Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

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This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history. / Doctor of Philosophy (PhD)

Thèse de doctorat : Anglais : Rennes 2 : 2008. / Bibliogr. f. 421-455. Index des noms.

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

This dissertation demonstrates that irrationality in representative modernist novels is a significant and valuable feature of subjectivity. Building on contemporary theories of the novel, the thesis develops two closely related issues: the novel as an aesthetic vehicle of subjectivity and the novel as a reflection of its socio-historical moment. In major novels by William Faulkner, Hermann Broch, and Virginia Woolf a surrender to irrationality is paradoxically portrayed as a positive act which can contribute to a more complete fulfilment of the self. Furthermore, twentieth century notions of the self are often expanded, complicated, or revised at least in part through the genre of the novel which is used to represent them. / In three main chapters, the thesis draws an original link between studies of the novel as genre on the one hand, and explorations of the meaning of irrationality in early twentieth century fiction on the other. The first on Faulkner includes a section outlining my research into the theoretical domain of subjectivity, irrationality, modernism, and the novel which serves as a background for Faulkner, but remains pertinent also to the chapters on Broch and Woolf which follow. With reference to recent social theorists, philosophers of the novel, medical researchers, and literary critics, the dissertation establishes that Faulkner Broch, and Woolf construct works which advance the notion that irrationality can be conducive to the development of an autonomous, private self which is actively engaged in the outside world. Moreover, in each of the novels at the centre of this study, irrational characters personify an aspect of the novel which is essential to the structural development of the genre. / Key works by Faulkner, Broch, and Woolf insist that irrationality is at the core of a dynamic and modernist representation of identity. In novels by Faulkner, irrationality contributes to a flexible sense of time and to the elaboration of a valuable intersubjective communication. In Broch's trilogy, an irrational approach to reality encourages the development of a temporal, ethical, and subjective freedom. For Woolf, the validation of irrational impulses restrains a compulsive and debilitating drive towards introspection and facilitates social interaction.

This thesis traces the self-creation and autonomy of the woman artist figure in Virginia Woolf's To the Lighthouse, Doris Lessing's The Golden Notebook, and Margaret Atwood's Cat's Eye. The first chapter conveys the progression of autonomy and self-creation in Western-European philosophy through contemporary thinkers such as Charles Taylor, Robert Pippin, Alexander Nehamas, and Richard Rorty. This narrative culminates in a rift between public and private, resulting from the push--especially by Nietzsche--toward a radical, unmediated independence. Taylor and Rorty envision different ways to resolve the public/private rift, yet neither philosopher distinguishes how this rift has affected women by enclosing them in the private, barring them from the public, and delimiting their autonomy. The second chapter focusses on each woman artist's resistance to socially scripted roles, accompanied by theories about resistance: Woolf with Rachel Blau DuPlessis on narrative resistance, Lessing with Julia Kristeva on dissidence, and Atwood with Stephen Hawking and Kristeva on space-time. The third chapter contrasts the narratives of chapters 1 and 2 and reveals how the woman artist avoids the problematic public/private rift by incorporating the ethics developed within the private into her art; she balances her creative goals with responsibility to others. Drawing on the work of women moral theorists, this thesis suggests that women's self-creation and autonomy result in an undervalued but nevertheless workable solution to the public/private rift.

In James Joyce’s Ulysses, I believe that Stephen Dedalus enacts a heteroglossic discourse in episode 15, “Circe,” that critiques both English imperialism and the nationalist bourgeois of Ireland. Moreover, Stephen engages not only in an aesthetic and political rebellion through the style of his discourse, but he also engages in the only anticolonial violence in Ulysses against the British soldier Private Carr. Thus, I believe that Stephen separates himself from the ideology of the colonizer and from the bourgeois nationalists through aesthetic, political, and violent means. I will conduct my examination of Stephen as a revolutionary colonial intellectual in three parts using the work of three respective theorists: Mikhail Bakhtin, Frantz Fanon, and Benedict Anderson. Ultimately, I intend to show that Stephen can be read as a gateway through which Joyce represents a new heterogeneous, anticolonial, and antinational community in Ireland. / Department of English

The questions posed and examined in Violent Femmes take their genesis from psychoanalytic arguments which contend that identity is not a stable monadic thing but rather a continuing process of engagement and negotiation between the self and others. Sigmund Freud, Melanie Klein, D. W. Winnicott, and Christopher Bollas, amongst others, have noted the temporary, coalitional, and provisional nature of the ways in which identity is apprehended and experienced. This thesis expands upon such a theoretical framework of identity formation to specifically question the ways in which the formation and maturation of an artistic identity may, in part, be predicated upon the psychological capacity to enact violence within the realm of the imaginary. Violent Femmes examines the complex relationship between psychological violence and artistic identity as that relationship is recorded in the autobiographical writings of Virginia Woolf, Radclyffe Hall, and Emily Carr. / This project traces the written vestiges of Woolfs, Hall's, and Carr's individual internalised struggles to formulate an artistic identity in specific relationship with an already established 'model' of artistic creativity and identity. Woolfs, Hall's, and Carr's struggles to claim a personal artistic identity, in some ways from their individual model of the artist, are waged within the minds of the authors themselves. However, the violence enacted within their imaginations---the violence perpetrated against the models of the artist---is thrust into the external world, not only within the writings of these three women, but also by the ways in which each author resolves or fails to resolve her own violent conflict with her imaginary model of the artist.