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.

One rarely sees the names James Joyce and Ernest Hemingway together in the same sentence. Their obvious differences in writing styles, nationalities, and lifestyles prevent any automatic comparison from being made. But when one compares their early short story collections, Dubliners and In Our Time, many surprisingly similarities appear. Both are collections of short stories unified in some way, written by expatriates who knew each other in Paris. A mood of despair and hopelessness pervades the stories as the characters are trapped in the human condition. By examining the commonalities found in their methods of organization, handling of point of view, attitudes toward their subjects, stylistic techniques, and modes of writing, one is continually brought back to the differences between Joyce and Hemingway in each of these areas. For it is their differences that make these artists important; how each author chose to develop his craft gives him a significant place in literature.

Lau Kin-wai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 101-109). / Abstracts in English and Chinese. / Abstract --- p.ii / 論文摘要 --- p.iii / Acknowledgements --- p.iv / Introduction: Reading Joyce and Eliot with Baudelaire in View --- p.1 / Chapter Chapter One： --- The City in Literary Representation / Chapter 1. --- The City and its Streets in a Literary and Cultural Context --- p.8 / Chapter 2. --- "Writing (about) the Modern City: ""Joycity"" and Eliot's Cities" --- p.15 / Chapter Chapter Two： --- The City and the Flaneur / Chapter 1. --- Origins and Characteristics of the Baudelairean Flaneur --- p.21 / Chapter 2. --- From Baudelaire to Joyce and Eliot --- p.25 / Chapter Chapter Three： --- In Search of the Joycean/ Eliotian Flaneur / Chapter 1. --- Voices in the City: Personae and Their Perspectives --- p.31 / Chapter 2. --- Literary Reincarnation and the Tradition of Flanerie --- p.33 / Chapter a. --- Stephen and Daedalus --- p.35 / Chapter b. --- Prufrock and Dante --- p.39 / Chapter c. --- Bloom and Odysseus --- p.43 / Chapter d. --- Tiresias as Ancient and Modern --- p.46 / Chapter Chapter Four： --- Flanerie and Two Faces of Unreality of the City / Chapter 1. --- Cities as States of Mind --- p.49 / Chapter a. --- Eliot's Unreal City 1 --- p.50 / Chapter b. --- Joyce's Unreal Dublin 1 --- p.56 / Chapter 2. --- Wandering in the City with the Dead --- p.61 / Chapter a. --- Eliot's Unreal City II --- p.63 / Chapter b. --- Joyce's Unreal Dublin II --- p.68 / Chapter Chapter Five: --- Flanerie in a Wider Context of the Society / Chapter 1. --- Flanerie as an Asocial Act --- p.72 / Chapter 2. --- The Flaneur and the Familiar Stranger --- p.82 / Chapter 3. --- The Erotic as Sociality --- p.85 / Conclusion： Flanerie and the Emergence of a Critical Vision --- p.95 / Works Cited --- p.101

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa

This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history. / Doctor of Philosophy (PhD)

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

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.

This thesis examines the relationship between the fiction of James Joyce and the theological practices outlined by Ignatius of Loyola. By deliberately foregoing claims of direct or simple influence, the thesis illustrates the way in which Loyola's concepts of belief, irony, discernment, and indifference illuminate the operations of the Joycean text. These operations in both Loyola and Joyce are themselves best explicated through the use of Kleinian psychoanalytic theory. Klein and her followers analyze dynamics of belief, representation, and meaning as products of frustration. Loyola and Joyce both force the reader into symmetrical situations of frustration, and Kleinian analysis helps us see how Joyce uses his texts as a kind of exercise for the reader-an exercise of productive frustration, disappointment, and loss. I trace the way this loss can turn reading into a reparative act, one that moves through the Kleinian 'paranoid-schizoid' position into a more productive, contingent, depressive position. I thus address Eve Kosovsky Sedgwick's proposal for reparative reading. By examining both Loyola's and Joyce's engagement with (and invitations into) frustrating, paranoid reading, I show how this engagement might become reparative. The thesis begins with an analysis of Loyola's Spiritual Exercises, finding there a specific structure of 'earnest irony.' It continues with a close reading of 'The Dead,' discerning how this structure operates in the Joycean text at the levels of both content and narration. It then takes up Kleinian theory directly to see precisely what paranoid reading-of the kind both Joyce and Loyola demand-accomplishes, and what its failure achieves. Its final two chapters consider A Portrait of the Artist as a Young Man, where it finds the narrative apparatus forcing the reader into a particular form of productive frustration, and Ulysses, which requires the greatest form of 'earnest irony' from the reader.