The project that resulted in this work had two main goals. The first was to sort out the most plausible form of the moral error theory, the view made popular by J.L. Mackie in his Ethics: Inventing Right and Wrong. Second, I aimed to determine the extent of its plausibility. The first three chapters of this dissertation are the result of my attempt to accomplish the first goal, and the last two chapters are a consequence of the second. In the end, I argue that the most plausible version of the error theory (viz., Richard Joyce's development of Mackie's views) is not true. Along the way, I make three additional novel contributions to the meta-ethical literature. First, I provide a close reading of Mackie's work, and I argue that he has been misinterpreted thus far in the literature. Second, I attempt to clarify the linguistic and metaphysical components of the error theory. Third, I explicate a novel view in meta-ethics that isn't a direct descendent of Mackie's views, but which is, in many important respects, similar to his view. I call the view 'moral indecisionism', since its main thesis seems to agree with Hume when he writes, "The chief obstacle ... to our improvement in the moral ... sciences is the obscurity of the ideas, and ambiguity of the terms."

This research contributes valuable contextual information to the study of Karol Szymanowski's little-known song cycle Seven Songs to Poems of James Joyce, op. 54 (1926), providing a reliable, comprehensive reference for singers and scholars. In this research, I establish separate historical contexts for James Joyce's Chamber Music and Szymanowski's settings of the poems in op. 54. Using these established historical contexts, I then analyze Joyce's poems and Szymanowski's text settings, focusing on their styles and aesthetics. Szymanowski reorders the seven selected poems, creating a new storyline related to—but different from—the original. Where Chamber Music presents a chronological emotional arc, Seven Songs presents a roller coaster-like storyline, achieved by flashing back and forth between the protagonist's past and present. I demonstrate how Szymanowski's newly-created, complex storyline fits both the surface and deeper meanings of each poem, using specific musical elements to enhance emotional conflicts in the texts. I conclude with a detailed analysis of the relationship between the text and music of this song cycle, serving as a performance guide. I hope that my analysis and complete performance of this cycle will reignite interest in Szymanowski's music outside of Poland, especially in countries where English is the native language.

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The purpose of this thesis is to establish the fact that a single protagonist exists in James Joyce's Dubliners, that Joyce masks the enduring Dubliner-consciousness under the guises of various protagonists, and that this consciousness develops and matures within the many lives Joyce traces in his book. Indeed, many critics have examined Dubliners and have presented a great deal of evidence that points to structural unities in the book by exploring Joyce's use of allegory, allusion, foreshadowing, imagery, and symbol. But none has stated, nor does any appear ready to find, a single protagonist in Dubliners. Consequently, the ultimate conclusion of a successful study in this area would be that Joyce's first major work tends to be a novel rather than a short-story collection. My major point of departure is the Joyce letters, to establish unequivocally Joyce's intent and purpose in writing Dubliners. I furnish additional external evidence pertinent to the publication history of the book, as well as biographical elements that directly influenced the writing and publication of Dubliners, from Ellmann's biography of Joyce. But an important examination of this nature cannot ignore the internal evidence the book itself affords, Consequently, I deal with Joyce's arrangement of each Dubliners segment, categorize groups of these segments under the four phases of Dublin-life Joyce structured his work around, identify and trace the developing protagonist through the life-to-death pattern Joyce set for him, and delineate units of Dubliners as transitions between the stages of a Dubliner's life. This process demonstrates that Joyce set the Dubliner on a circular road of life and that the Dubliner follows such a circular path because of his circular and moribund mental process. This book, then, concerns structural unities in Dubliners. It offers at once a critical reading of Joyce's work and an attempt to uncover those traits of specific characters, as they comprise what can be termed a Dubliner-consciousness. Chapter I is an introduction and deals with the overall design and publication history of Dubliners; Chapter II offers a discussion of Childhood as the first major unit of the book; Chapter III, a consideration of Joyce's notions of Adolescence; Chapter IV, a study of Maturity; and Chapter V, a reading of the Dubliner's Public Life. Chapter VI is a consideration of ''The Dead" in particular as an epilogue to Joyce's volume and a reconsideration of Dubliners in general as, as it were, "A Book of the Dead." / Master of Arts

Este trabalho discute as implicações do tempo na História, da História no romance e do romance nas vanguardas; trata da crise do romance no início do século XX e da ascensão das vanguardas; relaciona essa crise com a crise do racionalismo que resultará em obras de arte complexas como o livro Finnegans Wake de James Joyce, um livro considerado por muitos como ilegível e que não poderia ser traduzido. Este trabalho considera também que para se traduzir uma obra Finnegans Wake seria necessário, mais do que uma técnica, uma estética da tradução. Partindo de uma estética da tradução, elaboramos um critério específico para a tradução de Finnegans Wake, a qual apresentamos ao final deste trabalho, acompanhada de notas e de um glossário dos termos usados no original e na tradução. / This thesis deals with the implications of time in History, History in the novel, and with the novel in the avant gardes. It also examines the crisis of the novel at the beginning of 20th century and the rise of the avant gardes, and relates this crisis to the crisis of rationalism that would result in complex works of art such as Finnegans Wake, believed by many to be unreadable and untranslatable. It then proposes that in order to translate Finnegans Wake a whole aesthetics of translation is necessary in order to express the complex workmanship involved in its creation. Bearing in mind this aesthetics of translation, the thesis then elaborates a specific criterion to translate Finnegans Wake, which is presented in the final section, followed by notes and a glossary of original and translated terms.

Made available in DSpace on 2016-08-10T11:07:10Z (GMT). No. of bitstreams: 1 THAIS LUNA RODRIGUES TORRES.pdf: 660665 bytes, checksum: 8f961e13b65f2d01cab5cea62a59db92 (MD5) Previous issue date: 2015-04-16 / This academic study seeks to analyze the choices made by the translators of Ulysses (1922) by James Joyce, during the translation process to Portuguese language in Brazil. We intend to study the technical procedures and procedural choices of translation, performed by Houaiss, Bernardina and Antonio Galindo employed in the act of translation, through a comparative method. We also intend to identify the effect that shines the essence of the work, which reflects on the reader´s understanding, and as the translation interferes in the transference process between the source language and the target language, for this, we will consider the concepts regarding to the aesthetics of reception suggested by Jauss (1982). Thus, the first chapter will present an overview of the translation history at different times and worlds in order to contextualize its appearance and how the research was carried out in this area and what contributions scholars and theorists have left as a legacy in order to make that currently discussion possible. The second chapter will deal with the translation as a complex phenomenon, and examines the difficulties faced by translators, possible solutions relating to the translation of technical procedures, and the loss and loyalty and the translator´s feelings regarding to this task. It also shows that this translation process involves much more that the transfer of meanings. The third chapter will discuss how the reception of the three translations of Ulysses was accepted in Brazil, including a comparative analysis of these translations, which will be observed in the choices of the translators, possible losses and direction changes. Finally, the reception of Ulysses based on assumptions made by Jauss and his seven theses developed to explain the receptivity of a literary work. / Este trabalho procurará fazer uma análise das escolhas feitas pelos tradutores da obra Ulysses (1922) de James Joyce, na tradução da obra para a língua portuguesa no Brasil. Pretende-se estudar, utilizando-se de um método comparativo, os procedimentos técnicos e as escolhas processuais de tradução realizados por Houaiss, Bernardina e Antônio Galindo, empregados no ato tradutório. Procura-se aqui também, buscar o efeito que transluz da essência da obra, que reflete na compreensão do leitor, e como a tradução interfere nesse processo de transferência de sentidos entre a língua fonte e a língua alvo, considerando concepções sugeridas pela estética da recepção segundo Jauss (1982). Assim, o primeiro capítulo irá apresentar uma síntese da história da tradução em diferentes períodos e mundos, a fim de contextualizar seu surgimento e como se desenvolveu a pesquisa nesse âmbito e quais contribuições os estudiosos e teóricos deixaram como legado para que fosse possível essa discussão atualmente. O segundo capítulo tratará da tradução como um fenômeno complexo, e examinará as dificuldades encontradas pelos tradutores, as possíveis soluções referentes aos procedimentos técnicos de tradução, e a questão da perda e fidelidade e o sentimento do tradutor diante desse processo tradutório que envolve muito mais do que a simples transferência de significados. O terceiro capítulo será discutido como se deu à recepção das três traduções da obra no Brasil, incluindo uma análise comparativa dessas traduções, em que serão observados as escolhas dos tradutores, possíveis perdas e alterações de sentidos. E por fim, a recepção da obra Ulysses baseada nas premissas de Jauss e suas sete teses desenvolvidas para explicar a receptividade de uma obra.

Mediante levantamento da fortuna crítica e da leitura atenta da obra de Joyce, este trabalho investiga os empregos da música em Dubliners, tanto no âmbito da forma quanto no conteúdo. Quanto aos usos formais, destacam-se estratégias comuns à poesia, como assonâncias, aliterações, ritmos, métricas, onomatopeias, além de elementos estruturais mais complexos, próprios da linguagem musical, como leitmotiv, contraponto, tema e variação. A dissolução da causalidade e a maneira diversa de lidar com a tensão para a construção do enredo se assemelham a alguns recursos musicais aplicados pelos modernistas que produziram o gradativo desmantelamento do sistema tonal. Quanto aos usos musicais que atuam diretamente no conteúdo, destacam-se as alusões a obras musicais e tem papel decisivo para a construção da atmosfera, caracterização de personagens, e desenvolvimento do enredo. A hipótese do trabalho é que a utilização de elementos musicais na literatura está atrelada diretamente às recorrências temáticas da morte, da paralisia, do contexto histórico irlandês, do amor, da sexualidade e da cultura celta. A aproximação entre música e literatura é em Dubliners seminal e Joyce a desenvolverá amplamente de forma experimental nas obras posteriores, principalmente em Ulysses e em Finnegans Wake, nas quais as transformações de elementos musicais intersectam com a palavra. / Through a survey of the critical fortune and the close reading of James Joyces work, this research investigates the employment of music in Dubliners, both in form and in content. Concerning the formal uses, some strategies common to poetry stand out, such as assonances, alliteration, rhythm, metric, onomatopoeia, apart from more complex structural elements, inherent of musical language, such as leitmotiv, counterpoint, as well as theme and variation. The dissolution of causality and the distinct manner to deal with tension, aiming the building of the plot, resembles some musical resources used by the modernists that produced the gradual dismantling of the tonal system. Concerning the musical uses that act directly on the content, the allusions to musical pieces stand out and play a decisive role in building the atmosphere, constructing characters, and developing the plot. The hypothesis of this study is that the use of musical elements in Joyces text is directly connected with the thematic recurrences of death, paralysis, Irish historical context, love, sexuality, and Celtic culture. The rapprochement between music and literature is seminal in Dubliners and Joyce is going to largely develop it in later works, in which the transformation of musical elements intersect with the words.

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Traditional interpretations of James Joyce's Dubliners have often focused on the pervasive "paralysis" of the city, covered in the stories' range of "childhood, adolescence, maturity, and public life." However, these approaches have limited their focus on the women in the stories, often spotlighting the male characters--and the author--through a Freudian lens; consequently, the interpretations have overlooked important considerations in light of developing feminist criticism. Through a selection of the stories, this thesis attempts to show how the text of Dubliners offers a cultural critique of the ways in which women were oppressed and constrained by the Irish Catholic ideology which established their roles within society. By the close of the collection, however, Joyce's creation of an inchoate image of the multi-dimensional, sexualized women of his mature works, Ulysses and Finnegans Wake, is embodied in the character of Gretta Conroy in "The Dead." Using Judith Butler's theory of performative acts of gender construction and Julia Kristeva's cultural dynamic of "the maternal" in the Stabat Mater, this criticism of the text lifts the female characters from the backgrounds of Dubliners and reveals the diseased culture of Dublin from another perspective. The female characters in the text act out expected cultural roles, often modeled after the Irish Catholic ideal of the Blessed Virgin Mary. Through the speech, silence, and physical acts of the female characters in Dubliners, "the female" in Irish-Catholic-Victorian culture is constructed--and reinforced--for Joyce's audience. This reading then furthers our understanding of the institutions, values, and practices which defined "womanhood" in nineteenth-century Dublin. / Graduation date: 1999