Thesis (M.A.)--Marshall University, 2003. / Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.

The work analyses representation of modern experience in James Joyce's "The Dubliners". Due to economic, political and philosophic revolutions of the 19th century people have experienced severe changes in there lives. Alienation, loneliness, death and paralysis of social and cultural life has become their reality which is depicted in everyday lives of the Dubliners.

In this paper. I attempt to prove that obscenity as a legal concept is actually a moral judgment made by patriarchal powers and a political tool used to police female sexuality. I analyze James Joyce’s Ulysses as a case study, using Gustave Flaubert’s Madame Bovary as a precedent. While I believe that literature can transfer and inspire ideas, I don’t believe that transferring or inspiring perversity was the intent or effect of these novels. I argue not only that the trials’ prosecutions incorrectly claim that the novels sexually arouse the average or reasonable reader, but also that they do the opposite, or fail to meet expectations to do so. In the case of Madame Bovary, I further argue that the defense incorrectly claims that the novel has and enforces a set of morals, as the novel neither punishes nor lauds its protagonist, or any of its characters for the matter. These so-called obscene novels don’t convert the everyman into a pervert. However, Ulysses and Madame Bovary do reflect and thus reveal a reality that is inconsistent with the censors’ imagined utopia: the characters in the novels’ world as well as the readers in the real word are all sexual beings, women included. I argue that censors banned novels such as Ulysses and Madame Bovary because they wished to police female sexuality under the guise of protecting the public from obscenity. Specifically, they prevented the publishing and distribution of these and other Modernist texts in an attempt to erase realistic representations of female sexuality, thus illegitimating it. Nevertheless, the perseverance of these texts proves that moral values, particularly those regarding sexuality, cannot be enforced by the law (and neither should they be).

Questa tesi si propone di analizzare la raccolta poetica Chamber Music di James Joyce, pubblicata a Londra nel 1907. Al centro dei sei capitoli dello studio si colloca l’analisi testuale della raccolta, da cui emerge che essa costituisce il centro dell’opus joyciano nella sua interezza. Questa prima raccolta poetica, cioè, solitamente trascurata dalla critica letteraria joyciana, poiché ritenuta di minore pregio artistico rispetto ai successivi capolavori in prosa dello scrittore, pare porre le fondamenta del percorso tematico-espressivo che la prosa (lirica) di Joyce avrebbe poi sviluppato, evolvendosi lungo una traiettoria circolare, ricca di richiami inter/intra-testuali. Si è riconosciuta, in particolare, nella struttura interna della raccolta, una progressiva integrazione di più codici letterari-culturali, risultante in una compresenza di livelli semantico-espressivi, significativa del sincretismo culturale-stilistico tipicamente joyciano. La vicenda di Chamber Music, così, non è riletta solo quale storia d’amore stereotipata, sull’esempio dei canzonieri elisabettiani, ma anche come processo di evoluzione personale e stilistica del protagonista, lover e poet insieme, che rappresenta il primo alter ego letterario joyciano. / This dissertation aims to analyse James Joyce’s first poetic collection, Chamber Music, published in London in 1907. The core of the six chapters of the study is represented by the textual analysis of the collection, from which we infer that Chamber Music constitutes the nucleus of the Joycean opus in its entirety. The collection, usually neglected by Joycean criticism, as it is regarded as the minor aspect of Joyce’s literary production, if compared to the writer’s recognised prose masterpieces, seems to lay the foundations of the thematic and expressive course then developed by Joyce’s (lyrical) prose, evolving along a circular trajectory, rich in inter/intra-textual references. In particular, within the internal structure of the collection, we did identify a progressive integration of more literary-cultural codes, resulting in the coexistence of several semantic-expressive levels, representative of Joyce’s characteristic cultural-stylistic syncretism. The plot of Chamber Music, then, is not simply read as a stereotyped love affair, modelled on Elisabethan songbooks, but also as the process of personal and stylistic evolution of its protagonist, both lover and poet, being representative of Joyce’s first literary alter ego. KEYWORDS: James Joyce; Chamber Music; poetry; lyrical prose.

This thesis uses a combination of psychoanalysis and Marxism to demonstrate how James Joyce's writing enabled him to break away from his unconscious attachments to capitalism. Offering a detailed reading of Joyce's Dubliners. it makes three central claims. First. that Joyce's writing is neurotic in structure, not perverse. as is commonly thought. Second, that Joyce's writing depicts neurotic characters struggling in a social. cultural and political context that privileges the perverse. And lastly, that Joyce locates the source of this ongoing privilege in capitalist ideology. The conclusion is that Joyce's writing may be said to "hystericize" the perverse subject of capitalism; Joyce's neurotic writing style provokes the perverse subject of capitalist ideology into questioning his or her disavowing complicity of the dominance of capital. Ultimately, therefore, this thesis illuminates how Joyce's writing presents -- and continues to present -- a remarkable challenge to contemporary modes of control upon the modern subject.

Thesis (M.A.)--Indiana University, 2007. / Title from screen (viewed on March 6, 2008). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Ken Davis, Jonathan R. Eller, William F. Touponce. Includes vitae. Includes bibliographical references (leaves 214-228).

Zugl.: Kassel, Univ., Diss., 2005

Diss.--Bochum--Universität Bochum, 1991.

Thesis (B.A.)--Haverford College, Dept. of English, 2006. / Includes bibliographical references.

This thesis explores the relationships between music, literature, aesthetics and politics in the novels of James Joyce, Sylvia Townsend Warner, and the poetry of Ezra Pound, to show the political relevance of how discourses of musical transcendence appear in these texts. These authors were notably political: Pound was involved with Italian fascism, Warner a Communist Marxist, while Joyce critics have been invested in claiming for him a liberal, humanist political position that is reflected in his writing. This allows me to analyse their engagement with music in light of their politics in order to make connections between aesthetics and politics through music in modernist literature. The texts analysed in this thesis are Joyce’s Chamber Music and Ulysses, Pound’s Cantos, his early essays and articles, and his musical theories ‘absolute rhythm’ and ‘Great Bass’, and finally Warner’s Mr Fortune’s Maggot, ‘The Music at Long Verney’, and The Corner That Held Them. I use a methodology, informed by the musicology and philosophy of T.W. Adorno, that moves between aesthetic and social approaches to music. I analyse the political significance of Joyce’s and Pound’s appropriation of musical forms as part of a radical departure from traditional aesthetic practices to articulate a newly modern subjectivity, and arrive at an analysis of Warner’s exploration of the tension between music as both transcendent aesthetic paradigm and material object with political meanings and functions. I argue that the extent to which writers and scholars continue to refer to discourses of musical transcendence as a way of exploring and representing humanity’s relationship with the world means that analyses of music’s social grounding, which can reject problems of signification and meaning, are not sufficient to explain the variety of functions music can fulfil in writing and in thought.