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

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

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

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

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

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

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

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

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