflections on the codification of visual signs in Finnegans Wake. In particular, this thesis sheds new light on Joyce’s developing fascination with the ‘geometry of language’ practised by Bruno, whose massive influence on Joyce is often assumed to exist in Joyce studies yet is rarely explored in any great detail.

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Rasmussen, Goloubeva Irina. "Between colonialism and nationalism : art, history, and politics in James Joyce's Ulysses /." Uppsala : Department of English, Uppsala University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8273.

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14

Kostova, Stela (Stela Tzvetanova) Carleton University Dissertation English. ""Love's bitter mystery": the mother-son relationship in James Joyce's Ulysses." Ottawa, 1995.

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15

Hsu, Ching-Ying. "Love and the ethics of subaltern subjectivity in James Joyce's Ulysses." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10736/.

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This thesis explores Joyce’s aesthetic enterprise in Ulysses from the perspective of ethics, arguing that my psychoanalytic study necessarily points to the entwinement of ontology, epistemology and ethics. Joyce’s literary experimentation not only revolutionised western literature, writing his name into world history, but also inaugurated an emergent subjectivity in modernity. In answering Spivak’s question, ‘Can the Subaltern speak?’, one of my main theses is that the subaltern can speak through the process of self-naming, through the self-invention of a new subjectivity and a New Symbolic. In Chapter One, I critically review Lacan’s theorisation of the ethical models in his long career, engaging in the current debates among Lacanians regarding the definition and efficacy of Lacan’s theory of the (ethical) act and the interconnected ethico-political theories in the contemparay landscape. I evaluate Lacanians’ diverse stances toward Žižek’s interpretation of Lacan centered on the emphasis of negativity and Badiou’s theory of event and truth-procedures. After offering my own theoretical evaluation and intervention into the above-mentioned debates, I also seek to foreground the place of love in Lacanian psychoanalysis and to elucidate how love manifests itself ethically. In my reading of ‘Scylla and Charybdis,’ I argue that Joyce, through Stephen’s idiosyncratic theory of Shakespeare, articulates his artistic ambition as a work of/for a singular universal, endeavouring to transform the human subject by way of writing a book of himself, and of making a self out of writing. I take Joyce’s literary experiment in ‘Cyclops’ as an arrangement deployed through the narrative by the Nameless One that juxtaposes with the rhetorical excess of interpolated digressions. Drawing on Lacan’s theorization of the look and the gaze, I contend that Joyce conducts a literary traversal of fantasy, a working through of symptomatic nationalism. The interpretation of ‘fantasmatic’ working offers an alternative reading to the historicist approaches and critiques of Gibson and Nolan. I also argue that neighbour love has already prefigured in ‘Cyclops,’ in Bloom’s proclamation of the ideal of universal love and in the poetic justice of Bloom’s escape from his xenophobic, Cyclopean neighbours. The psychoanalytically-inspired theory of ‘de-activation of the law’ and Badiou’s conception of ideological ‘subtraction’ are enlisted in my interpretation of neighbour love. I read ‘Circe’ as Joyce’s experiment with a sinthomatic construction of subjectivity, contending that there is a constant process of unknotting and reknotting in the construction of textual subjectivity. I examine whether the sinthomatic construction of subjectivity, as it is evidenced in the fantasmatic episodes, truly invents a new structural stratification of subjectivity and alternative libidinal organization. By way of Lacanian psychoanalysis and Žižek’s theory, I argue that masochism in ‘Circe’ is not necessarily ethical but can function as a preparatory step towards the true ethical act. Pseudo-messianism and masochism are opposed to the true messianism manifested through neighbour love as a genuine ethical act. Enlightened by Lacan’s complex theory of the psychoanalytic act and Badiou’s idea of new neighbourhood, I try to capture the ethical impact of genuine messianism. I interpret Joyce’s modern version of ‘Penelope’ as a sinthomatic writing as well, finding this female countersign to be problematic by way of an ethical evaluation of the sinthome as a (singularised) sexual relation and an investigation of Joyce’s belief in his sinthome. Furthermore, my ethical reading is also explored through the productive tension between what I term ‘sinthomatic eroticism’ and love. I invoke both Lacan’s idea of love as ‘compensaiton’ of the non-existence of sexual relationship, and Badiou’s work on love as a way of creatively carving out what I term ‘the ethical space of love’ as a space (not entirely disengaged from but) distinct from the psychoanalytic domain of sexual desires or eros.

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16

Tully-Needler, Kelly Lynn. "Last Word in Art Shades: The Textual State of James Joyce's Ulysses." Thesis, Connect to resource online, 2007. http://hdl.handle.net/1805/1605.

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Thesis (M.A.)--Indiana University, 2007.
Title from screen (viewed on March 6, 2008). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Ken Davis, Jonathan R. Eller, William F. Touponce. Includes vitae. Includes bibliographical references (leaves 214-228).

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17

Gupta, Suman. "The construction of criticism : critical responses to James Joyce's Ulysses, 1922-1941." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335826.

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18

Curran, Robert. "Myth, Modernism and Mentorship| Examining Francois Fenelon's Influence on James Joyce's "Ulysses"." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10172610.

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The purpose of this thesis will be to examine closely James Joyce’s Ulysses with respect to François Fénelon’s The Adventures of Telemachus. Joyce considered The Adventures of Telemachus to be a source of inspiration for Ulysses, but little scholarship considers this. Joyce’s fixation on the role of teachers and mentor figures in Stephen’s growth and development, serving alternately as cautionary figures, models or adversaries, owes much to Fénelon’s framework for the growth of Telemachus. Close reading of both Joyce’s and Fénelon’s work will illuminate the significance of education and mentorship in Joyce’s construction of Stephen Dedalus. Leopold Bloom and Stephen’s relationship in Joyce’s Ulysses closely mirrors that of Mentor and Telemachus as seen in Fénelon’s The Adventures of Telemachus. Through these numerous parallels, we will see that mentorship serves as a better model for Bloom and Stephen’s relationship in Ulysses than the more critically prevalent father-son model

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19

Ungar, Andras. "The epic of the Irish nation state : history and genre in James Joyce's Ulysses." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39443.

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This study examines Ulysses as a response to the Irish Literary Revival's expectation that a native epic would crown Ireland's literary achievements and to the country's imminent independence under the Sinn Fein.
Ulysses thematizes the compositional imperatives which Virgil's Aeneid made canonical for the national epic. This perspective reconfigures the legacy of Stephen Dedalus' heroic stance in A Portrait of the Artist as a Young Man and Arthur Griffith's arguments in The Resurrection of Hungary: A Parallel for Ireland (1904) through which Sinn Fein won national prominence.
Through Stephen's encounter with Leopold Bloom, Ulysses substitutes its own account of the origin and future of the modern Irish polity. The "Telemachiad" redefines Stephen the epic poet as an epic character. Bloom's family history, including the characterization of Milly, supplants Griffith's founding myth with a more comprehensive historical vision. Through this concern with the genre and history, Ulysses reconstitutes the national epic's traditional discursive domain.

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20

Steele, George McIver. "Restoring Silence: Samuel Beckett's "Molly" Viewed as a Parody of James Joyce's "Ulysses"." W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625527.

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21

Flynn, John F. X. ""By Contraries" ("Ulysses" 15.3928): James Joyce's Rendering of Drama in "Exiles" and "Circe"." W&M ScholarWorks, 2000. https://scholarworks.wm.edu/etd/1539626257.

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22

Voyiatzaki, Evangelina. "The body in the text : James Joyce's Ulysses and the modern Greek novel." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4380/.

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This thesis examines the body's thematization in narrative, and as part of the aesthetic consciousness of the modernist novel. Its starting point is Joyce's pioneering association of Ulysses with the functions of a live body, and the interdisciplinary rationale that his Thomist aesthetics of wholeness enact. Joyce's view of his text as a multi-levelled, reciprocally interdependent hierarchy of various fields, including art and science, as developed in the Linati and Gilbert Schemes, sheds light on the polyphonic and polyglottic narratorial tactics of U. Joyce's enterprise is compared to the Greek modernist novel which developed its innovative techniques in accordance with the general demand for a reorientation of Greek literature toward introspection. The reception of U in Greece coincided with the heyday of this attempt which was characterized by experimentation and was influenced by psychoanalysis, phenomenology and anthropological studies. The three Greek authors in this study, Stelios Xefloudas, Nikos Gavriil Pentzikis, Giorgos Cheimonas, each of them representing a different period in the development of the modem novel, were variously influenced by Joyce's work. The argument particularly focuses on their use of the body in the text in the light of Joyce's work. The foreword, a theoretical introduction, sets forth the terms of the argument. The first chapter is a brief survey of Us reception in Greece. It discusses the quest for the renewal of Greek literature which started around the thirties. Tracing the links of this renewal With Joyce's work, it particularly focuses on the techniques of introspection and their association with the body, as part of the aesthetic consciousness of the inner-orientated or 'introverted' novel. The second chapter is an analysis of Joyce's paradigmatic use of the body in the text. Focusing on the act of creation in comedy, scientific discovery and aesthetic rapture, it discusses the psycho-physiological processes and the cultural psycho-dynamics which are compressed within Q, and support its multi-perspectival and multi-interpretative orientation. Joyce's mock-heroic, his anti-theology, the aesthetics of the androgynous artist, desire in language and bodily interference in the act of writing are seen in relation to the body and in the light of Joyce's explanatory schemes. Chapter three examines Xefloudas's attempted assimilation of Joyce's introspective techniques, in the use of myth, in the questing voyager archetype, and in desire in language through the myth of eternal return. The fourth chapter discusses N. G. Pentzikis's Christian-Freudian-Jungian perspective on Joyce's work and his reworking of Us motifs in a surrealist mode (dream, metamorphosis, free association). His endeavour to subvert his own literary past takes place through the re-writing of Drosmiis's novel, To Mythistorema fis Kytlas Ersis. In this book all elements of Greek modernism are welded together. Pentzikis undoes and redoes the Parnassian novel, drawing heavily upon Q, and the Hellenic and Byzantine legacies which he semi-parodically incorporates into his art. His use of the Rabelaislan body and the grotesque, which reflects his language games, also emulates Joyce's. The fifth chapter deals with Cheimonas, as a successor of the previous authors. Cheimonas revisits all the thematic motifs of Joyce and of the aforementioned Greek authors in the light of contemporary phenomenology, psychoanalysis, psycho-linguistics and deconstruction. In an attempted assimilation of the language of FW and Joyce's preoccupation with the sound of the word, he writes an elliptical prose violated in its syntax, grammar and word-formation. His texts are a journey to the origins of language. Through violent dramatizations of psycho-linguistic theories, these texts aim at revealing the body's voice.

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23

McGahon, Mark James Peter. "Acts of injustice and the construction of social reality in James Joyce's Ulysses." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707837.

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This thesis looks at discursive conflicts in James Joyce’s Ulysses. By using the theories of the French philosopher, Jean-Francis Lyotard, and his work on conflicts between phrases, the thesis analyses how characters are silenced because of such conflicts. Silence not only points, according to Lyotard, to feelings of injustice. It is this silence, Lyotard argues, which intimates the existence of differends. This thesis concentrates on how Ulysses depicts the creation of such injustices as lead to differ ends. It examines the extent to which constructions of, and assumptions about, social realities perpetrate unpresentable injustices. With this in mind, five episodes are analysed as indicative of the whole: ‘Nestor’, ‘Hades’, ‘Cyclops’ ‘Circe’, and ‘Penelope’. Each chapter concerns itself with a different type of injustice and differ end, from the religious differe nd affecting Leopold Bloom in ‘Hades’ to the sexual differend affecting Molly Bloom in ‘Penelope’. The aim of this is not only to show that anticipatory intimations of Lyotard’s concept of the differend can be seen in Ulysses, but to argue that the main characters - Stephen Dedalus, Leopold Bloom, and Molly Bloom - are not the only characters to be silenced because of the assumptions of others. Rather, silence is a common occurrence for other characters in the book who respond to assumptions about social narratives in variously effective ways. As such, acts of injustice will be shown to pervade the book and affect a range of characters.

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Mount, Camilla. "Print media and the construction of the public sphere in James Joyce's Ulysses." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/print-media-and-the-construction-of-the-public-sphere-in-james-joyces-ulysses(879e889c-4290-4b06-a233-1a3f4e05e3bc).html.

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Framed around an investigation into the public sphere in Ireland during the late nineteenth and early twentieth centuries, this thesis explores how the public sphere is constructed and reflected upon by James Joyce in Ulysses. It recognises that in order to exist in a society that is increasingly influenced by print media, communication and commodity, the public sphere must be able to function beyond the limits of a set location or place. I therefore explore two versions of the public sphere. The first, as set down by Jurgen Habermas in his study 'The Structural Transformation of the Public Sphere', began with the Enlightenment and relies on fixed locations such as reading rooms and coffee houses. In the second, I introduce a possible alternative to the Habermasian historical understanding of the public sphere. This argues that networks of communication form reading communities which are created through the movement of newspapers and other objects of print ephemera, and that are read out loud in groups or move through the narrative as pieces of paper paraphernalia. These communities-created through the communal experience of reading and discussing news-exist in Ulysses on a virtual level, often recognised solely by the reader, but they can also be identified in Joyce's wider context. Here I discuss Benedict Anderson's theory of imagined community and the rise of nationalism, with specific reference to Ireland. The changing shape of the public sphere is integral to understanding the relationship between print media and the individual. Its potential has yet to be fully recognised in the scholarship surrounding Irish Studies and James Joyce. It provides a framework through which to analyse the connection between the political climate, the rise of new communication methods, and the role of the individual in Ireland during the late nineteenth and early twentieth century. By setting up such a discussion surrounding the public sphere, I am able to re-evaluate Joyce's use of print media in Ulysses, and explore the implications that this brings.

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DeBonis, Daniel P. ""Aspiring to the condition of music": the experience of song in James Joyce's Ulysses." Thesis, Boston University, 2006. https://hdl.handle.net/2144/27632.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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26

Gordon, Anna Margaretha. "A Reassessment of James Joyce's Female Characters." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2705.pdf.

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Silva, José Célio. "Awakening from the nightmare: a study of the democratic hero in James Joyce's Ulysses." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106047.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1978.
Made available in DSpace on 2013-12-05T18:59:27Z (GMT). No. of bitstreams: 1 321916.pdf: 3599860 bytes, checksum: 25df8accc4c2cfeadf2ea8383d58a71b (MD5)

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Witen, Michelle Lynn. "Perceiving in registers : the condition of absolute music in James Joyce's Ulysses and Finnegans Wake." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669882.

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29

Gilliland, Eric. "The “Cyclops” and “Nestor” Episodes in James Joyce's Ulysses: A Portrait of European Society in 1904." University of Dayton / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1335916622.

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30

Hanaway-Oakley, Cleo Alexandra. "'See ourselves as others see us' : a phenomenological study of James Joyce's Ulysses and early cinema." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:80821e26-de35-483a-a37c-7a4c60e138b7.

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This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

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Jonsson, AnnKatrin. "Relations : ethics and the modernist subject in James Joyce's "Ulysses", Virginia Woolf's "The Waves", and Djuna Barnes's "Nightwood /." Frankfurt am Main : P. Lang, 2006. http://catalogue.bnf.fr/ark:/12148/cb40227023k.

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Kweon, Christie. "Obscenity in Gustave Flaubert's Madame Bovary and James Joyce's Ulysses: A Postmodern Literary, Legal, and Cultural Analysis." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/607.

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In this paper. I attempt to prove that obscenity as a legal concept is actually a moral judgment made by patriarchal powers and a political tool used to police female sexuality. I analyze James Joyce’s Ulysses as a case study, using Gustave Flaubert’s Madame Bovary as a precedent. While I believe that literature can transfer and inspire ideas, I don’t believe that transferring or inspiring perversity was the intent or effect of these novels. I argue not only that the trials’ prosecutions incorrectly claim that the novels sexually arouse the average or reasonable reader, but also that they do the opposite, or fail to meet expectations to do so. In the case of Madame Bovary, I further argue that the defense incorrectly claims that the novel has and enforces a set of morals, as the novel neither punishes nor lauds its protagonist, or any of its characters for the matter. These so-called obscene novels don’t convert the everyman into a pervert. However, Ulysses and Madame Bovary do reflect and thus reveal a reality that is inconsistent with the censors’ imagined utopia: the characters in the novels’ world as well as the readers in the real word are all sexual beings, women included. I argue that censors banned novels such as Ulysses and Madame Bovary because they wished to police female sexuality under the guise of protecting the public from obscenity. Specifically, they prevented the publishing and distribution of these and other Modernist texts in an attempt to erase realistic representations of female sexuality, thus illegitimating it. Nevertheless, the perseverance of these texts proves that moral values, particularly those regarding sexuality, cannot be enforced by the law (and neither should they be).

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Rehbein, Matthew Philip. "The protean semiotic system of James Joyce's Ulysses interacting iconic, indexical, and symbolic levels of signification and their structures /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/461286284/viewonline.

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Baillie, Brian. ""Ireland sober is Ireland free" the confluence of nationalism and alcohol in the traumatic, repetitive, and ritualistic response to the famine in James Joyce's Ulysses /." Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/628.

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McGregor, Jamie Alexander. "Nothung up my sleeve : the Wagnerian impulses in James Joyce's Ulysses and A portrait of the artist as a young man." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/22127.

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Bibliography : pages 245-249.
The Introduction isolates the particular focus of the dissertation - viz. the importance of the Wagnerian themes and allusions in James Joyce's Ulysses and A Portrait of the Artist as a Young Man, considering existing studies of the same subject, as well as elucidating the structure and argument of the dissertation as a whole. In Chapters 111-V, the argument focuses on particular themes and characters in the operas that appear to influence Joyce, whether in terms of direct reference or oblique allusion. The focus of each of these three chapters is, respectively, the artist-hero, the father-son relationship and the symbolic role of woman.

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Kojima, Motohiro. "Solving James Joyce's Conundrums : A Study of the Polysemic Words in Dubliners, A Portorait of the Artist as a Young Man, and Ulysses." 京都大学 (Kyoto University), 2009. http://hdl.handle.net/2433/124178.

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McClory, Dunbar Helen Laura. "Kilea and a critical, reflective essay on Virginia Woolf's The Common Reader and To The Lighthouse, James Joyce's Ulysses and Jean Rhys's Wide Sargasso Sea." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1425/.

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This thesis consists of two parts: a creative work and a reflective, critical essay. The creative work is a novel, entitled Kilea after the central character, who is a young girl brought to a Scottish island by a man she calls Father. The girl is haunted by visions of spirits, called ‘schie’, and by their music, by her feelings of being an outsider, and by a metaphysical confusion and anxiety that grows as she develops. Kilea was originally modelled on Heliodorus’ the Aethiopika, a work of late Hellenistic fiction. However, while writing the chapters which make up the second part of this thesis, I came to realise that the plot of the older novel was not sympathetic with the aims and style I wished to bring to my work, and that my narrative could not follow a journey as the other had; it required to be located in one place only. A singular setting required an increase in detail, an awareness of landscape and how it can be salted with levels of meaning that enliven the language and support characterisation. The introduction and first chapter of the critical essay lay out the struggle to come to grips with the Aethiopika, and the usefulness of Virginia Woolf’s theories of cultural translation in ‘On Not Knowing Greek’, an essay in her The Common Reader, as well as how and why Woolf enacted the transmutation of setting in To the Lighthouse from a nostalgia-tainted Cornwall to a neutral, but unfamiliar place, Skye. Chapter Two addresses James Joyce’s Ulysses in a similar vein, though the style of this chapter is impersonal, lacking the ‘I’ of the rest of the critical essay. This decision was made to reflect the analytical, less personally reflective approach towards Joyce’s cultural reshift of the Odyssey from the Mediterranean to a time-specific, linguistically energised Dublin. The last chapter examines Jean Rhys’s Wide Sargasso Sea through the lens of feminism, with an awareness of Rhys’s antagonistic views of ‘Women’s Lib’. It notes how fate and foreknowledge of fate imbue the characters of the novel with a heaviness and fatality regardless of their gender. This is compared with Kilea, in which I wished to leave open a sense of possibility, in terms of the turns of plot, the physical qualities of the landscape and the presence, or imagined presence of the dead.

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Lostoski, Leanna J. "The Ecological Temporalities of Things in James Joyce's Ulysses and Virginia Woolf's To the Lighthouse and Between the Acts." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461258067.

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Creasy, Matthew. "James Joyce and misquotation in 'Ulysses'." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399483.

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Giovannangeli, Jean-Louis. "Détours et retours : Joyce et Ulysses." Dijon, 1990. http://www.theses.fr/1990DIJOL003.

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Oliveira, Felipe Lopes dos Santos. "Encontros e exílios em Ulysses, de James Joyce." reponame:Repositório Institucional da UFPR, 2014. http://hdl.handle.net/1884/36782.

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Orientadora : Profª Drª Isabel Jasinski
Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 18/09/2014
Inclui referências
Resumo:O presente trabalho realiza uma leitura de Ulysses, de James Joyce, interessada em investigar a maneira como os personagens principais do romance lidam com as diferenças das quais se aproximam durante suas jornadas pessoais. Amparada, principalmente, em dois autores, Emmanuel Lévinas e Jacques Derrida, a dissertação aborda o tema da alteridade e a utilização da hospitalidade, no romance, como caminho ao outro para acolhê-lo ou apropriar-se dele. PALAVRAS-CHAVE: Ulysses; Alteridade; Hospitalidade.
Abstract: The work presented here is a reading of James Joyce's Ulyssesinterested in investigating the ways the main characters of the novel use to deal with the differences they find during their personaljourneys. Supported mainly by two authors, Emmanuel Lévinas and Jacques Derrida, this reading addresses the question of alterity and the uses of hospitality, in the novel, as pathways either to welcome or to capture the other. KEYWORDS: Ulysses; Alterity; Hospitality.

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Bidenne, Daniel. "Les langues étrangères dans Ulysses de James Joyce." Lille 3, 1999. http://www.theses.fr/1999LIL30018.

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Ce travail étudie les fonctions des langues étrangères dans Ulysses en ayant recours essentiellement à des démarches liées à la linguistique et à la psychanalyse, et à des travaux qui sont au confluent de ces deux disciplines, comme ceux de Julia Kristeva. L'étude se fait en deux étapes : une première, consacrée surtout à une analyse de chacun des épisodes ; une seconde, qui est une synthèse des éléments essentiels de la première ainsi qu'une réflexion sur l'utilisation des langues étrangères. On en vient ainsi à montrer que les langues étrangères fournissent une grille de lecture ne laissant échapper aucun des termes importants de Ulysses, ni ceux particuliers à l'esthétique générale ou joycienne, tout en gardant une spécificité qui ne saurait être réduite à cette fonction. On remarque par ailleurs que les langues étrangères se font de plus en plus présentes entre le début et la fin du roman, signalant ainsi une ouverture progressive à l'altérité ; que la variation de l'importance des langues étrangères les unes par rapport aux autres souligne un changement de monde culturel. Il apparaît en outre qu'un élément déterminant dans la dynamique de l'écriture de Joyce est la relation ambivalente de celui-ci avec les langues (étrangères et maternelle). C'est en partant de cette idée d'ambivalence qu'est abordée la question de la traduction, qui permet d'éclairer le fait que le désir de communication n'est pas nécessairement la meilleure façon d'aborder la littérature

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Fischette, Michael. ""Signs on a white field" James Joyce, Ulysses, and the postcolonial sublime /." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/626.

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Fourer, Chantal. "James Joyce, de "Dubliners" à "Ulysses" : modernité du baroque." Limoges, 1993. http://www.theses.fr/1993LIMO0505.

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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

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Heibert, Frank. "Das Wortspiel als Stilmittel und seine Übersetzung : am Beispiel von sieben Überzetzungen des "Ulysses" von James Joyce /." Tübingen : G. Narr, 1993. http://catalogue.bnf.fr/ark:/12148/cb371487277.

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Clissold, Bradley. "Author--Ulysses--readers : seduction in the gaps." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22575.

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The purpose of this study is to investigate how the prose style of James Joyce's Ulysses provides seductive gaps which by design prompt readers to become co-producers of the text. Joyce strategically creates opportunities for readers to engage actively with the text through response-inviting gaps in the prose. The various types of gaps in the text place demands on readers and, inevitably, upon the author. The more reader-friendly gaps are overdetermined gaps which, by definition, are obvious and point to their own completion. These gaps when filled are, more often than not, confirmed by related references throughout the text. Ulysses, however, also abounds with gaps of indeterminacy. The ambiguous nature of these gaps generates anxiety for readers by undermining the expectations established by overdetermined gaps. Joyce's prose arrangements continually call on readers to play roles and adapt these roles to the linguistic movements of the text. This project endeavours to analyse how different gaps function and the degree to which they work in conjunction to seduce readers and the author into the dual roles of co-production and co-consumption of Ulysses.

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Tsoi, Sze-pang Pablo. "Writing as the Sinthome Joyce in critical theory : reading Ulysses and Finnegans Wake /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841331.

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Branco, Elizabeth Hey. "Molly's monologue in Ulysses." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24339.

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Chen, Shu-I. "The dialogicality of interior monologue in 'Ulysses'." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327048.

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Stafuzza, Grenissa Bonvino [UNESP]. "O discurso da crítica literária universitária: sobre James Joyce e Ulysses." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/103559.

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Made available in DSpace on 2014-06-11T19:32:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-02-09Bitstream added on 2014-06-13T19:43:27Z : No. of bitstreams: 1 stafuzza_gb_dr_arafcl.pdf: 1081660 bytes, checksum: 63fe5dd74e31723b02eaf001ee75eb0e (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A análise do discurso da crítica literária universitária apresenta-se inédita em diversas áreas em que se trabalha com o texto literário, em especial na análise do discurso. Por isso a presente reflexão parte da interface entre a análise do discurso e algumas áreas do conhecimento humano que tratam com interesse do texto literário (ciências sociais, história, filosofia, teoria literária), com o intuito de analisar o discurso da crítica literária universitária mostrando a evolução tanto do gênero artigo crítico literário, de autoria de acadêmicos, publicados em uma revista especializada, quanto da recepção crítica do escritor James Joyce e de sua obra, ressaltando a sua entrada e lugar na universidade. Assim, optamos recortar como corpus de análise artigos críticos publicados na revista francesa literária La Revue des Lettres Modernes - Histoire des idées et des littératures (Revista de Letras Modernas - História das idéias e das literaturas), uma vez que essa revista contempla análises críticas francesas, inglesas, americanas e irlandesas, feitas especialmente por professores universitários sobre James Joyce e sua obra; sobretudo, Ulysses, por ter sido publicada em Paris, França, em 1922. Consideramos como referencial de análise, artigos que sejam representativos dos períodos de 1956-1965 e 1988-1994, com alguns recortes pertinentes ao estudo, devido a quantidade e complexidade do material a ser analisado nesta tese. Selecionamos dois (02) artigos crítico-literários para o estabelecimento de análises centradas a partir de um recorte de dezessete (17) artigos, no sentido de examinar o funcionamento da crítica literária universitária. São eles: Le mysticisme qui plaisait a Joyce - Note sur la source première d´Ulysse (1951), do professor W. B. Stanford, que filia seu discurso crítico-literário universitário à história literária...
Discourse Analysis in university literary criticism seems to be something inedited in several areas which work with literary texts. This thesis aims at reflecting on an interface between discourse analysis and other fields of human knowledge which deal with literary texts (Social Sciences, History, Philosophy and Literary Theory). Such study aims at analyzing the discourse of university literary criticism, showing an evolution of a genre called literary critic paper, written by academicians and published in specialized Reviews, focusing James Joyce's critic reception and the criticism on his pieces. Besides, it will be emphasized Joyce's acceptance and academic place in university studies. Thus, it was taken as corpus, critic papers published in a French Literary Review called La Revue des Lettres Modernes - Histoire des idées et des littératures. Such Review approaches French, English, American and Irish critic analysis, written, specially, by university professors on James Joyce and his pieces. It will be given special attention to criticism on Ulysses, which has been published in Paris, France, in 1922. It will be taken as reference for analysis, representative papers in the period of 1956-1965 and 1988-1994. Some restricted aspects were emphasized and selected for analysis, considering the great number of papers and their complexities. It was selected two (2) papers on literary criticism to establish analysis from a sample of seventeen (17) papers. Such choice aims at examining universitarian literary criticism working. They are: Le mysticisme qui plaisait a Joyce - Note sur la source première d´Ulysse (1951), by Professor W. B. Stanford, who inscribe his universitarian literary criticism in literary history, founding his theoretical framework in philological studies; and, 'Sirènes': l´expressivité nomade (1988), by Professor André Topia, who expresses... (Complete abstract click electronic access below)

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