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.

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.

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.

本篇論文旨在探討，將尚．布希亞所觀察到的擬仿物應用到詹姆斯．喬伊斯的《都柏林人》之可能性。擬仿物是一種自我指涉、和真實脫離關係的符號，且擬仿物的誕生即代表了真實的死亡。擬仿物的論證有助於解釋《都柏林人》中二元對立的瓦解，例如真實∕想像，民族主義∕帝國主義，精神性∕物質性，加害者∕被害者，過去∕現今等。除此之外，其他和布希亞擬像理論相關的概念如墨比絲環迴繞的否定性、退卻的歷史，和內爆，都能闡釋都柏林中意義的蒸發。從＜會議室裡的常春藤日＞中的民主選舉擬仿物，＜賽車之後＞中的民族認同擬仿物，＜阿拉比＞中的商品擬仿物，＜伊芙琳＞中的父權擬仿物，＜一抹微雲＞中的國界擬仿物，到＜死者＞中的歷史擬仿物，喬伊斯的都柏林人在察覺真實的消失之後，感到震驚或無法反應。儘管喬伊斯典型的結局透露出一絲灰暗，將布希亞應用至喬伊斯，確實提供都柏林人從二元對立的結構中獲得自由的機會。