In A Portrait of the Artist as a Young Man, James Joyce used the form or structure of his language to connote a meaning which supported the content of the text. The elements of form he used most often were sentence and paragraph structure, punctuation, rhythm, and classical rhetorical schemes. By manipulating these, he gained three benefits: he supplied an emotional appeal to the content, he represented his epistemological beliefs in his language, and he gave elegance to his prose. Background research reveals the influences that led to Joyce using form to support content. They include his Jesuit education, his own predisposition to the connotative aspects of language, and his literary work previous to Portrait. The examination of the text of Portrait exhibits the particular ways Joyce used the elements of form to fit content. Several of the highly emotional episodes of the story, the most likely to contain form-fitting-content examples, are examined in detail. Attention is given to rhetorical schemes of repetition because it is through these schemes that emotional pitch is adjusted in the story. Joyce's innovative use of syntactical structures to fit content, and his application of such poetic forms as rhythm and meter to simulate physical action are discussed. An examination of the end of the book, a section where rhetorical schemes and structural manipulation seems to disappear, shows how the apparent lack of connotative elements is appropriate to making a new form fit a new content. The use of form to support content in Portrait was an artistic commitment which Joyce began in Portrait. He would continue and intensify his commitment in all of his writing after Portrait. How Joyce wrote would always thereafter be determined by what he wrote about. / Graduation date: 1995

Texte remanié de : Thèse doctorat : Littérature comparée : Paris 3 : 2000. / Bibliogr. p. [301]-312. Notes bibliogr. Index.

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Toru Takemitsu (1930--96) composed several musical works which adopt as their titles quotations from James Joyce' s final and most revolutionary novel, Finnegans Wake. In this thesis I focus on one of these compositions, Far Calls. Coming, Far! (1981) for solo violin and orchestra. I explain the ways in which Takemitsu and Joyce possess similar philosophies and aesthetics, and examine their mutual interest in the phenomena of dreams. The Wake explores one night of a family's unconscious sleep activity and is heavily influenced by Freud's The Interpretation of Dreams. I argue that Takemitsu composes Far Calls. Coming, Far! as a "dreamwork" modelled after Joyce's similar literary endeavour. Accordingly, I categorize the analogous dream structures between Takemitsu's music and Joyce's text. These are: The Dreamer, Language, Time and Water, which I discuss in turn.

Made available in DSpace on 2014-06-11T19:32:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-02-09Bitstream added on 2014-06-13T19:43:27Z : No. of bitstreams: 1 stafuzza_gb_dr_arafcl.pdf: 1081660 bytes, checksum: 63fe5dd74e31723b02eaf001ee75eb0e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A análise do discurso da crítica literária universitária apresenta-se inédita em diversas áreas em que se trabalha com o texto literário, em especial na análise do discurso. Por isso a presente reflexão parte da interface entre a análise do discurso e algumas áreas do conhecimento humano que tratam com interesse do texto literário (ciências sociais, história, filosofia, teoria literária), com o intuito de analisar o discurso da crítica literária universitária mostrando a evolução tanto do gênero artigo crítico literário, de autoria de acadêmicos, publicados em uma revista especializada, quanto da recepção crítica do escritor James Joyce e de sua obra, ressaltando a sua entrada e lugar na universidade. Assim, optamos recortar como corpus de análise artigos críticos publicados na revista francesa literária La Revue des Lettres Modernes - Histoire des idées et des littératures (Revista de Letras Modernas - História das idéias e das literaturas), uma vez que essa revista contempla análises críticas francesas, inglesas, americanas e irlandesas, feitas especialmente por professores universitários sobre James Joyce e sua obra; sobretudo, Ulysses, por ter sido publicada em Paris, França, em 1922. Consideramos como referencial de análise, artigos que sejam representativos dos períodos de 1956-1965 e 1988-1994, com alguns recortes pertinentes ao estudo, devido a quantidade e complexidade do material a ser analisado nesta tese. Selecionamos dois (02) artigos crítico-literários para o estabelecimento de análises centradas a partir de um recorte de dezessete (17) artigos, no sentido de examinar o funcionamento da crítica literária universitária. São eles: Le mysticisme qui plaisait a Joyce - Note sur la source première d´Ulysse (1951), do professor W. B. Stanford, que filia seu discurso crítico-literário universitário à história literária... / Discourse Analysis in university literary criticism seems to be something inedited in several areas which work with literary texts. This thesis aims at reflecting on an interface between discourse analysis and other fields of human knowledge which deal with literary texts (Social Sciences, History, Philosophy and Literary Theory). Such study aims at analyzing the discourse of university literary criticism, showing an evolution of a genre called literary critic paper, written by academicians and published in specialized Reviews, focusing James Joyce's critic reception and the criticism on his pieces. Besides, it will be emphasized Joyce's acceptance and academic place in university studies. Thus, it was taken as corpus, critic papers published in a French Literary Review called La Revue des Lettres Modernes - Histoire des idées et des littératures. Such Review approaches French, English, American and Irish critic analysis, written, specially, by university professors on James Joyce and his pieces. It will be given special attention to criticism on Ulysses, which has been published in Paris, France, in 1922. It will be taken as reference for analysis, representative papers in the period of 1956-1965 and 1988-1994. Some restricted aspects were emphasized and selected for analysis, considering the great number of papers and their complexities. It was selected two (2) papers on literary criticism to establish analysis from a sample of seventeen (17) papers. Such choice aims at examining universitarian literary criticism working. They are: Le mysticisme qui plaisait a Joyce - Note sur la source première d´Ulysse (1951), by Professor W. B. Stanford, who inscribe his universitarian literary criticism in literary history, founding his theoretical framework in philological studies; and, 'Sirènes': l´expressivité nomade (1988), by Professor André Topia, who expresses... (Complete abstract click electronic access below)

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literatura, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-07-14T14:03:39Z No. of bitstreams: 1 2016_AnaFláviaRibeiroOtero.pdf: 791973 bytes, checksum: 99d36e58599d68569bed4676371b6a2d (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-08-12T22:18:16Z (GMT) No. of bitstreams: 1 2016_AnaFláviaRibeiroOtero.pdf: 791973 bytes, checksum: 99d36e58599d68569bed4676371b6a2d (MD5) / Made available in DSpace on 2016-08-12T22:18:17Z (GMT). No. of bitstreams: 1 2016_AnaFláviaRibeiroOtero.pdf: 791973 bytes, checksum: 99d36e58599d68569bed4676371b6a2d (MD5) / Esta dissertação aborda as questões que envolvem o sentido visual a partir de uma análise do texto de Ulysses. Dessa forma, busca-se observar essa obra a partir da linguagem articulada e de como esse movimento pode proporcionar um pensamento acerca desse sentido. Para tanto, será necessário debruçar-se sobre as questões que envolvem a linguagem e como esse romance pode se aproximar de elementos ligados à poesia. Assim, busca-se expandir a visão a partir das relações linguísticas construídas pelo texto joyceano. A partir disso, um diálogo com o pensamento derridiano será desencadeado, de maneira a repensar os vínculos articulados em Ulysses a partir de Derrida. Assim, esse diálogo permitirá que se reflita sobre algumas ideias do filósofo, tais como a cegueira, a escuridão, as lágrimas, a ética, o animal e a escritura. _________________________________________________________________________________________________ ABSTRACT / This dissertation intends to discuss the issues concerning to the visual sense from an examination of Ulysses’s text. Thus, it seeks to observe this work from the language articulation and how this movement can provide a thought about this sense. For this purpose, it will be necessary to study the issues that concern the linguistic constructions and how this novel can get closer to elements linked to poetry. So it seeks to extend the vision through the linguistic relations built from Joyce’s text. Then, a discussion with Derrida’s thought will be articulate in order to rethink the established links between Joyce and Derrida. Therefore, this dialogue will allow to think about some ideas of the philosopher such as blindness, darkness, tears, ethics, animal and writing.

Tese (doutorado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, 2008. / Submitted by Larissa Ferreira dos Angelos (ferreirangelos@gmail.com) on 2009-09-28T19:14:08Z No. of bitstreams: 1 2008_PieroLuisZanettiEyben.pdf: 3559950 bytes, checksum: 76f512c8815c5f5d8ad9e397aab6bbd1 (MD5) / Approved for entry into archive by Gomes Neide(nagomes2005@gmail.com) on 2011-01-06T15:52:13Z (GMT) No. of bitstreams: 1 2008_PieroLuisZanettiEyben.pdf: 3559950 bytes, checksum: 76f512c8815c5f5d8ad9e397aab6bbd1 (MD5) / Made available in DSpace on 2011-01-06T15:52:13Z (GMT). No. of bitstreams: 1 2008_PieroLuisZanettiEyben.pdf: 3559950 bytes, checksum: 76f512c8815c5f5d8ad9e397aab6bbd1 (MD5) Previous issue date: 2008 / Esta tese tem por objetivo discutir — a partir do conceito de escritura e de suas conseqüências para a teoria literária — a problemática da estrutura de retorno que a linguagem dos textos de Mallarmé e Joyce mantém sobre si mesma. A fim de se alcançar tal objetivo, será ensaiada a matematização de um conceito proposto — o de meta-signo —, cujo intuito é a transmissão do discurso desses textos a partir das teorias da desconstrução e da psicanálise, vistas aqui tão-somente naquilo em que colaboram para o desenvolvimento de uma "crítica da escritura". Na tentativa de compreensão de qual seja o papel da escritura — na redefinição da significância do texto frente aos problemas da leitura e escrita da própria literatura na modernidade — procura-se estabelecer o grafo e o matema do meta-signo sob o efeito dos fenômenos da assemia (Barthes) e da disseminação (Derrida) que, em conjunto com as teorias psicanalíticas acerca da psicose, do real, da letra e da representação, impulsionam a discussão a respeito da destituição e desgaste do funcionamento do signo enquanto representante. Assim, ao estabelecer a relação entre os textos desses dois autores, entendidos como binômios de uma mesma concepção a propósito da escritura, tem-se por definição a constatação dos elementos que obscurecem e apagam os sentidos em uma dada contextura de significância que apenas seria transmissível, mas não comunicável. Compreender o matema proposto seria, desta forma, apontar o discurso como réplica das relações lingüísticas enquanto possibilidades de compreensão metafigurativa, ou ainda como meta- referencial (tendendo a zero no gráfico cartesiano, proposto por Saussure e Jakobson), uma vez que tal discurso parte da nulidade do signo à metonímia complexa de seus elementos que ultrapassem a noção mesma de significação. ______________________________________________________________________________ ABSTRACT / This thesis aims to discuss — from the concept of writing and its consequences for literary theory — the problem of the structure of return that the language of Mallarmé’s and Joyce’s texts keeps up on itself. In order to achieve this objective, the mathematisation of a proposed concept — that of meta-sign — will be essayed, whose aim is transmitting the speech of those texts from the deconstruction’s and psychoanalysis’ theories, seen here as just only in which they collaborate to develop a "critique of writing". In attempt to understand what is the role of writing — redefining the significance of the text facing the problems of reading and writing of literature itself in modernity — we seek to establish the meta-sign’s graph and mathem under the effect of the concepts of asemy (Barthes) and dissemination (Derrida) which, together with the psychoanalytic theories about psychosis, real, letter and representation, impel the discussion about the destitution and wear of the sign’s functioning as a representation. Therefore, in establishing the relationship between the texts of those two authors, defined as binomial of the same conception of writing, we have the finding of the elements that obscure and erase the senses in a given structure of significance that would only be transferable but not communicable. Understanding the proposed mathem would be thus pointing the speech as a reply of the linguistic relations while possibilities of a meta-figurative as well as meta-referential understanding, as this speech departs from the sign nullity to the complex metonymy of its elements that go beyond the notion of meaning.

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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.