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

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)

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

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa. / This essay will deal with an aspect that cannot be ignored nor go unnoticed when we read A Portrait of the Artist as a Young Man; Joyce's interest in the theme of religion, or the importance of religion in the development of the artist as a young man, according to Joyce.

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.

The female characters in James Joyce's fiction have received considerable critical attention since the publication of his writings and are often denigrated as misogynist portrayals of women. However, a textual and historical analysis of the female characters in A Portrait of the Artist as a Young Man, Dubliners, Ulysses, and Finnegans Wake shows them in a more constructive light. Such an analysis reveals them to be sympathetic portrayals of the situation of Irish women at the turn of the twentieth century. An historical contextualization of the characters is essential in any reading of Joyce, but is particularly important for his female characters. An historical and textual analysis also reveals a noticeable shift in the characterization of women from his early novel to his later novels. Additionally, approaching Joyce's fiction from this angle highlights the significant influence of Nora Barnacle, whom he eventually married, on Joyce's characterizations of women. Joyce started writing A Portrait of the Artist as a Young Man as a very young man, before he met Nora, and this fact coupled with the choice of an adolescent boy as the narrator explains some of the criticism leveled at the novel. The subject of the novel, an artist as a young man, requires that the narrator be a self-centered youth. Consequently, the aesthetics of the novel are not focused on the female characters, but this is a result of the somewhat narcissistic adolescence of the narrator, not Joyce's purported misogyny. A close textual reading reveals the female characters as somewhat fleeting as a result of the age of the narrator, but not misogynist creations. The discussion of Portrait serves as an introduction to the larger subject of the admirable aspects of his female characters in Dubliners, Ulysses, and Finnegans Wake. Numerous parallels can be found between the female characters in "Araby," one of the first short stories in Dubliners, and the female characters in Portrait. However, throughout the progression of the collection of short stories, the female characters become more detailed, in part because the narrator is no longer an adolescent and has become more socially aware. This textual analysis of the female characters in "Araby," "Clay," "Eveline," and "The Dead" is enhanced by an historical analysis that clarifies the similarities between the women in the stories and the situation of Irish women as Joyce observed them, as discussed by Joyce in some of his published letters. An awareness of these close parallels between the characters and the historical setting reveals the characters as sympathetically drawn, eliciting a reader's pity rather than judgments of misogyny. A similar textual and historical analysis, when applied to Molly Bloom in Ulysses, reveals the mosaic-like quality of her characterization. Although she speaks only in the "Penelope" episode, Molly Bloom's characterization is established from the beginning of the novel through frequent references to her by her husband Leopold Bloom, and other characters throughout the novel. The layered or mosaic-like approach to her characterization is a departure from Joyce's earlier style, but the resultant character is engaging and intricately detailed. An historical and textual analysis accounts for the stylistic aspect of her character and allows for a more engaging perspective of Molly. Always innovative, Joyce transforms the mosaic style of characterization used for Molly in the characterization of Anna Livia Plurabelle and Issy in Finnegans Wake and, instead, creates the characters on an entirely differentscale, that of myth. Ulysses is a daytime walk through Dublin that could also function as a founding myth for Ireland; Finnegans Wake is the nighttime counterpart to a walk through Dublin. Joyce chose to stylistically obscure the language in the novel in order to create the nighttime setting for his dream-like comment on Dublin's founding myths. The characters of Finnegans Wake are rooted in mythic tradition also, which serves this aesthetic choice well. An historical and textual analysis of ALP and Issy reveals the universalized and nuanced characterization inherent in their creation and execution. From A Portrait of the Artist as a Young Man to Dubliners, Joyce's early female characters are notable in their own right, and function as important precursors to Joyce's visionary approach to characterization which culminated in Ulysses and Finnegans Wake with Anna Livia Plurabelle.

In his works, A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), James Joyce demonstrates what he perceives to be the paralyzing effects of those institutionalized religions that sit at the center of cultures. Drawing on Michel Foucault's analysis of institutional dressage as well as his use of Jeremy Bentham's Panopticon prison in Discipline and Punish (1981), this thesis argues that Joyce's portrait of the Catholic Church's influence on Irish culture is his attempt to display its ubiquitous and inextricable power. In both works, Joyce focuses on the internalization of this power which emanates from the physical manifestations of the Church's presence, the strict tenets of its doctrine, and its concept of an omnipotent, omniscient God who, embodied in an individual's conscience, becomes the perfect "surveillant." Tracing the influence of Catholic dressage on his first protagonist, Stephen Dedalus, who unequivocally abandons the Catholic faith in A Portrait, Joyce reveals the overwhelming power that the Church held over the cultural consciousness of Ireland, an influence rivaled solely by the British colonial powers. Similarly, in Ulysses, Joyce introduces Leopold Bloom, the Jewish Other, who stands outside the institutional structure of the Church and provides a removed but critical perspective on the Catholic rituals and beliefs which, according to Joyce, were intricately woven into the Irish Weltanschauung. Indeed, while Joyce's critique of the Church's power is clearly evident in the narrative of the novel, in a larger context this criticism is directed at the stifling effects of all institutional powers on individual consciousness. Similarly, Foucault's cultural theories examine the intricacies of such power within a culture and their effect on the individual, who, in short, is a product of these elements. This thesis explores these dynamics in Joyce's works to further understand his position as one of the central novelists of the twentieth century. / Graduation date: 1997

Irony and satire in two of James Joyce's works.

This dissertation makes the case that treating digitized corpora of literary works as cognitive artifacts can provide particular insight into how the reading mind apprehends events within an imagined world and, thereby, provide potentially useful functional models for event perception, emotional memory, and determining what’s “real.” Most essentially, it will make the case that the deepest feature of narrative cognition may involve an “information distribution” assessment, wherein the variation of information density over time cues the mind to attend to denser events with increased attention, potentially saving more of their content for long-term memory. This mimics what cognitive research has frequently established for real-world processing of emotionally stimulating events, wherein emotional memory tends to be better retained over time, with more detail, fewer conflations, and more resistance to fading, while neutral events tend to be relegated to gist or forgotten. Put together, this produces an ordering of autobiographical memory that resembles a glimmering string of pearls: densely detailed memories strung together over time, separated by thinner, looser memories and gist, with a particular cluster of these “pearls” towards the middle for the memory bump of the mid-teens to mid-twenties. While many have argued for larger schemas or socially influenced self-regard as the major driver for memory emphasis in one’s Life Story, if autobiographical memory is anything like a novel, it may prove a bit simpler: most of the bigger pearls mark where one’s sensory array “dilated” in moments of arousal, and their lustrous, persistent “shine” may be a matter of how likely it was that one returned to those memories over time. Chapter 1 examines what we do and don’t know about the reading mind, settling on a narrower definition of immersive narrative reading as an exceptional cognitive state which moves in and out of what cognitive psychologists call “flow” and a more passive, vivid “daydream.” This is an inherently unstable activity that requires a great deal of assistance from the text, thereby providing useful targets of analysis for researchers interested in perception, emotion, and memory, with a particular eye towards embodied cognition. It then discusses key gaps in the scientific literature and literary scholarship around event perception and narrative cognition, some of which this project aims to partially fill through quantitative analysis of literary texts. This chapter will also discuss the promise and perils of treating literary corpora like the novels in Project Gutenberg as cognitive artifacts: the known limitations of using “canon” texts as a representative sample of literature in general, the rarity of reading, and what it means to “backsolve” cognition through its artifacts. Chapter 2 describes a series of experiments conducted on a corpus of a few thousand novels and nonfiction narratives contained in Project Gutenberg and the Nickels and Dimes Project. Leaning on the “string of pearls” metaphor for autobiographical memory organization, this chapter will promote a model of long-form narrative’s fundamental mnemonics as something that mimics that organizational pattern: information density that varies over time, predicting not only the pace of in-narrative time passing, but which “moments” or features of the narrative will be important for the reader to remember over multiple reading events, while others will be forgotten or relegated to gist. This pattern closely mimics models of autobiographical memory in cognitive psychology, not only of so-called “flashbulb memory” or surprising, high-affect events, but also of Life Story in general: vast periods of fleeting detail, with dense memory clusters around events that were encoded in moments of arousal, with curious memory affects just before and after those events, possibility illustrating what Jefferey Zacks presents as a “gating” model of event perception. Drawing on the scientific literature on event segmentation, arousal and memory, and time perception, and likewise drawing on literary scholarship on time and stylistics in the novel, this chapter will explore the implications and limitations of using POS tagging to try and tease out quantifiable units of “information” from large corpora of novels utilizing one-way repeated measures MANOVA. Applications for these findings in literary scholarship will be discussed throughout—for instance, while scenes involving sex or violence are predictably information-dense in most texts in the corpus that were hand-scored for accuracy (and subsequently used as training texts for the algorithm), in-book variation from the norm and from nearby passages is more predictive than a raw density score alone. For example, when Stephen Dedalus has sex in Portrait of the Artist as a Young Man, imagistic detail goes down compared to nearby scenes and compared to the more detail-dense passages in the text, which seems to be typical of Joyce: while he does vary density according to temporality and that maps roughly to “significant” scenes, the most emotional scenes tend to be written more sparely (spare for that author, that is—Joyce is not Hemingway). That may be an authorial quirk, or it may be that he relies upon a second strategy to stimulate a reader’s emotional response: semantic content that’s normally cued to a strong negative or positive valence. Chapter 3 will attend to the ways some authors resist narrative’s “ease of use” in order to prompt their readers to interrogate what’s Real. This chapter zooms in on a specific period of American and British literature, and a genre within that brief time: the rise of Creative Nonfiction and/or New Journalism, with a close read or “case study” of George Orwell’s Homage to Catalonia and James Agee’s Let Us Now Praise Famous Men. This chapter proposes that the authors set out to create narratives that would reflect the “real” lives of their subjects, with an objective of making those lives feel real to their readership. But were they successful? Drawing on cognitive psychology research in psychosis, metacognition, and temporal sense, this chapter aims to elucidate how literary narratives like these may “aim to fail” at certain features of deep narrative form (as discussed in the prior chapters) in order to “startle” their readers into a less passive state, in order to better mimic the qualia of witnessing something in the real world, and thereby produce a sense that the subjects within the text are Real. These embedded structural failures are often more subtle than anything Brechtian, but nevertheless can be found both quantitatively and in close reading, which may indicate that when a long-form narrative text purposefully aims to make a reader uncomfortably aware of Reality--especially when motivated by known, deep ethical concerns--it may “work” in ways that have less to do with the subject or content of the text and more to do with form.

Indiana University-Purdue University Indianapolis (IUPUI)