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本篇論文的目的在於討論詹姆斯˙喬伊斯（James Joyce）的小說《尤利西斯》（Ulysses）中對女性角色的描摹與傅柯（Michel Foucault）思想中所關切的議題：論述（discourse）、知識與權力、個體主體性之間的相互作用，並且論證喬伊斯的小說充分落實及展演傅柯的理論表述。透過研究小說中女性角色以何種形貌出現在1904年的都柏林與思考他們如何被形塑成為其樣貌，我發現喬伊斯呈現出一道女性主體之光譜，在此光譜中，不同女性角色面對著論述力量的運作，映照出不同程度的個體主體性。更重要的是，喬伊斯對這些角色的處理預示了傅柯念茲在茲的獨立且自決的個體主體性能夠出現的可能。本論文的第一、二章著重討論論述的規範化（normalization）機制，憑藉規範化的技術，任何特定的言說論述得以確立合法性地位，並且於已被規範化的個體身上展現其權力效應（power-effect）。第一章論證愛爾蘭國族主義的論述展現如同傅柯理論中所探討的論述之規範化力量，控制並且充分利用小說的太陽神牛（“Oxen of the Sun”）該章中的產婦普里福伊太太（Mrs Purefoy）之馴服的身體，本章的討論說明，龐大論述的網絡中女性個體主體性的完全臣服且消匿無蹤。第二章藉由格蒂（Gerty）與二位奧蒙德飯店酒吧的女侍（Ormond barmaids）與論述言說的互動，討論個體主體性形成的過程所涉及到論述力量的影響，論述施加於此三位角色身上的既是個體化（individualization）的力量又同時發揮規範化的效果。第三章的討論落實傅柯對「真理」（truth）不證自明的真實性（truthfulness）的質疑和批判。莫莉（Molly）在小說最終章的獨語，表現出她面對論述力量宰制時足以獨立思考且批判的主體性，就此而言，喬伊斯對莫莉的處理合乎傅柯對個體獨立的主體性之期待。這樣的光譜式研究，目的並非在於塑造個體主體性的刻板典型（stereotype），而是將此一光譜視為個體主體性出現的種種可能性與可行的面貌。藉由喬伊斯小說與傅柯理論的對話，我期望《尤利西斯》中女性角色的主體性這道光譜，能夠於討論個體主體性之相關議題時，提供某種程度上可行的解決之道。 / The goal of my thesis is to argue that Joyce’s portrayal of the female characters in Ulysses fleshes out Foucault’s theoretical formulation of the interplay of discourse, power and knowledge, and individual subjectivity. Studying the appearances of the female citizens in 1904’s Dublin and how they are shaped into such appearances, I argue that Joyce’s characterization demonstrates Foucauldian distrust of the discursively elaborated truth (truthful knowledge) and anxiety about the encompassing exercise of power and discourse functioning in an individual’s sense of self and subjectivity. More importantly, Joyce envisions a spectrum of subjectivities in his delineation of these Irishwomen—the spectrum that expresses distinct degrees of subjectivities formed in different individuals in the face of various discursive practices incessantly entrenching and shaping their lives. In this spectrum, Joyce also prefigures the actualization of Foucauldian struggle for the coming about of a self-determined and autonomous subjectivity in an individual against the ubiquitous discursive dominations. Chapter One and Two focus on the normalization mechanism of discourse and the discursive power-effect achieved in the individual. In Chapter One, the discussion is to demonstrate how the discourse of Irish nationalism incorporates what Foucault theorizes about the normalizing technologies by means of which a specific discourse attains its discursive effect and exerts coercion upon the individual. The lying-in Mrs Purefoy in “Oxen of the Sun” represents the subjection and omni-disappearance of the individual’s subjectivity within the discursive network. Chapter Two stresses the simultaneously individualizing and normalizing forces of discursive power concerning the making of an individual subjectivity. With their interactive gestures and responses to discourses, Gerty and the two Ormond barmaids seem to have attained the individual identity of her own, whereas the presumable individuality of theirs is still enveloped in the process of normalization. Foucault’s critical attitude towards the “truthfulness” of the so-called truth and the neutrality of any seemingly truthful knowledge finds a counterpart in Molly’s soliloquy in “Penelope”—the finale of Ulysses. Discourse as a construct on which Foucault insists is incorporated in the interrogative attitude that Molly has towards the ostensibly neutral discursive statements. Molly’s actions and thoughts register her subversive and resistant gestures towards the imposing discursive practices. She would epitomize the possible actualization of the Foucauldian prospect of an autonomous and self-determined subjectivity taking form in the individual. From the omni-subjection of an individual to the individuality within normalization and to the coming forth of the individual’s subjectivity, my discussions of Mrs Purefoy, of Gerty and the two Ormond barmaids, and of Molly comprise a spectrum showing distinct power-effect demonstrated respectively in these women through discursive practice. My study does not intend to stereotype the result of discursive practice imposed upon these women by locating these female characters in such a spectrum of subjectivities. Rather, I see the spectrum as a multiplicity of subjectivities taking shape in distinct individuals confronted with discourse and power. In addition to sharing the similar insight with Foucault, Joyce rather has the vision, prior to Foucault’s theorizing, in which the Foucauldian anticipation of the liberation from the regime of discourse is made possible. The enormous pressure facing today’s people in the forming of subjectivity is definitely the normalizing power, the imposing discursive knowledge as truth, and the power-effect which shapes individuals’ life without being discerned. It is to be hoped that the correspondence between Joyce’s characterization and Foucault’s critical concerns could propose a practicable solution to the issue of individual subjectivity.

This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected. / I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.

Thesis (MA)-- Stellenbosch University, 2004. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: The following thesis develops a theory of parody as a multifunctional practice in relation to selected works of Oscar Wilde, James Joyce and Tom Stoppard. The study discusses parody as a mode of generic engineering (rather than a genre itself) with ideological ramifications. Based on an understanding of literary and non-literary genres as social institutions, this thesis describes the practice of parody as one of engineering generic or discursive incongruity with a particular cultural purpose in mind. In refiguring generic conventions, the parodist simultaneously reworks their implicit ideological premises. Parody hence comes to serve as a means of negotiating with "the world" through generic modification, and the notions of parodic social agency and cultural work are consequently central to this thesis. Focusing on The Picture of Dorian Gray and The Importance of Being Earnest respectively, Chapters Two and Three discuss Wilde's use of parody, and especially parodic "word-masks", for subverting the aesthetic and social conventions of Victorian England, and covertly propagating a gay subculture through parodic injokes. Word-masks - central to Wildean parody - entail the duplicitous use of an object text / genre as a cover under which a parodist hides other meanings. If Wildean parody might be described as claiming a covert agency, Joycean parody must, in contrast, be acknowledged as expressing deep-seated political ambivalence. Chapters Four and Five of this thesis discuss Joyce's Ulysses with specific reference to his use of parody to conflate, relativize and problematize the dominant aesthetic and Irish nationalist discourses of the early twentieth-century. Joycean parody also demonstrates parodic ambivalence and this is especially evident in what might be called his "parodic patriotism". In contrast to Wilde's and Joyce's use of parody for the expression of subversive or progressive political views, Stoppard's parodies confirm conservative English values not only in their reification of the English canon but also in terms of the ideological premises with which they invest their hypotexts. Chapters Six and Seven examine how parody can serve as one of the ways in which modem artists have managed to come to terms with tradition. Focusing on Stoppard's Rosencrantz and Guildenstern Are Dead and Travesties respectively, these chapters explore parody's capacity to function as tribute or homage to the writers of the past being parodied. Ultimately this thesis aims to demonstrate the continuum of parodic cultural work or effects of which parody, as a mode of generic engineering, is capable. / AFRIKAANSE OPSOMMING: In hierdie tesis word daar - met verwysing na geselekteerde werke van Oscar Wilde, James Joyce en Tom Stoppard - 'n teorie van parodie as multi-funktionele praktyk ontwikkel. Parodie word bespreek as 'n vorm van generiese manipulasie (eerder as 'n genre op sigself) met ideologiese implikasies. Op die basis van 'n vertolking van literêre en nie-literêre genres as sosiale instellings, beskryf hierdie tesis die praktyk van parodie as die bewerkstelling van generiese en diskursiewe ongelyksoortigheid met 'n besondere kulturele oogmerk in gedagte. In die herfigurering van generiese konvensies is die beoefenaar van parodie terselfdertyd besig om hulle geïmpliseerde ideologiese aannames te herbewerk. Parodie word dus 'n metode om met behulp van generiese modifikasie in omgang met "die wêreld" te verkeer; en die idee van die sosiale agentskap en kulturele aksie van parodie staan dus ook sentraal tot hierdie tesis. Hoofstukke Twee en Drie fokus onderskeidelik op The Picture of Dorian Gray en The Importance of Being Earnest. In hierdie twee hoofstukke word Wilde se gebruik van parodie bespreek, met besondere aandag aan sy parodiese "woordmaskers" om die estetiese en sosiale konvensies van Victoriaanse Engeland te ondermyn, asook sy bedekte propagering - deur middel van parodiese binne-grappe -- van 'n gay subkultuur. Sentraal tot Wilde se parodie is woordmaskers wat 'n dubbelsinnige gebruik van teks en genre inspan as 'n dekmantel waaronder die beoefenaar van parodie ander betekenisse verskuil hou. As Wilde se parodie beskryfkan word as bedekte bemiddeling oftussenkoms (covert agency), moet Joyce se parodie - as teenstelling - identifiseer word as 'n uitdrukking van diepliggende politiese ambivalensie. In Hoofstukke Vier en Vyf word Joyce se Ulysses bespreek met spesifieke verwysing na sy gebruik van parodie om dominante estetiese en Ierse nasionalistiese diskoerse van die vroeë twintigste eeu saam te voeg, te relativiseer en te bevraagteken.. Joyce se parodie illustreer ook parodiese ambivalensie - 'n aspek wat duidelik blyk uit wat sy "parodiese patriotisme" genoem kon word. In teenstelling met Wilde en Joyce se gebruik van parodie as uitdrukking van ondermynende of pregressiewe gesigspunte, bevestig Stoppard se parodie konserwatiewe Engelse waardes nie net in hulle vergestalting van Engelse kanoniese tekste nie, maar ook in terme van die ideologiese aannames wat hulle aan hul hipotekste toeskryf. Hoofstukke Ses en Sewe ondersoek hoe parodie kan dien as een van die weë waarlangs moderne kunstenaars daarin geslaag het om hulleself te versoen met tradiese. In Hoofstukke Ses en Sewe - waar daar onderskeidelik op Rosencrantz and Guildenstern Are Dead en Travesties gefokus word - word ook aandag geskenk aan die vermoë van parodie om te funksioneer as huldeblyk of eerbetoon aan skrywers wie se werke geparodieer word. Hierdie tesis poog om die kontinuum van parodiese kulturele werk te illustreer waartoe parodie, as 'n vorm van generiese manipulasie, in staat is.

This thesis explores and evaluates the work of James Joyce using the ideas of Friedrich Nietzsche. It does so not only by examining Joyce's knowledge of Nietzsche's writings, but also through demonstrating how effectively they can illuminate Joyce's themes and techniques, and aid in a general reconceptualisation of his literary project. My analysis draws on several of Nietzsche's key concepts - perspectivism, ressentiment, the will to power - and applies them to Joyce's work. The main idea I use however is the will to truth. I argue that Joyce's primary concern as an artist was the depiction of what he saw as the truth of contemporary existence, in Dublin and more generally. This aim determines his technē, the origin and form of his work of art. Various manifestations of irony, a key element of Joyce's technique, help illustrate the importance of this will to truth. This understanding of his work eliminates the false division between form and content and through an emphasis on Joyce's artistry and philosophy, rather than the historical context in which he wrote (that is, on the author rather than the man), allows for a truly critical assessment. The five chapters that follow my introduction are chronologically ordered. They examine the early works, Dubliners, A Portrait of the Artist as a Young Man, and especially Ulysses, in considerable detail and from various angles. Though careful to respect the individuality of each, my analyses find a common thread of realism uniting the three major works of prose fiction; beginning with the French naturalism of the short stories, moving on to a new development of perspectival irony and a unique mode of allegory in his first novel, and ending in what Joyce called 'the new realism' of his epic. My study then explains how and why realism is problematised in the later chapters of Ulysses as the will to truth comes to question itself. The thesis concludes with an assessment of Finnegans Wake, considering how it marks a radical departure from Joyce's earlier practice, and why I regard it a failure.

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-04Bitstream added on 2014-06-13T19:32:23Z : No. of bitstreams: 1 weber_b_me_arafcl.pdf: 1458043 bytes, checksum: 57916e541c6e7cec9ba8335daf23710d (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / James Joyce configura-se como um dos autores mais importantes do século vinte, e suas técnicas inovadoras influenciaram diversos escritores e artistas por gerações. Contudo, apesar de seu evidente prestígio no campo literário e cultural, pouco são os trabalhos versando sobre suas adaptações para o cinema. A intenção do presente estudo é de analisar os implícitos sexuais marcados no conto Os Mortos de James Joyce e sua representação na adaptação cinematográfica de John Huston, de 1987. Será levado em conta, como abordagem teórica, as questões levantadas por Seymour Chatman e David Bordwell a respeito das relações existentes entre literatura e cinema, tais quais o narrador literário e cinematográfico. Segundo Chatman essas questões são de essencial importância para o estudo das relações entre os dois meios, porque possibilitam uma abordagem não baseada no biografismo. Também serão levados em consideração os trabalhos de Linda Hutcheon (Theory of adapatation, 2006) e de Robert Stam (Literature and film: a guide to the theory and practice of film adaptation, 2005) acerca da teoria da adaptação, teoria desenvolvida ao longo dos últimos trabalhos desses autores. O estudo, considerando tais argumentos, examinará um possível significado dessas relações sexuais implícitas no conto e em sua adaptação. Os Mortos compõe o último conto da coletânia intitulada Dubliners, de James Joyce, publicada em 1914 / James Joyce is one of the most important twentieth century authors, and his cutting edge techniques influenced many authors and artists from his and subsequent generations. However, in spite of his prominent prestige on literary and cultural grounds, few works study the adaptation of his texts to cinema. The objective of this study is to analyze implicit sexual relations in Joyce’s The Dead and in its representation in John Huston’s cinematographic adaptation, 1987. This work will consider, as theoretical approach, the issues raised by Seymour Chatman and David Bordwell about the relation between literature and films, such as the literary and the cinematographic narrator. According to Chatman (1990) this questions are fundamental for this type of study due to the fact that they allow an approach not based on pure author’s biography. This study will also take into account Linda Hutcheon’s Theory of adaptation (2006) and Robert Stam’s Literature and film: a guide to the theory and practice of film adaptation (2005) about the theory of adaptation, theory developed throughout these two author’s last works In addition to that, this study will consider one way of regarding these implicit sexual relations in the short story and in its adaptation to the cinema. The Dead is the last short story from the collection entitled Dubliners, by James Joyce, 1914

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