“It is a symbol of Irish art. The cracked lookingglass of a servant”: Ideology and Style in James Joyce’s Ulysses. (Extract) (original) (raw)
Related papers
Analyzing Elements of Modernism in James Joyce ‘’Ulysses’’
This paper will be focused on James Joyce's Ulysses. Elements of modernism will be illuminated through an analysis in terms of experimental techniques, historiography, and time-space binarism. As one of the most challenging books to decipher ever, Ulysses is beyond any depictions and it falls under no category; some even say that it is not a novel to begin with. And some other claim that labeling the work as modernist is a wrong start since Ulysses has something more than that: at some point Joyce changed his style and embodied the post-modern discourse creating a carnival by dissolving the whole context, narration, the letters, his characters and even himself as the narrator into the play of language thus canonizing himself as the apostle of high modernism: the metamorphosis of modernism into post-modernism.
An Immodest Proposal: The Politics of the Portmanteau in Ulysses (James Joyce Quarterly 51.2)
Much criticism of Joyce falls into three camps: one that understands Joyce as an exemplar of artistic autonomy; another that finds in the author’s language a hybridity that resists the logic of colonialism; and a third that locates his works’ politics in their narrative material. This paper argues for a fourth position: that a distinct anti-imperial politics can be located in the style of Ulysses, if style is construed not at the level of the sentence but rather of the word. In the inauguration (in “Proteus”) and strategic and asymmetrical deployment (in “Scylla and Charybdis”) of the portmanteau, Joyce attempts to create a language that surpasses Standard English and the political project it supports.
a Letter a Litter; Analysis of Joyce's 'Ulysses'
The following essay will look at the issue of neologisms and the ‘chains of Equivalences’ as well as ways of attaining jouissance in James Joyce’s book “Ulysses”. The vast amount of neologisms, syllogisms, allusions, which are utilized throughout this book raise a rather substantial issue, in that the meaning/comprehensibility of the text is constantly at odds apropos the execution - act of writing. The autonomous potential – literariness – of Ulysses’ language possesses a considerable freedom from referential restraint, while at the same time it makes it epistemologically highly volatile and fragile. Suffice to say that a single signifier is capable of launching intricate phenomenological repercussions, which ought to overcast the sentiment (i.e., considerations of truth and falsehood, beauty and ugliness, good and bad etc.) Moreover, the ‘word’ itself becomes merely a vicissitude/interchangeable with other signifiers. In other words, the Signifier word-sic and its grammatical omnipotence – literality - is perpetually trivialized and belittled by the contingency and arbitrariness of the mise-en-scene.
In his essay "Subjugation," James Joyce writes, "Rights when violated, institutions set at nought, privileges disregarded, all these, not as shibboleths and war-cries, but as deep-seated thorough realities, will happily always call forth, not in foolish romantic madness nor for passionate destruction, but with unyielding firmness of resistance, the energies and sympathies of men to protect them and defend them." 1 In this and many other of his early writings, Joyce evaluates Ireland's relationship to neighboring island Britain as a member of the United Kingdom in the nineteenth and early twentieth centuries, often criticizing the presumed aggressive hubris of Britain in its economic and political domination over Ireland, but also lamenting the static and paralyzed nature of the Irish in their attempt to assert themselves as a nation-state independent from British and Catholic cultural hegemony over the country. While he does not spare Ireland from a stinging criticism of its inability to resist oppression and to define and rule itself, he exposes the actual experience of paralysis in the face of foreign rule, allowing the Irish experience of subjugation to be known to the rest of the world. What Joyce's fiction exposes most clearly is the traumatic and paralyzing nature of Irish life, as his characters come to startling and disturbing realizations of their lack of agency, of the impossibility of controlling one's own fate or destiny under foreign rule.
Textual Analysis of James Joyce’s Dubliners: A Fanonian Reading
Arab World English Journal For Translation and Literary Studies, 2021
This research paper explores Joyce’s textual resistance to the Celtic Revivalism and the Irish Catholic conservatism in Dubliners (1914). Using postcolonial theories like the one proposed by Frantz Fanon in his The Wretched of the Earth (1968), the research shows that in writing Dubliners, Joyce, unlike the Irish Revivalist authors and conservative Catholics, was more interested in showing the imperial force or power in all shades, and put the blame on the lethargy of people when it needs to be placed, whether on imperial Britain, the Revivalist authors or the Irish Catholic conservatism. The paper also makes the case that if the colonial pathology of paralysis is the central theme of Joyce’s Dubliners, nevertheless, the power to resist or the resistance strain against this pathology is another essential idea explored by Joyce in his collection of short stories.
Global Language Review
This study unveils some strategies deployed by James Joyce to manipulate the reader when they experience textual patterns to decipher meaning from the text. Investigating Joyces A Portrait of the Artist as a Young Man, this study delves into how the reader is pragmatically positioned and cognitively (mis)directed as Joyce guides their attention and influences their judgment. Thus, the text is a tool in the hand of the reader which evokes certain responses in readers and makes them invest time and struggle in understanding the text. Joyces use of speech categories and their speech acts or their summaries are crucial determining factors for the scales and corresponding modes of discourse presentation (Semino and Short 2004,p.19). The study concludes by providing the significant and functional role of the interplay between two highly complex discourse phenomena: speech acts and discourse presentation.