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Search Results: 1 - 10 of 200 matches for " James Joyce "
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Scritto sul vento. Aspetti della questione retorica in Ulysses
Caroline Patey
Enthymema , 2010, DOI: 10.6092/2037-2426/786
Abstract: Nel capitolo in cui Joyce rilegge e riscrive l’incauta liberazione omerica dei venti contrari, foriera di ulteriori ostacoli al ritorno dei navigatori, il gioioso e scanzonato avvicendamento di tropi e figure – entimema e paranomasia, palindromo e metatesi – capovolge il segno negativo dell’ipotesto e invita a riconsiderare Ulysses alla luce di dialettiche e strategie testuali che ne moltiplicano i sensi e interrogano in modo impellente la forma stessa del genere.
Alguém mais belo do que eu: Alberto Caeiro, Leopold Bloom, o Portugal de Pessoa, a Irlanda de Joyce e outras Brancas de Neve The Fairest Mirror of All: Alberto Caeiro, Leopold Bloom, Pessoa’s Portugal and Joyce’s Ireland Quelqu’un de plus beau que moi : Alberto Caeiro et le Portugal de Pessoa, Leopold Bloom et l’Irlande de Joyce (et d’autres Blanche-Neige)
Inês Lage Pinto Basto
Revista Crítica de Ciências Sociais , 2012, DOI: 10.4000/rccs.925
Abstract: Ao definir-se como um quarto de espelhos fantásticos, Fernando Pessoa encontra no espelho a única certeza comum a todas as “reflex es falsas”, a materializa o da “única anterior realidade” que os seus inúmeros espelhos “torcem”. Tomando a Branca de Neve como uma sublima o final da beleza usurpadora da Madrasta e a corporiza o de uma beleza inicial, considerarei os “inúmeros espelhos fantásticos” de Pessoa e o “cracked looking glass” de Joyce como distorcidas sequelas de uma qualquer pureza de origem ou de uma superfície reflectora una. Argumento que Caeiro, Bloom, o Império Espiritual de Pessoa e a “Irlanda Caricatura do Mundo Sério” de Joyce vir o a ser a materializa o dessa superfície reflectora de origem, Brancas de Neve posteriores às realidades que lhes s o madrastas mas colocadas estrategicamente na sua origem e destinadas a suprir a ausência de uma “única anterior realidade” – pessoal, nacional e global. In a memorable depiction of himself as a house of mirrors, Fernando Pessoa leaves us in an empty room where the looking glass itself becomes the author’s “single previous reality,” the materialization of his inaccessible core, the only tangible certainty common to all the distorted images that are reflected. As Snow White becomes both a final sublimation of the Evil Queen’s usurping beauty, and the embodiment of an original legitimate beauty, so Pessoa’s “numberless mirrors” and Joyce’s “cracked looking glass” become, along with all “realities,” fragmented reflections of a single original reflecting surface. Speculating around the mirror in “Little Snow White,” I will take Caeiro, Bloom, Pessoa’s Spiritual Empire and Joyce’s Caricature of the Serious World, as personal, national and global congregating devices strategically positioned at the origin of all “reflections” and made out to stand for their absent “previous reality.” En se définissant comme une chambre à miroirs fantastiques, Fernando Pessoa trouve dans le miroir la seule certitude commune à toutes les “fausses réflexions”, la matérialisation de l’ “unique réalité antérieure” que ses innombrables miroirs “déforment”. Considérant la Blanche-Neige comme une sublimation finale de la beauté usurpatrice de la Belle-Mère et une incarnation d’une beauté initiale, je considérerai les “innombrables miroirs fantastiques” de Pessoa et le “cracked looking glass” de Joyce comme des séquelles déformées d’une quelconque pureté de fond ou d’une surface réfléchissante faite d’une seule pièce. Mon raisonnement est le suivant : Caeiro, Bloom, l’Empire Spirituel de Pessoa et l’“Irlande caricature du mo
O nu de Clarice Lispector
Penna, Jo?o Camillo;
Alea : Estudos Neolatinos , 2010, DOI: 10.1590/S1517-106X2010000100006
Abstract: reevaluation of the notion of epiphany in the reading of clarice lispector's work, taking into account the theological context where it is originated, through james joyce. reading of certain key texts by lispector, uncovering in them a certain messianic trend, in which the literary fable coincides with its abolition in a real which at the same time disowns literature and is indissolubly attached to it.
No Sisters, No Brother, No Man: “The Sisters” and Joyce’s Gnomonics
Ghahreman O.,Purgiv F.
K@ta : a Biannual Publication on the Study of Language and Literature , 2012,
Abstract: Modern fiction has a certain way of achieving ‘literariness’ and ‘sophistication’; it does so by means of “ambiguity”. Being “witty” or “deceitful”, to quote William Empson, ambiguity seems to press home the writers’ intention of deferring the meaning by making the ontological status of the text as implicit as possible. Ambiguity, therefore, forms a kind of narrative that determines the writer’s style. In James Joyce, however, particularly in the stories of Dubliners, this ambiguity is meant to reach a ‘mysterious’ level. Joyce’s “mysteries” are utterly different from commonly-believed, so-called textual “problems”. The problems can be solved, but mysteries should be “witnessed” and “attested” to be unfolded. Joyce’s mysterious ambiguities bear his unique signature: they represent the complexity, significance, and survival of a “gnomonic” patterning. Being a geometric figure, a gnomon is the part of a parallelogram which remains after a similar parallelogram has been taken away from one of its corners. The gnomon, therefore, represents an incomplete figure, like Joyce’s vaguely elliptical and incomplete stories. Joyce introduces the gnomon as the personification of imperfection, hopeless, paralysis, and damnation. The following study is going to elaborate this main principle of Joycean ambiguity in the opening story of Dubliners, “The Sisters”, and demonstrate its distinctively gnomonic narrative and characterization.
Binary Oppositions and the Meaning of Joyce’s Dubliners
Pyeaam Abbasi,Hussein Salimian
Studies in Literature and Language , 2012, DOI: 10.3968/2934
Abstract: James Joyce is known, by Robert Scholes, as the first structuralist. Each Dubliners story is a systematized combination of signs governed by rules that generate meaning within the context of Dublin. Saussure believes that meaning is generated through a system of structured differences in language. Differences in Dubliners appear in the form of binary oppositions from which Barthes believes meaning comes. What the structuralist Joyce does is fixing signifieds that appear in the form of binary oppositions in the structure of Dubliners. Self-negation and paralysis are the underlying themes as well as the main binary oppositions that crop up in the whole collection. Binary oppositions such as man vs. animal; silence vs. speech; liberation vs. promise and past vs. future that become fixed signifieds during the course of the action are also of crucial importance to unifying the whole collection. The interconnectedness of stories creates a system in which meaning is generated. This paper is an attempt to reveal the meanings generated in Dubliners through repeated binary oppositions. Key words: James Joyce; Dubliners; Difference; Binary opposition; Passivity
Ulysses: The Novel, the Author and the Translators
Qing Wang
Theory and Practice in Language Studies , 2011, DOI: 10.4304/tpls.1.1.21-27
Abstract: A novel of kaleidoscopic styles, Ulysses best displays James Joyce’s creativity as a renowned modernist novelist. Joyce maneuvers freely the English language to express a deep hatred for religious hypocrisy and colonizing oppressions as well as a well-masked patriotism for his motherland. In this aspect Joyce shares some similarity with his Chinese translator Xiao Qian, also a prolific writer.
Bloomsday: James Joyce's Ulysses Celebrated as Theatrical Event
Willmar Sauter
Culture Unbound : Journal of Current Cultural Research , 2009,
Abstract: James Joyce had decided that 16 June 1904 should be the one day in the life of Leopold Bloom, about which he wrote his 800 page novel Ulysses. In his book, Joyce actually followed Mr Bloom that entire day, from his getting up and having the nowadays famous kidney breakfast, to the late evening, when he had to break into his own house on 7 Eccle Street to have a drink with Stephen Dedalus, the other main figure of the novel. The centenary of that very day took, accordingly, place in 2004. I have borrowed the identity of Mr Bloom to describe some street scenes from the centennial celebrations of Bloomsday in Dublin. After this intro-ductory presentation, part two of this article will attempt to analyse Bloomsday in terms of a Theatrical Event, embedded in an unusual and striking playing culture. In a third part, Mr Bloom will once more be allowed to make some concluding comments.
Living Through the Boarders of the Illusory Real: The Psychological Interpretation of Joyce’s A Painful Case in the Context of Lacan’s Theories
Aliye Mohammad Jafari,Fatemeh Pourjafari
Canadian Social Science , 2013, DOI: 10.3968/j.css.1923669720130901.1011
Abstract: The Lacanian reading of A Painful Case provides a foundation for James Joyce’s characterization. It explains clearly some details within the story which reveal the fact that the reason behind Mr. Duffy’s engagement in an ideal fantasy world is his obsession with “ideal ego”. This easy aims at reading A Painful Case – a short story from Dubliners – through employing terminology from Lacanian psychoanalysis. It will show how the protagonist’s interactions, reactions and in general life style is affected by the intricate tensions between his experience of the imaginary order, the symbolic order and the Real. Key words: James Joyce; A Painful Case; Psychoanalysis; Lacan
Sobre a possibilidade de que o Finnegans Wake, de James Joyce, represente uma espécie de síntese literária em moldes bakhtinianos / On the possibility that James Joyce's Finnegans Wake may represent some sort of literary synthesis according to a bakhtinian reading
Caetano Waldrigues Galindo
Bakhtiniana: Revista de Estudos do Discurso , 2010,
Abstract: RESUMO: O trabalho investiga a possibilidade de que a descri o bakhtiniana da cis o entre prosa e poesia possa ter sido superada pela proposta radical de Joyce em seu último romance, Finnegans Wake,que se apresentaria assim como uma espécie de nova pan-literatura.ABSTRACT: This paper examins the possibility that the bakhtinian description of a rupture between prose and poetry might have been overcome by Joyce's last novel, Finnegans Wake, with its radical attitude, which might present us with a sort of new total literature.
THE NOVELS ULYSSES AND TUTUNAMAYANLAR IN POINT OF STREAM OF CONSCIOUSNESS TECHNIQUE / ULYSSES ve TUTUNAMAYANLAR’DA B L N AKISI TEKN
Dr. Serdar ODACI
Turkish Studies , 2009,
Abstract: By the modernism in novel, to introduce the innerworld of characters, stream of consciousness is used as anew narration technique. James Joyce has used identicalexamples of stream of consciousness technique inUlysses. The novel Tutunamayanlar written by O uz Atayhas an important position for Turkish novel. This novelbelonged to the writer who had followed the way modernism in Turkish literature. In this study these twonovels are examined in point of stream of consciousnesstechnique.
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