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1
Morillot, Caroline. "États cliniques, états mystiques : vers une grammaire de la réceptivité dans Dubliners, A Portrait of the Artist as a Young Man et Stephen Hero de James Joyce." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00870012.
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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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Rainville-Duech, Lorie-Anne. "James joyce : ecritures du corps dans dubliners." Paris 3, 2000. http://www.theses.fr/2000PA030152.
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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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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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Giovannangeli, Jean-Louis. "Détours et retours : Joyce et Ulysses." Dijon, 1990. http://www.theses.fr/1990DIJOL003.
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Chyi, Songling. "Les traductions françaises et chinoises d'Ulysses de James Joyce." Paris 3, 2005. http://www.theses.fr/2005PA030049.
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Ce travail compare les traductions françaises et chinoises d'Ulysses de James Joyce, ayant essentiellement des démarches éthiques et poétiques d'Antoine Berman pour la critique de traductions, associées à des thèses exposées dans l'article " La tâche du traducteur " de Walter Benjamin. L'étude, à partir d'une synthèse des éléments étrangers et étranges relevés dans une grille de lecture des textes original et traduits, suppose que la dynamique de l'écriture joycienne vise la pluralité, une ouverture progressive à l'altérité qui est l'enjeu de sa survie, que le désir de communication ne soit pas nécessairement la meilleure façon d'aborder la littérature. De là, peut-on encore parler d'une bonne traduction d'Ulysses par un critère absolu qu'est le " même sens " ? D'où vient la position déterminante du traducteur, si son désir d'aller vers l'Autre ne serait pas déjà refoulé par le dilemme fidélité/trahisonThis research project compares French and Chinese translations of James Joyce's Ulysses, applying to the ethical and poetic approaches of Antoine Berman to translation criticism, and the arguments of Walter Benjamin in his article " The Task of the Translator ". Started with the foreign and strange elements raised in a detailed reading of Ulysses and its translations, we propose that the desire of communication is not necessarily the best way to deal with literature, since the dynamic writing of Joyce is open gradually to plurality, to otherness, which is the sign of its own survival. From that, could we still talk about a good translation of Ulysses with an absolute criterion, " the same meaning "? We see that the role of the translator is determinant if his desire to otherness is not already driven back by the dilemma of faithfulness/infidelity
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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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Medeiros, Silvio. "A modernidade em Joyce : tradição e ruptura." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253558.
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Orientador: Joaquim Brasil Fontes JuniorTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-07-24T16:11:59Z (GMT). No. of bitstreams: 1 Medeiros_Silvio_D.pdf: 12288076 bytes, checksum: 1943059d45df9da006861a94effc1dab (MD5) Previous issue date: 1999
Resumo: A proposta dessa tese de doutoramento é mostrar de que forma a imaginação literária pode nos auxiliar na compreensão da realidade histórica contemporânea, marcada por profundas rupturas e transformações na ordem das coisas, e que emerge fazendo tábua rasa de seus legados culturais. A partir do desenvolvimento de um estudo intertextual em torno de três obras da literatura ocidental; a Odisséia de Homero, a Eneida de VirgíTio e o Ulisses de James Joyce, procuramos estabelecer uma tensão entre as poéticas antiga e moderna para refietirmos sobre a falta de verdades estáveis na modernidade, cuja ênfase é depositar cada vez maior peso no pensamento sobre o futuro considerando-o como dinâmico o superior ao passado, o que torna o vasto quadro das experiências passadas em si mesmo obsoleto, decretando dessa maneira o esquecimento da própria memória. Assim, visando uma reflexão significativa sobre o nosso tempo, construímos um jogo intertextual a demandar um núcleo: a desorientaçâo do homem moderno num mundo onde a tradição cultural tende a diluir-se. O resultado desse estudo permite que venhamos a estabelecer um diálogo complexo entre discursos poéticos e filosóficos, fazendo com que a Literatura e a Filosofia figurem como preocupações-chaves no pensamento contemporâneo, para somar forças contra o lado obscuro da modernidade. Nesse sentido, o Ulisses de Joyce, texto que se inscreve no modelo da poesia épica helênica, conquanto apresente uma sucessão vertiginosa de estilos e movimentos, servirá para exemplificar a insatisfação da palavra poética moderna empenhada em sobrepor-se às limitações da realidade
Abstract: The aim of this doctorate thesis is to show in what way literary imagination may help us to understand contemporary historic reality, which is marked by deep ruptures and transformations in the order of things and which emerges making tabula rasa of its cultural heritage. An intertextual study of three works of occidental literature, Homer's Odyssey, Virgile's Aeneid, and James Joyce's Ulysses seeks to establish a tension between the old and the new poetics in order to reflect about the lack of stable truths in modernism, which emphasis lies in putting an each time major weight on thinking about the future, considering it as being dynamic and superior to the past, which turns the wide range of past experiences obsolete in itself, declaring the disremembering of the proper memory. Thus, aiming toward a significant reflection on our time, we are building an intertextual game pointing to a core: the disorientation of modern man in a world where cultural tradition tends to dilute itself. The result of this study allows us to establish a complex dialogue among poetical and philosophical discourses, turning Literature and Philosophy into key issues of contemporary thinking in order to increase strength against the dark side of modernism. In this sense, Joyce's Ulysses, a text which follows the model of Hellenistic epical poetics, since it presents a vertiginous succession of diferent styles and movements, serves as an example of the dissatisfaction of the modern poetic word in attempting to superpose itself to the limits of reality
Doutorado
Filosofia e História da Educação
Doutor em Educação
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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 ameriquesThrough 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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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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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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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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Downes, Gareth J. "James Joyce, Catholicism and heresy : with specific reference to Giordano Bruno." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14800.
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In this thesis I explore the complex nature of James Joyce's relationship with Giordano Bruno in The Day of the Rabblement, Stephen Hero, A Portrait of the Artist as a Young Man, and Ulysses. I employ an historicist methodology, and examine Joyce's encounter with Bruno in the context of the discursive environment of contemporary Roman Catholicism, specifically in relation to the triumph of Ultramontanism within the Church and the emergence and suppression of Roman Catholic Modernism. I argue that an historicist examination of this relationship provides an extremely effective means of realising some of the urgency and offensiveness of Joyce's critical engagement with contemporary Catholicism. I discuss the manner in which Joyce's encounter with Bruno's writings and legacy in the 1900s steeled him in his own struggle with Catholic orthodoxy, and I explore the significance of the heretical trace of Bruno's philosophical and cosmological writings in Joyce's novels from 1904 to 1922.
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Howie, Jordan. "A cemetery of symmetry : chiastic structure in Wandering Rocks and Ulysses." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99375.
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This thesis is an analysis of the chiastic structure in the tenth episode of James Joyce's Ulysses, Wandering Rocks, and how it relates to the chiastic elements in the novel as a whole. My reading of Wandering Rocks and Ulysses is designed to explain the contradiction between the episode's appearance of structural stability and the novel's consistent denial of unifying structures. Chiastic structure will be shown to reflect a formal process of simultaneous growth and decay that develops in the novel, and the reading of Wandering Rocks will establish how the pattern traces points of convergence between the novel's aesthetics and the organic processes that occur in the referential level of the text. While I argue that Wandering Rocks announces an inevitable loss of structural stability, the examination of its structure reveals formal principles that remain consistent throughout Ulysses .
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Conley, Tim. "The hoax that joke bilked : sense, nonsense, and Finnegans wake." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26682.
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The remarkable challenges Finnegans Wake offers to its readers and to the very process of reading are the results of an evolution of Nonsense literature. Despite the unduly "serious" framework of criticism which has been built up around it, Joyce's anomalous last work is a radical "hoax" upon interpretation. The regular confluences of linguistic deconstruction (via word association as well as recurring word and phrase matrices) and ontological metaphor, developed from authors such as Rabelais, Sterne, and Lewis Carroll, are offered by the Wake as tests to the reader's (qua reader) sensibilities. As Nonsense, Finnegans Wake departs from typified modernist modus operandi (metonymic allusion) and instead explores the limits of metaphor. The stakes of Joyce's hoax are of vital interest to the contemporary student of literature and culture, since the Wake dares the reader to find new meanings rather than to project old ones; to exult its eccentricities and its difference; and all the while to call into question (as the text itself does), its authenticity and authority.
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Roughley, Alan Robert. "Finnegans wake as a deconstructive text." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27520.
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This dissertation considers Finnegans Wake as a deconstructive writing that exemplifies many of the textual operations that the French critical theorist Jacques Derrida attempts to define through his use of such "undecidable" terms and "non-concepts" as "difference," "dissemination,"
"trace," and "grafting." It argues that the Wake operates much like the "bifurcated writing" and "grouped textual field" that Derrida identifies as the only possible site for a deconstructive engagement of the terms and concepts of the Western metaphysical tradition, the tradition
that Derrida terms phallogocentrism. The Wake has been an important text in the critical formulations of many contemporary theorists, and, as Derrida has recently acknowledged, his own theories of dissemination and deconstruction have been considerably affected by the Wake during the twenty-five to thirty years that he has been learning to read it. In drawing on Derrida's theories to analyze the Wake, this dissertation utilizes Derrida's terms to "re-mark" in Joyce's text, the disseminative textual operations that Derrida has marked as operative in the texts of the history of philosophy and in "so-called literary" texts like Finnegan’s Wake. In a certain sense, it renders unto Joyce's text that which has always already belonged to it.
Drawing on Derrida's investigation of speech and writing, the dissertation
considers the Wake's identification of itself as a fusion of speech and writing that requires a "speechreading" on the part of its readers. It supports this consideration by employing Umberto Eco's semiotic methodology to trace the network of metonymic lexemes by which the Wake identifies itself as a writing for the ear as well as the eye. Next it analyzes the Wake's tenth chapter as a chapter that exploits the formula 1+2+3+4=10 and produces a writing that operates as an arithmetical
textual machine which problematizes the traditional concepts of presence and being and which also works towards dislodging the phallogocentric organization of writing with such hierarchically organized binary terms as male/female and central/marginal.
In order to illustrate how the Wake disseminatively disrupts the binary terms by which phallogocentrism dominates thought, speech, and writing, the dissertation also considers how Joyce's text functions in an Intertextual relationship with some of the writings of Blake and Shakespeare. It does this by analyzing how the Wake dismantles some of the philosophical paradigms operating in the Blake and Shakespeare texts and takes important signifiers from those texts in order to set them to work as signifiers of signifieds that are radically different from those in the texts of Blake and Shakespeare.Arts, Faculty of
English, Department of
Graduate
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Salado, Régis. "Ulysses de Joyce, laboratoire de la modernité : étude de réception comparée dans les domaines français et anglo-saxon (1914-1931)." Paris 10, 1994. http://www.theses.fr/1994PA100103.
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Ulysses de Joyce se situe au cœur du mouvement de rénovation des terres qui se produit dans l'entre-deux-guerres. L'histoire de la réception du roman, scandée par la prépublication en épisodes aux États-Unis et en Angleterre entre 1918 et 1921 puis par la parution en volume à paris en 1922, implique successivement, et parfois simultanément, trois aires culturelles distinctes mais solidaires en partie. L'étude de la réception de Ulysses, puis d'Ulysse (traduction française en 1929) révèle donc les mutations et les résistances qui s'opèrent a l'intérieur des champs littéraires anglais, américain et français, en une période qui voit s'imposer une esthétique nouvelle, que les historiens de la littérature qualifieront rétrospectivement par le terme de "modernisme". La démarche comparatiste adoptée dans la thèse vise à rendre compte de l'internationalisation de l'actualité littéraire ainsi que des écarts propres aux champs culturels pris en compte, a l'occasion de la réception du roman. On aboutit à ces résultats complémentaires : dans la perspective d'une esthétique de la réception ou d'une herméneutique, les lectures produites en réponse à Ulysses attestent a difficulté à s'approprier le texte, en dépit des premières interprétations et "orthodoxies critiques" proposées par Pound (1914-1922) ou Larbaud (1921-1922) : dans la perspective d'une histoire de la réception, le rôle moteur de ulysses dans la constitution d'une conscience moderniste dans le domaine anglo-saxon demeure sans équivalent en France, ou l'intégration du roman joycien se fait à la faveur d'une réduction au procédé du monologue intérieur. Monumentalisation et reconnaissance exceptionnelle n'impliquent, pas dans le cas d'uJoyce's u stands central in the movement of literary renovation which takes place after W. W. I. The historical process of u's reception was staggered over months by the serialized pre-publication of the novel in the U. S. And in England between 1918 and 1921 and then by the release of the novel in 1 volume in Paris in 1922. This process successively, and sometimes simultaneously, implied 3 cultural areas which are distinct but inter connected in parts. Through the study of u's reception, and subsequently of the French version (1929), mutation and a certain reluctance appear: these phenomena operate within the English, the American and the French fields, over a period which witnesses the emergence of a new aesthetics that was later on coined "modernism". The comparative bias of the doctorate aims at explaining the internationalization of literary relationships, as well as at understanding the gaps between the cultural fields taken into account. Eventually, complementary results can be drawn : according to the "aesthetics of reception" theory and to hermeneutics, the readings produced as a critical answer to u betray the difficulty to appropriate Joyce’s text, in spite of early interpretations and "critical orthodoxies" such as Pound's (1914-1922) and Larbaud's (19211922) ; in a more historical perspective, it appears that u played a vital part in the constitution of a modernist self-consciousness in the Anglo-Saxon literary world, while this function didn't operate as decisively in France, where the integration of Joyce’s novel
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Martin, William School of English UNSW. "The recurrence of rhythm: configurations of the voice in homer, plato and joyce." Awarded by:University of New South Wales. School of English, 2007. http://handle.unsw.edu.au/1959.4/26001.
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The Recurrence of Rhythm is an inquiry into the notion that the voice flows ??? a theme that continually recurs in the Homeric poems, Plato's Cratylus and James Joyce's A Portrait of the Artist as a Young Man and Ulysses. Through a re-interpretation of the meaning of rhythmos in pre-Socratic philosophy, I define rhythm as the particular manner in which the voice is flowing, and argue that it is the specific quality of phonetic writing to represent the flowing aspect of the voice. The Greek concept of rhythmos is held to be inseparable from the invention of phonetic writing and the transcription of the Homeric poems, and it is this new definition of rhythm that allows the thesis to engage in contemporary debates concerning the relationship between speech and writing (as developed by Derrida, Ong, Havelock, Parry, Lord and Prier). I also argue that the Platonic concept of rhythm qua metre provides an essential point of mediation between the Greek oral tradition and the history of Western literature, a move that sets the scene for a comparative study of Homer and Joyce. By developing an original concept of recurrence that pertains to both the repetition of themes in the Homeric poems and the heroic experience of living for the sake of the story, this thesis proposes that rhythm and recurrence are interrelated concepts that distinguish the lyrical and dramatic modes that structure the epic form of narrative found in both Homer's poems and Joyce's novels. Drawing upon the esthetic philosophy of Stephen Dedalus, I develop the dialectical theory of genre first outlined by Joyce in the Paris notebook, and argue that the latent lyricism contained in the narrative style of A Portrait is a proto-typical form of the interior monologue found in Ulysses. In opposition to the early modernist paradigm of Joyce criticism, this thesis rejects the notion that mythic archetypes function as Platonic ideals (i.e. the transcendent form of the modernist artwork), but rather holds that heroic themes recur in the mental stream of the modern subject, and manifest themselves immediately through Joyce???s use of the interior monologue technique.
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ROSPARS, NAVAI ANNE-MARIE. "Le juif et le celte dans Ulysse de James Joyce." Paris 13, 1986. http://www.theses.fr/1986PA131014.
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Ergal, Yves-Michel. "De l'oeuvre "in nucleo" à l'oeuvre "in progress" : Marcel Proust et James Joyce." Paris 4, 1992. http://www.theses.fr/1992PA040027.
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Marcel Proust et James Joyce conçoivent, au début du XXe siècle, l'idée d'un nouveau genre littéraire, celui de l'œuvre. A l’âge de vingt-cinq ans, ils publient un premier recueil de nouvelles, Les plaisirs et les jours et Dublinois. Malgré les thèmes "in nucléo" dans l'œuvre de jeunesse, il manque à Proust et à Joyce un porte-parole : celui-ci sera Jean Nanteuil et Stephen le héros. Lorsque Proust et Joyce découvrent la structure circulaire de l'œuvre, de l' « in nucléo » - le roman d'initiation - nous passons à l' « in progress », le roman de l'artiste. Dans l' « in progress », Proust et Joyce mettent en scène le portrait d'un anti-artiste, Swann Charlus ou, pour Joyce, Leopold Bloom. La fonction essentielle du roman consiste à dévoiler la sexualité des personnages. Libéré de ses angoisses, l'artiste peut s'effacer d'une œuvre qu'il vient en vérité d'écrireMarcel Proust and James Joyce conceived, at the beginning of the XXth century, the idea of a new literary genre: that of the work. At the age of 25, both published their first books of short stories, Les plaisirs et les jours and Dubliners. Despite the themes "in nucleo" in their early works, Proust and Joyce lacked a spokesman: he will be Jean Santeuil and Stephen Hero. When Proust and Joyce discover the circular structure of the work, the "in nucleo" - the roman d'initiation - we move on to the "in progress", the novel of the artist. In the "in progress", Proust and Joyce stage the portrait of the anti-artist, Swann Charlus or, for Joyce, Leopold Bloom. The essential function of the novel is to reveal the sexuality of the characters. Liberated from his fears, the artist may disappear from the work he has in fact just written
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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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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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Moira, Amara 1985. ""Dubliners" / "Dublinenses" : retraduzir James Joyce." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269967.
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Orientador: Fabio Akcelrud DurãoDissertação (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
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Esteves, Lenita Maria Rimoli. "A (im)possivel tradução de Finnegans Wake : uma investigação psicanalitica." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271093.
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Orientador: Nina Virginia de Araujo LeiteTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho parte de uma obra literária singular, Finnegans Wake, de James Joyce, para abordar várias questões relativas à linguagem e principalmente à tradução. Essa obra impõe uma leitura diferenciada, que se afaste do que normalmente julgamos ser a leitura e a interpretação de textos emgeral e também literários. A psicanálise, trazida principalmente por textos de Freud e Lacan, mostrou-se uma via ideal de abordagem dessa obra que, ao mesmo tempo, se assemelha e se diferencia de formações do inconsciente como o chiste e o sonho, da poesia - como a psicanálise a concebe - e das produções de sujeitos psicóticos. O primeiro capítulo faz um contraponto entre Finnegans Wake e essas formações, que evidenciamo inconsciente em ação na linguagem. o segundo capítulo vem ligar essa perspectiva da psicanálise à tradução, por meio da obra Letra a Letra, de Jean Allouch, onde o autor propõe, pela íopologia do nó borromeano, uma interdependência entre a tradução e duas outras operações, a transcrição e a transliteração. O terceiro capítulo trata de analisar a escrita de Joyce tendo como contraponto as três operações propostas por Allouch. Analisam-se também traduções de alguns excertos de Finnegans Wake para o português, com a identificação de pontos de impossibilidade.Procura-se demonstrar que se, como propõe Lacan, o sujeito James Joyce apresenta uma constituição psíquica singular, que o diferencia tanto de um psicótico quanto de um neurótico, essa singularidade deve se inscrever em sua própria obra e, justamente nesses pontos de inscrição, a tradução se torna impossível. A tese busca demonstrar que, se a tradução se depara com certos limites, esses limites são determinados pela incidência das duas outras operações, transcrição e transliteração. Em contrapartida, a tradução não pode ser considerada isoladamente, sendo sempre apoiada pelas duas outras operações. Se a tradução tem sido tradicionalmente teorizada com base na oposição forma/sentido, a tese se propõe a considerá-Ia num triplo, composto de forma/sentido/nãosentido
Abstract: The key motivation of this thesis was a singular literary work - Finnegans Wake, by James Joyce - and the several issues it raises related to language and especially to translation. Joyce's work imposes a different reading process, apart ITomwhat we generally consider to be reading and interpretation of texts in general, as well as literary texts. Psychoanalysis, represented mainlyby texts by Freud and Lacan, was considered an ideal way of approaching this text which, at the same time, is similar to and different ITomunconscious formations such as dreams and verbaljokes, poetry - as conceived by psychoanalysis- and the productions of psychotic subjetcs. The first chapter presents a comparison between Finnegans Wake and these formations, which put in evidencethe unconscious at work in language. The second chapter links this psychoanalytical perspective to translation, based on the book Letra a Letra, by Jean Allouch, in which the author proposes, by means of the topology of the Borromean rings, that there is an interdependence between translation and two other operations, transcription and transliteration. The third chapter analyses Joyce's writing in view of the three operations proposed by Allouch. Translations of some excerpts of Finnegans Wake into Portuguese are also analysed, aiming at indicating some points of impossibility.This analysis tries do show that if, according to what Lacan proposes, James Joyce has a singularpsychological make-up, which is neither that of a psychotic nor that of a neurotic, then this singularity must be inscribed in his own work and that, exactly in these points of inscription, translation becomes impossible. The thesis tries to show that, if translation faces some limits, these limits are determined by the incidence of the two other operations, transcription and transliteration. On the other hand, translation can not be considered in isolation, being always supported by the two other operations. If translation has been generally theorized based on the opposition form/sense, this work proposes to consider it in a triple, constituted by form/sense/non-sense
Doutorado
Doutor em Linguística
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Denize, Joseph. "L'imagination créatrice chez William Blake et James Joyce." Paris 8, 2001. http://www.theses.fr/2001PA081994.
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Bien qu'appartenant à des genres différents, les poèmes de William Blake et les romans de James Joyce font état de similitudes profondes reposant essentiellement sur une conception de l'imagination créatrice commune aux deux auteurs. Faculté humaine mais aussi substance verbale (au sens théologique du terme) de l'expérience, l'imagination est la mátière première de l'être que l'artiste doit s'efforcer de capturer dans son oeuvre qui en devient ainsi l'anatomie ou le théâtre vivant. Sur les bases d'une définition précise des notions complémentaires d'imagination et d'anagogie, qui trouvent leurs prémisses dans la cosmologie et les théories hermésiennes du langage, le présent travail se propose de comparer le fonctionnement poétique des prophéties de Blake et des romans de Joyce afin, à terme, de dégager des éléments utiles à une discussion des problèmes soulevés par l'interprétation des textes hermésiens et par les théories modernes de la "dérive du sens"
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Johns, Alessa. "Joyce and Chaucer : the historical significance of similarities between Ulysses and the Canterbury tales." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63365.
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Grossman, Évelyne. "Entre corps et langue : l'espace du texte (James Joyce - Antonin Artaud)." Paris 7, 1994. http://www.theses.fr/1994PA070106.
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Les oeuvres de Joyce et d'Artaud, apparemment très éloignées, rejoignent une conception de l'écriture qui les situe au centre de cette crise moderne des identités affectant les liens entre le corps et le psychisme. A travers le théâtre, l'essai, le roman, le dessin ou la musique, leurs écrits bouleversent les frontières subjectives et les limites énonciatives. S'ils s'efforcent de reconstruire dans l'écriture le corps qui leur manque, c'est au prix d'une mutation profonde des relations entre l'écrivain et le lecteur. Entre corps et langue, ils inventent un espace d'écriture et de lecture aux limites poreuses qui inclut son destinataire : un espace-limite, bordeline, qui remet en question les théories classiques de la reception du texte. Par la, leurs oeuvres rencontrent les interrogations actuelles de théories (psychanalytiques, philosophiques ou linguistiques) qui s'efforcent de penser un autre espace psychique - plastique et ouvert, entre sujet et objet, je et autreAt first view, the works of James Joyce and Antonin Artaud's are quite remote from each other. They both however have a conception of the literary writing that relates them to the contemporary identity crisis in so far as they underline a similar rupture between body and mind. Mixing up every genre (theatre, critical essays, novels, drawing or music), their writings upset at the same time the subjective boundaries and the limits of any literary utterance. Striving to reshape thr0ugh the act of writing the body that fails them, they succeed in modifying the relationship between author and reader. Between body and language, they build up a textual space which includes the reader : a bordeline space outlining a new type of subjectivity
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Jung, Mathieu. "James Joyce, Raymond Roussel : modalités du lisible." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC019.
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Ce travail a pour pour but d’étudier les œuvres de Raymond Roussel (1877-1933) et de James Joyce (1882-1941). Il consiste à mettre ces auteurs en regard l’un de l’autre, en vue de l’éclairage réciproque de leurs textes, souvent qualifiés d’illisibles. Une pareille étude n’a pas encore été menée à ce jour, bien que le rapprochement de ces écrivains semble d’ores et déjà aller de soi : on range conjointement Joyce et Roussel auprès de Stéphane Mallarmé, quand on n’apparente pas leur usage du langage à celui du schizophrène Louis Wolfson. Il s’agit d’établir quelles sont les stratégies d’écriture propres à Joyce et à Roussel, de confronter l’opacité joycienne, combien problématique, à la difficile transparence – l’apparente clarté – dont témoigne l’œuvre de Roussel. L’étude comparative de Joyce et Roussel ne saurait faire l’économie d’une réflexion sur la place occupée par le commentaire au sein de l’œuvre. Cette opération revient à questionner l’autorité critique de Joyce et de Roussel. Ces auteurs produisent des textes autonomes, lesquels parlent essentiellement d’eux-mêmes. Tout en étant gros de leur projet, ils constituent leur propre objet. L’analogie avec la machine s’impose irrésistiblement. Ces manières de machines célibataires (Michel Carrouges) sont également des œuvres ouvertes (Umberto Eco). L’imaginaire des machines relie Joyce et Roussel tout en les intégrant à un espace plus vaste comprenant aussi bien Jules Verne que Marcel Duchamp. Les machines permettent d’envisager l’écriture de Joyce et de Roussel en termes de surface et de profondeur, mais elles mettent également en lumière les paradoxes du manifeste et du cachéThis thesis aims to examine the writings of Raymond Roussel (1877-1933) and of James Joyce (1882-1941). Both writers are to be put into comparison so as to shed a reciprocal light upon one another’s works, which are often deemed illegible. Such a study has not yet been carried, although connecting the two writers seems already self-evident : Joyce and Roussel are simultaneously ranked beside Stéphane Mallarmé, when their use of language is not linked with that of schizophrenic Louis Wolfson. What is at stake is to define Joyce and Roussel’s writing strategies, to bring face to face Joyce’s opacity - with all the issues it entails - and the problematic transparency - the seeming clarity - displayed by Roussel’s work. The comparative study of Joyce and Roussel could not dispense with a pondering over the weight of commentary deriving from both canons. This amounts to questionning Joyce’s and Roussel’s authority in the field of criticism.These authors generate autonomous texts which essentially deal with themselves. While fortified by their project, they are fed on their own object. An analogy to the machine seems necessary and compelling. These bachelor machines (Michel Carrouges) are also open works (Umberto Eco). The machine imagination binds Joyce and Roussel while incorporating them into a wider space that comprises Jules Verne as well as Marcel Duchamp. Machines thus make it possible to consider Joyce and Roussel’s writings in terms of surface and depth, but they also highlight the paradoxes of the manifest and of the hidden
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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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Verger, Mathias. "La haine de la langue maternelle : une lecture de James Joyce, Jean Genet, Thomas Bernhard." Paris 8, 2013. http://www.theses.fr/2013PA083897.
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Le syntagme de « langue maternelle » ne dénomme pas un concept mais fonctionne comme une expression commune qui condense différents imaginaires linguistiques. Il s’agit de relier la déconstruction de cette expression à la lueur de poétiques romanesques du XXe siècle et de différentes modalités d’excès stylistiques. Les corpus romanesques de James Joyce, Jean Genet et Thomas Bernhard mettent en crise, à l’échelle du récit comme au niveau de l’écriture, l’idée d’une langue commune de communication, la qualité politique de la langue nationale, l’image de la langue de la mère et l’imaginaire natal de la langue maternelle. Les défigurations stylistiques accompagnent l’inquiétude politique portée par les œuvres quant aux figements de la langue ordinaire et face au modèle de l’Etat-nation comme à l’ordre généalogique. L’intervention doublement littéraire et politique détourne les monolinguismes institués afin d’ouvrir de nouveaux rapports possibles avec l’étranger et les langues étrangères. En réponse à l’idéologie de la grammaire normative, l’écriture devient idiome et s’engage dans des processus de traduction. Joyce, Genet et Bernhard brisent les logiques et les mécaniques de l’appartenance sociale et politique en inventant des écritures en « plus d’une langue ». Le sujet de la langue et le sujet politique se retrouvent dans une même situation de résistance face au pouvoir des normes. Le roman familial et le grand récit de la nation sont pris à revers dans des textes en mouvement où la bile se joint à la labilité des identités, des catégories et des noms. Ces écritures en dissidence appellent enfin une lecture « en traduction » attentive à la mémoire des languesThe syntagm “mother tongue” does not refer to a linguistic concept. Rather, it operates as a common set expression which superimposes different linguistic imaginaries. This thesis aims to deconstruct this expression through an analysis of XXth century novelistic poetics, focusing in particular on excessively distorted writing. The novels of James Joyce, Jean Genet and Thomas Bernhard use narrative and stylistic orchestrations to undermine the idea of a shared language allowing communication, the political dimension of national languages, the literal understanding of the “mother tongue” as the language of/from the mother, and the labeling of a first language as “native”. More generally, distorted writings contribute to the political anxiety the novels express concerning the fixation and fossilization of everyday language, the dominance of the nation-state apparatus and that of genealogical orders. Such a political engagement in writing allows these novelists to reject established monolingualisms and forge new relations with the Other and with foreign languages. Joyce, Genet and Bernhard abandon the ideology of normative grammar and develop singular idioms which draw on translation processes. The three writers break with traditional socio-political forms of belonging while creating “monolingualisms of the other” or idioms which don’t belong exclusively to any language. As both a so-called “native” speaker and a social subject, the author’s hatred of his own mother tongue resists the power of norms. Joyce, Genet and Bernhard attack the family romance and overarching national narratives through a poetics of hatred which sets texts and languages in motion, and in which metaphoric bile stands for the malleability of identities, categories and names. Their stylistics of dissent calls for a reading “in translation” that is mindful of the memory of languages
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Belluc, Sylvain. "Signe, nature, signature : parcours étymologiques dans l’œuvre de James Joyce – Dubliners, A Portrait of the Artist as a Young Man et Ulysses." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030105.
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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’histoireOne 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
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Eyben, Piero Luis Zanetti. "Nóstos-escritura : meta-signo em Mallarmé e Joyce." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/6373.
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Tese (doutorado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, 2008.Submitted by Larissa Ferreira dos Angelos (ferreirangelos@gmail.com) on 2009-09-28T19:14:08Z No. of bitstreams: 1 2008_PieroLuisZanettiEyben.pdf: 3559950 bytes, checksum: 76f512c8815c5f5d8ad9e397aab6bbd1 (MD5)
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Esta tese tem por objetivo discutir — a partir do conceito de escritura e de suas conseqüências para a teoria literária — a problemática da estrutura de retorno que a linguagem dos textos de Mallarmé e Joyce mantém sobre si mesma. A fim de se alcançar tal objetivo, será ensaiada a matematização de um conceito proposto — o de meta-signo —, cujo intuito é a transmissão do discurso desses textos a partir das teorias da desconstrução e da psicanálise, vistas aqui tão-somente naquilo em que colaboram para o desenvolvimento de uma "crítica da escritura". Na tentativa de compreensão de qual seja o papel da escritura — na redefinição da significância do texto frente aos problemas da leitura e escrita da própria literatura na modernidade — procura-se estabelecer o grafo e o matema do meta-signo sob o efeito dos fenômenos da assemia (Barthes) e da disseminação (Derrida) que, em conjunto com as teorias psicanalíticas acerca da psicose, do real, da letra e da representação, impulsionam a discussão a respeito da destituição e desgaste do funcionamento do signo enquanto representante. Assim, ao estabelecer a relação entre os textos desses dois autores, entendidos como binômios de uma mesma concepção a propósito da escritura, tem-se por definição a constatação dos elementos que obscurecem e apagam os sentidos em uma dada contextura de significância que apenas seria transmissível, mas não comunicável. Compreender o matema proposto seria, desta forma, apontar o discurso como réplica das relações lingüísticas enquanto possibilidades de compreensão metafigurativa, ou ainda como meta- referencial (tendendo a zero no gráfico cartesiano, proposto por Saussure e Jakobson), uma vez que tal discurso parte da nulidade do signo à metonímia complexa de seus elementos que ultrapassem a noção mesma de significação. ______________________________________________________________________________ ABSTRACT
This thesis aims to discuss — from the concept of writing and its consequences for literary theory — the problem of the structure of return that the language of Mallarmé’s and Joyce’s texts keeps up on itself. In order to achieve this objective, the mathematisation of a proposed concept — that of meta-sign — will be essayed, whose aim is transmitting the speech of those texts from the deconstruction’s and psychoanalysis’ theories, seen here as just only in which they collaborate to develop a "critique of writing". In attempt to understand what is the role of writing — redefining the significance of the text facing the problems of reading and writing of literature itself in modernity — we seek to establish the meta-sign’s graph and mathem under the effect of the concepts of asemy (Barthes) and dissemination (Derrida) which, together with the psychoanalytic theories about psychosis, real, letter and representation, impel the discussion about the destitution and wear of the sign’s functioning as a representation. Therefore, in establishing the relationship between the texts of those two authors, defined as binomial of the same conception of writing, we have the finding of the elements that obscure and erase the senses in a given structure of significance that would only be transferable but not communicable. Understanding the proposed mathem would be thus pointing the speech as a reply of the linguistic relations while possibilities of a meta-figurative as well as meta-referential understanding, as this speech departs from the sign nullity to the complex metonymy of its elements that go beyond the notion of meaning.
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Clissold, Bradley. "Recovering the common sense of high modernism : embodied cognition and the novels of Joyce, Faulkner, and Woolf." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36895.
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This thesis argues that the popular characterization of high modernist fiction as esoteric, elitist, uncommunicative, and far too difficult for the common reader obscures the democratic principles at the heart of modernist experimentation and its poetics of difficulty. Recent theories of embodied cognition when applied to representative examples of high modernist novels help dispel the myth of inaccessibility and reveal the many ways in which these works actually accommodate the common reader. Once the stigma of inaccessibility is removed from the study of modernist novels, it becomes possible to see how their formal experiments with language as well as the themes and issues they contain operate for readers and writers alike as a means of exploring everyday cognitive activities and responses. To this end, the concept of cognitive dissonance provides a heuristic device for understanding what lies behind the motivations of writers who aestheticise experiences of dissonance in their texts and the responses of readers who confront these texts. This cognitive approach to modern literature challenges assumptions about high modernism's "uncompromising intellectuality" and replaces them with a view of modernism that is more accessible and inclusive without diminishing its radical difficulty. It also paves the way for new readings of highly canonical modernist fiction. For instance, I examine how James Joyce places "inscribed" readers into Ulysses to guide actual readers through some of the difficulties of the novel. I then read William Faulkner's The Sound and the Fury as a novel that both thematises and formally resists the modern threat of behaviouristic human conditioning. Finally, I look at how the theme and form of Virginia Woolf's Mrs. Dalloway reinforce the embodied equation of dissonance with illness and incompletion.
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Bormanis, John Curt. "Oppositional constructions of Jewishness, gender and ethnicity in the works of James Joyce (1882-1941) and Gertrud Kolmar (1894-1943) (Ireland)." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186666.
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In this dissertation I explore the role that religious discourses (especially the Hebrew Bible), ethnic nationalist movements, and shifting configurations of gender played in the works of German-Jewish and Irish Catholic writers during the early twentieth century. I focus on the works of Gertrud Kolmar and James Joyce because they take up oppositional and critical positions vis-a-vis not only the dominant forces of their oppression, but also towards the movements and groups which fostered their oppositional consciences. Thus, while Kolmar found a defense against German anti-Semitism in Jewish tradition, she also struggled against the misogynistic discourses within Judaism. And while Joyce was adamant in his rebellion against the British Empire and the English language, he was equally committed to challenging the parochialism, anti-Semitism, and suffocating Catholicism of the Ireland from which he fled at age 22. The works of both authors are important today because they elucidate the inextricably bound nature of ethnic, religious and gender identities, and offer insights into our continuing struggle to deal with these issues and their modern origins in the early twentieth century.
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Figueroa, Lienqueo Tamara Valentina. "A portrait of the subject as a young artist: James Joyce and modernism." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109942.
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Briggs, Roger T. "Dubliners and the Joycean epiphany." Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t065.pdf.
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Jousni, Stéphane. "James Joyce : un héritage encombrant : Flann O'Brien, John McGahern, John Banville : comment assumer la succession." Rennes 2, 2000. http://www.theses.fr/2000REN20007.
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Auteur d'une oeuvre monumentale, dont chaque volet a constitué une forme de révolution artistique, James Joyce (1882-1941) a laissé aux auteurs irlandais de langue anglaise un héritage colossal. En bouleversant les codes narratifs, en forgeant une nouvelle langue, en subvertissant la hiérarchie qui jusque là subordonnait l'écriture au réel, Joyce a incarné et incarne encore une modernité dont les générations successives d'écrivains ont porté le poids écrasant. L'analyse comparative, intertextuelle, des écritures de Flann O'Brien (1911-1966), John McGahern (1932-) et John Banville (1945-)permet, dans une perspective historique, de soulever la question de l'influence de Joyce sur les romanciers irlandais du XXe siècle. Représentatifs de leur génération, ces trois auteurs ont chacun intégré dans leur oeuvre une part significative du patrimoine joycien, dont il devient alors possible de commencer à mesurer l'ampleur, voire la force inhibitrice. Quasi-contemporain de Joyce, quelque peu écrasé par un grand frère qu'on lui a reproché toute sa vie d'inmiter, Flann O'Brien a fait fructifier, dans une écriture métafictionnelle qui doit beaucoup à Ulysses, la part ludique de l'héritage, sans toutefois parvenir à faire entendre haut et clair sa voix de créateur. Une à deux générations plus tard, John McGahern, qui s'est inscrit dans le courant de réalisme symbolique dont Dubliners rest un exemple inégalé, demeure, malgré la force indéniable du souffle poétique qui traverse son oeuvre, impuissant à assumer totalement la succession, continuant partiellement d'écrire comme si Joyce n'avait pas existé. Seul John Banville, dont la recherche du côté d'une écriture trans-sémiotique héritée du maître renouvelle la création romanesque, semble, avec le recul apporté par trois-quarts de siècle et le bénéfice des acquis de la "post-modernité", de taille à permettre à la littérature irlandaise de tourner la page écrite par Joyce. L'encombrant héritage va-t-il, enfin, pouvoir être géré?@Creator of an immense work, each of whose opus constituded an artistic revolution, James Joyce (1882-1941) has left to Anglo-Irish writers a formidable legacy. Leaving behind the XIXth century novel, Joyce irrevocably altered the modern literary map. Representing that moment of transition for contemporary sensitivity known as modernity, Joyce's work undeniably was and still is a burden to generations of Irish writers. A comparative study of O'Brien, McGahern and Banville's novels and short stories can lead to a fruitful historical analysis of Joyce's influence on XXth century Irish literature. Each of those three writers has indeed benefited, consciously or inconsciously, from the literary lessons of the " master ", whose heritage, possibly a source of inhibitions, is now possible to measure. Altohgh Flann O'Brien (1911-1966) was hailed as the author of several masterpieces, the general critical reception derided the Joycean undertones of his work, and tended, not undully so, to condemn his work as inferior imitation. As a matter of fact, O'Brien remains as the first Irish metafictionalistalong with Joyce. Less than two generations later, John McGaherrn (1932-)appeared on the Irish literary scene. Undeniably marked by Joyce's early work, whose realistic and symbolical influence can be perceived in most of his short stories and some of his novels, McGahern only reluctantly admits his indebtedness to the author of Dubliners. And despite the poetic originality of his writings, he continues to write as though James Joyce had never existed. As for John Banville (1945-), who seems to have inherited Joyce's sense of experimentation as well as his capacity to recycle the work of his predecessors, he has obviously started to pave the way to new forms of literature -maybe for the first time since Ulysses. With Banville, the Irish literary community may be able to turn over the leaf Joyce wrote nearly a century ago
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Dosse, Mathieu. "Poétique de la lecture de la traduction : James Joyce, Vladimir Nabokov, João Guimarães Rosa." Paris 8, 2011. http://octaviana.fr/document/168361973#?c=0&m=0&s=0&cv=0.
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A la croisée de deux champs théoriques et pratiques, la lecture de la traduction se place dřemblée comme une pratique problématique. Ce travail cherche à rendre compte, en mettant lřaccent (contre la notion traditionnelle de perte qui lui est traditionnellement attachée) sur la positivité de la traduction, dřune poétique de la lecture de la traduction. Il sřinscrit ainsi à la fois dans le champ de la traductologie (quřil cherche à renouveler en mettant lřaccent sur la lecture du texte traduit) et de la réception (auquel il contribue en soumettant ses concepts à un type de texte, la traduction, quřil avait jusquřalors ignoré). Il tente ainsi de mettre au jour (à travers Ulysses de Joyce) certaines modalités propres à la lecture en traduction. Interrogeant le rapport entre lřoriginal et ses traductions, il invite (grâce à une lecture transtextuelle de lřensemble des traductions de Grande Sertão : Veredas de Guimarães Rosa) à considérer la traduction comme un texte spécifique, qui demande un mode de lecture particulier si lřon veut quřelle soit autre chose quřun pis-aller. On découvre alors quřelle est un concept clé pour mieux comprendre des problèmes de poétique et de lecture qui ne peuvent se résoudre que par elle. Lire en traduction, cřest aussi lire un traducteur et cřest en ce sens quřon cherche à définir (examinant lřoeuvre de traducteur de Nabokov) les spécificités de ce qui pourrait constituer un sujet traduisant. La lecture des traductions peut ainsi être conçue comme une poétique à part entière, au sens où elle engage notre rapport critique aux textes et aux théoriesAt the crossroads between two theoretical and practical fields, the act of reading translation positions itself as a problematic practice. This thesis tries to give an account of a poetics of reading translation, by emphasizing the positive side of translation (as opposed to the traditional notion of loss usually attached to it). It therefore lies within the framework of both translation studies (which it tries to renew by stressing the reading of the translated text) and reader-response theory (which it contributes to by submitting its concepts to a type of text, i. E. Translation, it had so far ignored). It thus attempts to bring to light (through Joyce's Ulysses) certain modalities exclusive to reading in translation. Questioning the relation between the original text and its translations, and thanks to a transtextual reading of all the translations of Grande Sertão : Veredas by Guimarães Rosa, it induces us to regard a translation as a specific text, which calls for a particular mode of reading Ŕ if we want it to be more than second best. We then find out that translation is a key concept to better understand problems of poetics and reading that can only be solved by it. Reading in translation is also reading a translator, and it is in this sense that we seek to define the specificities of what could constitute a translating subject (by examining Nabokov's achievements as a translator). Reading translations can consequently be conceived as a poetics in its own right, in the sense that it involves our critical relationship to texts and theories
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Otero, Ana Flávia Ribeiro. "Escre(ver) Ulysses : a escritura de Joyce atravessada pela visão." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21202.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literatura, Programa de Pós-Graduação em Literatura, 2016.Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-07-14T14:03:39Z No. of bitstreams: 1 2016_AnaFláviaRibeiroOtero.pdf: 791973 bytes, checksum: 99d36e58599d68569bed4676371b6a2d (MD5)
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Esta dissertação aborda as questões que envolvem o sentido visual a partir de uma análise do texto de Ulysses. Dessa forma, busca-se observar essa obra a partir da linguagem articulada e de como esse movimento pode proporcionar um pensamento acerca desse sentido. Para tanto, será necessário debruçar-se sobre as questões que envolvem a linguagem e como esse romance pode se aproximar de elementos ligados à poesia. Assim, busca-se expandir a visão a partir das relações linguísticas construídas pelo texto joyceano. A partir disso, um diálogo com o pensamento derridiano será desencadeado, de maneira a repensar os vínculos articulados em Ulysses a partir de Derrida. Assim, esse diálogo permitirá que se reflita sobre algumas ideias do filósofo, tais como a cegueira, a escuridão, as lágrimas, a ética, o animal e a escritura. _________________________________________________________________________________________________ ABSTRACT
This dissertation intends to discuss the issues concerning to the visual sense from an examination of Ulysses’s text. Thus, it seeks to observe this work from the language articulation and how this movement can provide a thought about this sense. For this purpose, it will be necessary to study the issues that concern the linguistic constructions and how this novel can get closer to elements linked to poetry. So it seeks to extend the vision through the linguistic relations built from Joyce’s text. Then, a discussion with Derrida’s thought will be articulate in order to rethink the established links between Joyce and Derrida. Therefore, this dialogue will allow to think about some ideas of the philosopher such as blindness, darkness, tears, ethics, animal and writing.
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Vichnar, David. "L'Avant-postman : James Joyce, L'avant-garde et le postmoderne." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030010.
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La thèse, intitulée « L’Avant-Postman: James Joyce, L’Avant-Garde et le Postmoderne », s’efforce de construire une généalogie littéraire post-joycienne, centrée sur les notions de l’avant-garde joycienne et de l’expérimentation littéraire, et prend les deux dernières œuvres de Joyce, Ulysses et Finnegans Wake, pour points de départ des avant-gardes d’après la seconde guerre mondiale, une époque généralement appelée « postmoderne », en Grande-Bretagne, aux États-Unis, et en France.L’Introduction identifie la notion d’une avant-garde joycienne à l'exploration, par Joyce, de la matérialité du langage et l’identification de sa dernière œuvre, le « Work in Progress », à la « Révolution du mot », défendue par Eugène Jolas dans sa revue transition. L’exploration joycienne de la matérialité du langage se comprend selon trois orientations : l'écriture conçue comme une trace physique, susceptible d’être distordue ou effacée ; le lan-gage littéraire compris comme une forgerie des mots des autres ; le projet de la création d’un idiome personnel, défini comme un langage « autonome », qui doit être caractéristique de la littérature vraiment moderne.La thèse est divisée en huit chapitres, deux pour la Grande-Bretagne (de B.S. Johnson, Brooke-Rose à Iain Sinclair), deux pour les États-Unis (de Burroughs et Gass à Acker et Sorrentino) et trois pour la France (le nouveau roman, l’Oulipo, et la groupe Tel Quel). Le Chapitre VIII retrace l’héritage joycien pour la littérature après 2000 dans ces trois espaces na-tionaux. La conclusion définit l’avant-garde joycienne, telle qu'elle est thématisée après la seconde guerre mondiale, comme un défi adressé à la notion de « postmoderne »The thesis, entitled “The Avant-Postman: James Joyce, the Avant-Garde and Postmodern-ism,” attempts to construct a post-Joycean literary genealogy centred around the notions of a Joycean avant-garde and literary experimentation written in its wake. It considers the last two works by Joyce, Ulysses and Finnegans Wake, as points of departure for the post-war literary avant-gardes in Great Britain, the USA, and France, in a period generally called “postmodern.”The introduction bases the notion of a Joycean avant-garde upon Joyce’s sustained explora-tion of the materiality of language and upon the appropriation of his last work, his “Work in Progress,” for the cause of the “Revolution of the word” conducted by Eugene Jolas in his transition magazine. The Joycean exploration of the materiality of language is considered as comprising three stimuli: the conception of writing as physical trace, susceptible to distortion or effacement; the understanding of literary language as a forgery of the words of others; and the project of creating a personal idiom as an “autonomous” language for a truly modern literature.The material is divided into eight chapters, two for Great Britain (from B.S. Johnson via Brooke-Rose to Iain Sinclair), two for the U.S. (from Burroughs and Gass to Acker and Sorrentino) and three for France (the nouveau roman, Oulipo, and the Tel Quel group). Chapter Eight traces the Joycean heritage within the literature after 2000 of the three national literary spaces. The conclusion contextualises the theme of the Joycean post-war avant-garde as a challenge to the notion of “postmodernism.”
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Azi, Françoise. "James joyce et joao guimaraes rosa. Techniques du recit et particularites du langage dans ulysses et grande sertao : veredas." Paris 4, 1987. http://www.theses.fr/1986PA040066.
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La comparaison s'appuie sur une conception identique du roman exprimee dans les techniques de la narration et les particularites du langage malgre les obstacles spatio-temporels (irlande-bresil). Nous situons d'abord g. Rosa a l'interieur de la litterature bresilienne et du courant regionaliste en donnant les caracteristiques de son esthetique. Un theme commun est a la source de techniques nouvelles et semblables chez joyce et rosa : le desir d'exprimer la vie de la conscience. L'architecture du recit devient complexe a l'image de la confusion qui regne dans l'esprit; la repetition des themes, motifs, leitmotive vient guider le lecteur et signifier les obsessions des heros. Elles s'expriment au travers d'une nouvelle modalite : les monologues interieurs des personnages. Joyce et rosa se rapprochent encore au travers de leur manipulation voyante de l'ecriture. Un vocabulaire encyclopedique, enrichi de neologismes, une syntaxe mouvante, toujours rythmee, ambigue et metaphorique etablit des frontieres indistinctes entre prose et poesieThe comparison is stressed by an identical concept of the novel in its narrative technique as well as language particularities in spite of "time-space" obstacles (ireland and brazil). At first, we situate g. Rosa within brazilian literature and the regionalist movement revealing his esthetic characteristics. A common theme is at the source of a new and similars techniques in the works of joyce and rosa : the desire to express movements of consciousness. The narrative structure becomes complex at the sight of the confusion which rules the mind; the reappearance of certain themes motis, leitmotive guide the reader and signify the heroes obsessions. They express themselves througu a nex modality : the streams of consciousness of the characters. Joyce and rosa are
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McIntyre, John 1966. "Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and Woolf." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38232.
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This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected.I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.
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Weber, Bruno [UNESP]. "Diálogos entre literatura e cinema: um estudo sobre The Dead de James Joyce." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91523.
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James Joyce configura-se como um dos autores mais importantes do século vinte, e suas técnicas inovadoras influenciaram diversos escritores e artistas por gerações. Contudo, apesar de seu evidente prestígio no campo literário e cultural, pouco são os trabalhos versando sobre suas adaptações para o cinema. A intenção do presente estudo é de analisar os implícitos sexuais marcados no conto Os Mortos de James Joyce e sua representação na adaptação cinematográfica de John Huston, de 1987. Será levado em conta, como abordagem teórica, as questões levantadas por Seymour Chatman e David Bordwell a respeito das relações existentes entre literatura e cinema, tais quais o narrador literário e cinematográfico. Segundo Chatman essas questões são de essencial importância para o estudo das relações entre os dois meios, porque possibilitam uma abordagem não baseada no biografismo. Também serão levados em consideração os trabalhos de Linda Hutcheon (Theory of adapatation, 2006) e de Robert Stam (Literature and film: a guide to the theory and practice of film adaptation, 2005) acerca da teoria da adaptação, teoria desenvolvida ao longo dos últimos trabalhos desses autores. O estudo, considerando tais argumentos, examinará um possível significado dessas relações sexuais implícitas no conto e em sua adaptação. Os Mortos compõe o último conto da coletânia intitulada Dubliners, de James Joyce, publicada em 1914
James Joyce is one of the most important twentieth century authors, and his cutting edge techniques influenced many authors and artists from his and subsequent generations. However, in spite of his prominent prestige on literary and cultural grounds, few works study the adaptation of his texts to cinema. The objective of this study is to analyze implicit sexual relations in Joyce’s The Dead and in its representation in John Huston’s cinematographic adaptation, 1987. This work will consider, as theoretical approach, the issues raised by Seymour Chatman and David Bordwell about the relation between literature and films, such as the literary and the cinematographic narrator. According to Chatman (1990) this questions are fundamental for this type of study due to the fact that they allow an approach not based on pure author’s biography. This study will also take into account Linda Hutcheon’s Theory of adaptation (2006) and Robert Stam’s Literature and film: a guide to the theory and practice of film adaptation (2005) about the theory of adaptation, theory developed throughout these two author’s last works In addition to that, this study will consider one way of regarding these implicit sexual relations in the short story and in its adaptation to the cinema. The Dead is the last short story from the collection entitled Dubliners, by James Joyce, 1914
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Miller, Lynette. "The sound of dreams : Toru Takemitsu's Far Calls. Coming, Far! and James Joyce's Finnegans Wake." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21242.
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Toru Takemitsu (1930--96) composed several musical works which adopt as their titles quotations from James Joyce' s final and most revolutionary novel, Finnegans Wake. In this thesis I focus on one of these compositions, Far Calls. Coming, Far! (1981) for solo violin and orchestra. I explain the ways in which Takemitsu and Joyce possess similar philosophies and aesthetics, and examine their mutual interest in the phenomena of dreams. The Wake explores one night of a family's unconscious sleep activity and is heavily influenced by Freud's The Interpretation of Dreams. I argue that Takemitsu composes Far Calls. Coming, Far! as a "dreamwork" modelled after Joyce's similar literary endeavour. Accordingly, I categorize the analogous dream structures between Takemitsu's music and Joyce's text. These are: The Dreamer, Language, Time and Water, which I discuss in turn.
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Mayo, Kim Martin. "Joyce's Dubliners and Hemingway's In Our Time: A Correlation." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500421/.
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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.
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Mayo, Michael. "The well-disposed mind : Joyce, Loyola, and the psychoanalysis of ambivalence." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:13d9376a-2e20-45b5-87ac-0ca6012be6ef.
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This thesis examines the relationship between the fiction of James Joyce and the theological practices outlined by Ignatius of Loyola. By deliberately foregoing claims of direct or simple influence, the thesis illustrates the way in which Loyola's concepts of belief, irony, discernment, and indifference illuminate the operations of the Joycean text. These operations in both Loyola and Joyce are themselves best explicated through the use of Kleinian psychoanalytic theory. Klein and her followers analyze dynamics of belief, representation, and meaning as products of frustration. Loyola and Joyce both force the reader into symmetrical situations of frustration, and Kleinian analysis helps us see how Joyce uses his texts as a kind of exercise for the reader-an exercise of productive frustration, disappointment, and loss. I trace the way this loss can turn reading into a reparative act, one that moves through the Kleinian 'paranoid-schizoid' position into a more productive, contingent, depressive position. I thus address Eve Kosovsky Sedgwick's proposal for reparative reading. By examining both Loyola's and Joyce's engagement with (and invitations into) frustrating, paranoid reading, I show how this engagement might become reparative. The thesis begins with an analysis of Loyola's Spiritual Exercises, finding there a specific structure of 'earnest irony.' It continues with a close reading of 'The Dead,' discerning how this structure operates in the Joycean text at the levels of both content and narration. It then takes up Kleinian theory directly to see precisely what paranoid reading-of the kind both Joyce and Loyola demand-accomplishes, and what its failure achieves. Its final two chapters consider A Portrait of the Artist as a Young Man, where it finds the narrative apparatus forcing the reader into a particular form of productive frustration, and Ulysses, which requires the greatest form of 'earnest irony' from the reader.
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Azerad, Hugues. "Un univers constelle : presence et confluences de marcel proust et de james joyce dans l'oeuvre de william faulkner." Paris 4, 1998. http://www.theses.fr/1997PA040284.
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Notre etude porte sur les rapports etroits qui unissent les univers imaginaires de ces trois ecrivains. Nous voulons eclairer l'oeuvre de faulkner a travers le prisme de proust et de joyce. Nous faisons reagir entre eux ces auteurs afin d'en degager une thematique qui puisse transcender les frontieres culturelles, et les ambitions artistiques. Nous analysons les composantes modernistes et les affinites qui ont cree un terrain de reception aussi fertile chez le conteur du sud. Ces themes modernistes nous amenent a une analyse de la conception du temps chez joyce, proust et faulkner, a travers la problematique suivante : le roman semble pris a ce piege : soit evacuer le temps en le faisant eclater, soit au contraire ceder a la fascination pour un passe edenique. Nous comparons l'attitude envers le temps des personnages prisonniers du temps subjectif, et des prisonniers du temps objectif. Nous analysons ensuite le phenomene que semble subir le roman moderne, celui de la spatialisation du temps. L'impasse semble totale, l'ecrivain ne peut pas abolir directement le temps, mais il peut, par les moyens techniques communs au cinema, la juxtaposition, la simultaneite et le montage, arriver a faire se coaguler le temps dans la dimension de l'espace. Proust, joyce et faulkner possedent selon nous une meme poetique de l'espace, qui tourne vite au desastre : l'espace litteraire est autant destructeur que le temps. De quelle nature est cet espace, qui, exterieur ou interieur, semble imposer une loi de pesanteur aussi ecrasante et sterilisante que celle du temps? nous explorons le stylede faulkner nourri des apports de proust et de joyce, pour arriver a une evaluation de la veritable nature de la metaphore, comme trope doue en plein coeur de la modernite, d'une aura regeneree dans laquelle le temps et l'espace parviendraient a fusionner. Nous terminons sur la face cachee du langage litteraire, qui pretend trouver le salut exactement la ou il doit le perdreThe aim of my study is to analyse the work of william faulkner through the prism of the double influence of james joyce and marcel proust. I have tried to analyse the components of faulkner's modernism by comparing them with the innovations brought about by proust and joyce. These themes are shared by the three authors so that the normal influence of the two earlier masters could be digested into confluence : the moment when faulkner started to build a cosmos of his own from his native imagination, using and distorting stylistic instruments which belonged to a european culture. The main line of my argument is that faulkner staged the natural conflicts which arise between the novel, time, space and its own language. Faulkner arrives at the same conclusion as proust in time regained : that time is a negative force as long as it is bound to the past and thus viewed in an edenic light. If time is the enemy, it cannot be excluded from the novel's own framework of which it forms an intrinsic and vital part. In faulkner, as in proust and joyce, time is abolished when fully accepted: when the longing to recapture it has ceased. I analyse the ways in which time is perceived by characters: from the prisoners of internal time to the prisoners of objective time. I then switch to the important concept of the spatialization of time which follows the attempt made by the three writers to exclude time, to shatter it. I finish with the exploration of the literary space of the three universes, which orbit the same clusters of images of modernity and archaicisms. By concentrating on the poetical means used to render literary space: i clarify which trope will produce art out of the traps of time and space. My conclusion focuses on metaphor as a way of fusing time and space, thus creating a universe within a universe, in which abstract feelings, divested of their fetters, could be fully lived, that is, fully expressed
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Silva, Lemarchand Francisco. "Synesthetic Traits in the Perception of Language in Stephen Dedalus considered as an avatar of James Joyce." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110287.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa.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.
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Valtat, Jean-Christophe. "Les figures de la relativité dans "Le temps retrouvé" et "Finnegans wake"." Paris 3, 2000. http://www.theses.fr/2000PA030062.
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Proust et joyce souvent ete compares a einstein et leurs oeuvres rapprochees de la theorie de la relativite. Ce travail affirme la possibilite d'un tel rapprochement dans un contexte ou l'auto-definition "paradigmatique" des avant-gardes par rapport a la science, la mediatisation croissante de la science comme la litterature, les modifications profondes apportees par l'objet technique dans les conceptions de l'espace et du temps faisaient de la relativite un lieu commun, et un symbole a la fois d'une nouveaute revolutionnaire et d'une crise de la representation. Ainsi le theorie apparait chez proust et chez joyce comme moment de leur strategie litteraire et, dans leurs oeuvres, soit qu'elles la prefigure (proust) soit qu'elles la refigure (joyce) comme un modele de representations des paradoxes de l'espace et du temps - multiplicite, desynchronisations, omnitemporalite, simultaneite - et des deformations complexes du recit.
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Rivaux, Romain. "De la résistance du texte de "Dubliners" : vers la vision rhizomatique d'un écrit joycien de jeunesse." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2001/document.
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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 écritsThis 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
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Valtat, Jean-Christophe. "Culture et figures de la relativité Le Temps retrouvé, Finnegans Wake /." Paris : H. Champion, 2004. http://catalogue.bnf.fr/ark:/12148/cb39145153p.
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Hercend, Olivier. "Le rapport au lecteur dans les textes de T.S. Eliot, Virginia Woolf et James Joyce." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL169.
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Cette thèse se propose d'opérer un rapprochement entre les entreprises artistiques de T.S. Eliot, Virginia Woolf et James Joyce, en affirmant le parallèle entre leurs manières d'envisager le rapport au lecteur. A travers l'étude comparée de leurs œuvres de fiction et de leurs essais, ainsi que la mise en regard de nombreuses réflexions critiques, qui ont souligné la complexité de leurs stratégies rhétoriques et narratives, elle révèle une tension commune chez les trois auteurs, qui les porte à remettre en question les fondements même de l'interaction autour du texte littéraire. Après avoir établi les ramifications socio-politiques, narratives et poétiques ainsi que philosophiques de cette prise de position, le présent travail reprend les théories classiques de la réception, mais aussi les acquis de la pragmatique post-marxiste, de l'herméneutique et de la pensée post-structuraliste, pour présenter une théorie de la lecture qui fasse justice à la lisibilité et à la singularité de son corpus. Face à l'idéal d'une communication irénique, fondée sur la fidélité du lecteur envers les intentions d'une figure d'Auteur transcendante, le modernisme prône en effet l'ambiguïté, la transformation voire l'inversion des rôles, et en définitive la libération de l'instance de réception, et sa prise de responsabilité vis-à-vis de son interprétation. C'est ainsi que Joyce, Eliot et Woolf ont pu éviter les écueils de l'autorité traditionnelle, sans tomber dans le solipsisme ou le culte fasciste de l'Artiste-guide : en acceptant la rencontre, imprévisible, révélatrice, et toujours renouvelée, avec cet Autre du texte qu'est véritablement le lecteurThis thesis aims to draw a parallel between the artistic endeavors of T.S. Eliot, Virginia Woolf and James Joyce, by shedding light on the similarities in their ways of conceptualizing the relation to the reader. Through a comparative study of their works of fiction and essays, as well as the numerous critical sources which have underlined the complexity of their rhetorical and narrative strategies, it reveals the existence of a similar tension in all three authors, which led them to question the very foundations of the interaction over literary texts. After establishing the sociopolitical, narrative, poetic and philosophical ramifications of such a posture, the present study examines classical reception theories, but also the findings of post-marxist pragmatics, hermeneutics and post-structuralist thought, in order to construe a theory of reading that may do justice to the readability and singularity of the corpus. Indeed, against the ideal of irenic communication, founded on the reader faithfully following the intentions of a transcendent Author figure, modernism plays on ambiguity, the transformation and even inversion of roles, and ultimately on the freedom of the instance of reception, as well as its responsibility towards its own interpretation. This is how Joyce, Eliot and Woolf proposed to circumvent the issues of traditional authorship, without falling into the traps of solipsism of the Fascist cult of the Artist as guide. They accepted the unpredictable, revelatory and ever-renewed encounter with this “Other of the text” that the reader truly is