Mediante levantamento da fortuna crítica e da leitura atenta da obra de Joyce, este trabalho investiga os empregos da música em Dubliners, tanto no âmbito da forma quanto no conteúdo. Quanto aos usos formais, destacam-se estratégias comuns à poesia, como assonâncias, aliterações, ritmos, métricas, onomatopeias, além de elementos estruturais mais complexos, próprios da linguagem musical, como leitmotiv, contraponto, tema e variação. A dissolução da causalidade e a maneira diversa de lidar com a tensão para a construção do enredo se assemelham a alguns recursos musicais aplicados pelos modernistas que produziram o gradativo desmantelamento do sistema tonal. Quanto aos usos musicais que atuam diretamente no conteúdo, destacam-se as alusões a obras musicais e tem papel decisivo para a construção da atmosfera, caracterização de personagens, e desenvolvimento do enredo. A hipótese do trabalho é que a utilização de elementos musicais na literatura está atrelada diretamente às recorrências temáticas da morte, da paralisia, do contexto histórico irlandês, do amor, da sexualidade e da cultura celta. A aproximação entre música e literatura é em Dubliners seminal e Joyce a desenvolverá amplamente de forma experimental nas obras posteriores, principalmente em Ulysses e em Finnegans Wake, nas quais as transformações de elementos musicais intersectam com a palavra. / Through a survey of the critical fortune and the close reading of James Joyces work, this research investigates the employment of music in Dubliners, both in form and in content. Concerning the formal uses, some strategies common to poetry stand out, such as assonances, alliteration, rhythm, metric, onomatopoeia, apart from more complex structural elements, inherent of musical language, such as leitmotiv, counterpoint, as well as theme and variation. The dissolution of causality and the distinct manner to deal with tension, aiming the building of the plot, resembles some musical resources used by the modernists that produced the gradual dismantling of the tonal system. Concerning the musical uses that act directly on the content, the allusions to musical pieces stand out and play a decisive role in building the atmosphere, constructing characters, and developing the plot. The hypothesis of this study is that the use of musical elements in Joyces text is directly connected with the thematic recurrences of death, paralysis, Irish historical context, love, sexuality, and Celtic culture. The rapprochement between music and literature is seminal in Dubliners and Joyce is going to largely develop it in later works, in which the transformation of musical elements intersect with the words.

Este trabalho discute as implicações do tempo na História, da História no romance e do romance nas vanguardas; trata da crise do romance no início do século XX e da ascensão das vanguardas; relaciona essa crise com a crise do racionalismo que resultará em obras de arte complexas como o livro Finnegans Wake de James Joyce, um livro considerado por muitos como ilegível e que não poderia ser traduzido. Este trabalho considera também que para se traduzir uma obra Finnegans Wake seria necessário, mais do que uma técnica, uma estética da tradução. Partindo de uma estética da tradução, elaboramos um critério específico para a tradução de Finnegans Wake, a qual apresentamos ao final deste trabalho, acompanhada de notas e de um glossário dos termos usados no original e na tradução. / This thesis deals with the implications of time in History, History in the novel, and with the novel in the avant gardes. It also examines the crisis of the novel at the beginning of 20th century and the rise of the avant gardes, and relates this crisis to the crisis of rationalism that would result in complex works of art such as Finnegans Wake, believed by many to be unreadable and untranslatable. It then proposes that in order to translate Finnegans Wake a whole aesthetics of translation is necessary in order to express the complex workmanship involved in its creation. Bearing in mind this aesthetics of translation, the thesis then elaborates a specific criterion to translate Finnegans Wake, which is presented in the final section, followed by notes and a glossary of original and translated terms.

James Joyce's Finnegans Wake is known as one of the most difficult texts in all of literature. A one-to-one relationship, however, between a decoding reader and a presenting author is something Finnegans Wake does not incorporate in any traditional sense. Because of the ways in which Joyce manipulates language through assonance and multilingual references, his words are essentially freed from their dictionary definitions and rely instead on connotations. This essay looks at the text from the perspective of a first reading, a look that is then compared to a more 'authoritative' stance found in various glossaries, to see if the information found there takes precedence over the reader's imagination, and if self-made meanings remain 'appropriate' in the face of the explanations. The text is shown to become more of a device with which we produce meaning, rather than a story to which we are only passively listening or otherwise trying to understand. Instead, it celebrates obscure, often contradicting sense relations, which correspond to the dream-like nature of its nocturnal theme. Despite the sheer amount of historical references contained within, the first-time reader can proceed without the many glossaries that have been written on the work, and instead rely on a more creative and less disciplined method of examination. This essay is thus tainted with an inherent contradiction—it questions the transcriptive act epitomized by eager textual scholars set on elucidating the text's difficulties while simultaneously committing that act, but only in order to encourage readers that Finnegans Wake otherwise scares away and to suggest an alternate method of reading. Readers are thereby asked to relieve themselves of their domesticated behavior, and get involved. The difficulty of Finnegans Wake only appears when we read it in terms of conventional understanding, and should instead encourage us into becoming creative users.

This thesis attempts to read ¡§Circe¡¨from Freudian perspectives to explore Joyce's narrative intermingling of psychical and historical worlds. It begins with an analysis of the haunting theme in this chapter,the dead, which constantly returns in¡§fantastic scenes,¡¨ followed by an elaboration on the way the ¡§Uncanny¡¨and the¡§Phantasy¡¨operate in each scene. These fantastic scenes,for me,function as signifiers for the unconscious of Joyce's characters and text:they express,abnegate, ridicule,exaggerate,and even betray the psyche of the two male protagonists¡Xespecially Bloom's castration complex¡Xand leads to a narrative and character aberration,allowing Joyce to repudiate the tradition of drama and novel, especially the English narrative convention of linear storytelling. By constructing a fantastic Ireland through crooked mirroring,Joyce becomes not only an international writer, but also an Irish writer.

Thesis (M. A.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

Thesis (B.A.)--Haverford College, Dept. of English, 2005. / Includes bibliographical references.

There is an inherent, unspoken trauma prevalent amongst the Irish men who dominate James Joyce's narratives. Often, these characters trace back to Joyce's own life and his drawing of them is thereby complicated by memory. Through literary trauma theory, the behavior of these men is better understood. Grounded in Freudian concepts, modern trauma theorists elucidate the problems of memory and response for those marked by traumatic experience. For the Irish, and thus for Joyce's characters, that response often comes through the binary of alcohol and the Church. The purpose of this essay is an attempt to verbalize the silence that surrounds those individuals marked by trauma and to shed greater light on the already vivid Irish men that Joyce creates.

This project seeks to unpack and moderate the postmodern debate surrounding James Joyce's 1922 novel, Ulysses, by examining how the text responds to global-local dichotomies, be they geographical or conceptual, and considering its stylistics in light of these themes. In doing so, it casts the likes of Laurence Sterne, Walt Whitman, Joseph Conrad, Gertrude Stein, John Cage, Robert Rauschenberg, Bob Dylan and Kurt Vonnegut, among others, alongside Joyce, connecting similar themes and stylistic responses. Ultimately, it suggests that the avant-garde response on the part of Joyce and these others is not necessarily a manifesto bolstering the style, but a reminder to the interpreter to not take the ability of traditional narrative to subsume the surprisingly complex local moment of experience as given. Instead of being "anti-art," as these avant-garde stylistics are often accused of, these aesthetics place new value on the old aesthetic and the act of interpretation, asking the interpreter to perennially re-evaluate the old and given amid the continuously new and complex local moment of experience resulting from the convergence of contrast brought on by the dynamically mapped globe in the process of globalization.

Informe de Seminario para optar al grado de Licenciado en Filosofía. / En este trabajo se presenta el nihilismo de Nietzsche como estructura que se devela en la obra el Ulises de James Joyce. Nietzsche acusó la posición fundamental del hombre con respecto a la vida: su negación. Denunció el nihilismo como la historia del hombre como historia universal. Se trata de una sola y misma historia jalonada principalmente por Hegel, Feuerbach y Stirner. Dios ha muerto, pero Nietzsche desconfía de esta muerte. El Dios trascendente ha muerto para volverse cosmopolita; el Dios-Hombre ha muerto para volverse Hombre-Dios; el Hombre-Dios ha muerto para volverse cada uno por sí mismo Dios. De Dios al Hombre y de éste al Yo.

This thesis is based on the premise that questions about human affairs, including questions about art, need to be considered in the context of our deep history as a species. Darwinian theories of human existence have given scholars in evolutionary psychology the chance to analyze human cognition, emotions, and behaviour by considering the trajectory of our evolution and how that has shaped our current situation. Taking a Darwinian literary approach, this thesis tries to answer one of the main questions about James Joyce’s novel, Ulysses: What is the purpose behind a style that many find so difficult in this novel? In order to answer this question, I explore the adaptive purposes of literature (in general) and stylistic experimentation (in particular). I argue that art can be seen as a form of sexual display where stylistic difficulty and originality are ways of indicating fitness for survival. In this way, both the author and readers of Ulysses spend their time and energy to produce and consume the difficult style of Ulysses because they find pleasure in an activity that is adaptively useful. Furthermore, I suggest that earning social status could have been an evolutionary motive for both the authors and readers of difficult modernist texts, including Ulysses. To support this, I show how gaining social status is part of other sexual ornamentation that handicap the displayer by imposing excessive difficulty in terms of the time and energy needed to put on those displays of fitness. / Graduate / 2018-10-23