In James Joyce’s Ulysses, I believe that Stephen Dedalus enacts a heteroglossic discourse in episode 15, “Circe,” that critiques both English imperialism and the nationalist bourgeois of Ireland. Moreover, Stephen engages not only in an aesthetic and political rebellion through the style of his discourse, but he also engages in the only anticolonial violence in Ulysses against the British soldier Private Carr. Thus, I believe that Stephen separates himself from the ideology of the colonizer and from the bourgeois nationalists through aesthetic, political, and violent means. I will conduct my examination of Stephen as a revolutionary colonial intellectual in three parts using the work of three respective theorists: Mikhail Bakhtin, Frantz Fanon, and Benedict Anderson. Ultimately, I intend to show that Stephen can be read as a gateway through which Joyce represents a new heterogeneous, anticolonial, and antinational community in Ireland. / Department of English

This thesis argues that the popular characterization of high modernist fiction as esoteric, elitist, uncommunicative, and far too difficult for the common reader obscures the democratic principles at the heart of modernist experimentation and its poetics of difficulty. Recent theories of embodied cognition when applied to representative examples of high modernist novels help dispel the myth of inaccessibility and reveal the many ways in which these works actually accommodate the common reader. Once the stigma of inaccessibility is removed from the study of modernist novels, it becomes possible to see how their formal experiments with language as well as the themes and issues they contain operate for readers and writers alike as a means of exploring everyday cognitive activities and responses. To this end, the concept of cognitive dissonance provides a heuristic device for understanding what lies behind the motivations of writers who aestheticise experiences of dissonance in their texts and the responses of readers who confront these texts. This cognitive approach to modern literature challenges assumptions about high modernism's "uncompromising intellectuality" and replaces them with a view of modernism that is more accessible and inclusive without diminishing its radical difficulty. It also paves the way for new readings of highly canonical modernist fiction. For instance, I examine how James Joyce places "inscribed" readers into Ulysses to guide actual readers through some of the difficulties of the novel. I then read William Faulkner's The Sound and the Fury as a novel that both thematises and formally resists the modern threat of behaviouristic human conditioning. Finally, I look at how the theme and form of Virginia Woolf's Mrs. Dalloway reinforce the embodied equation of dissonance with illness and incompletion.

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This study is a detailed textual examination of the word "parallax" in Ulysses. It distinguishes three levels of meaning for the word in the novel. In the first level, parallax functions as a character motif, a detail, first appearing in and conforming to the realistic surface of Bloom's inner monologue, whose meaning is what it tells of his crucial problems of identity. In the second, parallax functions as an integral part of the symbolic complex, lying outside of Bloom's perceptions, surrounding the emblem of crossed keys, symbol of, among other things, paternity and homerule, two major narrative themes. The third level involves parallax as a symbol informing the novel's overriding theme of the writing of Ulysses itself and of the relationship between the novel's representative life and artistic design.

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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

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.

This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.

The purpose of this thesis will be to examine closely James Joyce’s Ulysses with respect to François Fénelon’s The Adventures of Telemachus. Joyce considered The Adventures of Telemachus to be a source of inspiration for Ulysses, but little scholarship considers this. Joyce’s fixation on the role of teachers and mentor figures in Stephen’s growth and development, serving alternately as cautionary figures, models or adversaries, owes much to Fénelon’s framework for the growth of Telemachus. Close reading of both Joyce’s and Fénelon’s work will illuminate the significance of education and mentorship in Joyce’s construction of Stephen Dedalus. Leopold Bloom and Stephen’s relationship in Joyce’s Ulysses closely mirrors that of Mentor and Telemachus as seen in Fénelon’s The Adventures of Telemachus. Through these numerous parallels, we will see that mentorship serves as a better model for Bloom and Stephen’s relationship in Ulysses than the more critically prevalent father-son model. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

Indiana University-Purdue University Indianapolis (IUPUI) / James Joyce’s Ulysses is a work of art that engendered scandal in every stage of its production, dissemination, and reception. The work is now hailed as the prose monument of modernism, a twentieth-century masterpiece, and revolutionary in its stylistic technique, its foregrounding of language and psychological drama, and its ambiguity. Ulysses is, in truth, a simple tale, about a lifetime of one day, in a world of one place, in the lives of one people, played out on a stage of pages. The telling of the tale is far from simple—it is among the greatest literary artifacts of our cultural heritage. But the text of Ulysses continues to be entangled in the tension of its status as both a literary artifact, created by an artist, and a cultural artifact, influenced by the aspects of its currency. Among the many questions the novel begs is, who controls the meaning of a work of literary art? This thesis begins to answer that question. Chapter 1 surveys available materials and outlines four waves in the history of textual scholarship of Ulysses. This chapter reads like the prose version of a library catalogue. Sorry, it is a symptom of academese. Chapter 2 outlines the history of censorship and suppression of Ulysses. Chapter 3 gives a historical context to legalizing the work and discusses the implications of the ban upon the development and reliability of the text. Chapter 4 outlines the second scandal of Ulysses, at the close of the twentieth century, now commonly referred to as the Joyce Wars. Chapter 5 discusses the influences upon Gabler’s editorial method and the resultant text. Together, these chapters tell the story of the book's creation and life in print.