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Allen, Gleed Kim M. "Joyce in France, Joyce in French translation, culture, literary fame /." Diss., Online access via UMI:, 2005.
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Binnie, Georgina Elaine. "James Joyce and photography." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15993/.
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This thesis examines the relationship between photography and paralysis in the work of James Joyce. In taking Joyce’s intention to ‘betray the soul of that hemiplegia or paralysis which many consider a city’ as key to his engagement with photography, I argue that the photographic images in Joyce’s work occupy a shifting, intermediary position between the stasis of portraiture and the kinesis of film (LI 55). Garry Leonard, Louise E. J. Hornby and Eloise Knowlton have begun to address the interdisciplinary relationship between photography and literature in the work of James Joyce, but their writing considers individual texts, rather than Joyce’s work as a whole. Studies of the history of Irish photographic culture have been similarly absent, with Justin Carville and Kevin and Emer Rockett’s monographs on Ireland and photography appearing only in the last decade. This project builds on this recent scholarship and, by reading Joyce’s allusions to photography through a historical and theoretical lens, provides a new and in-depth approach to Joycean study.
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Lee, Fuk-oi. "Joyce in China /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19470502.
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Charles, Alec. "James Joyce, modernism and postmodernism." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284287.
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Maqableh, Rasha Ibrahim Ahmad. "James Joyce and the Orient." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/27813.
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This PhD thesis is engaged in examining the racial stereotypes of the Oriental Other in Ulysses (1922) and the possibility of reading them as a critique of the dominant cultural discourses of Otherness. Since the publication of Edward Said's Orientalism (1978), and the studies of colonial and postcolonial discourses which followed, most canonical writers have been examined in terms of their engagement in the discourse of Orientalism created by the dominant imperial powers and propagated by the makers of their culture. The thesis argues that the distinctive contribution James Joyce (1882-1941) made in his representation of the Orient in Ulysses lay in the subversion of the perceived notion of the Orient in Western Culture. Chapter one investigates Joyce's experimentation with literary techniques to summarizes the language and imagery of Orientalism in order to challenge them. The chapter also argues that Joyce's approach towards the fabricated stereotypes about the East has a significant bearing on Ireland and the Irish, a people who have suffered for centuries of stereotyping prejudice under the English domination. In the course of the discussion, the thesis also demonstrates how the Oriental references are neatly constructed in Ulysses to the extent that they are configured with the major themes of the novel such as belonging, self-realization, Otherness, homecoming, history and betrayal. The second chapter examines the Oriental motifs in connection with the theme of history that resonates throughout Ulysses to dramatize the Oriental fantasies which provide the Irish with glimpses of liberation, in the same manner that the Irish legends of Oriental origin provide Ireland with possibilities of freedom from the Irish colonial history. The final chapter of the thesis concentrates on the centrality of The Arabian Nights in Ulysses and how it is effectively incorporated in the structure of Joyce's novel. The chapter also proposes that the combination of Joyce's multiplicity of perspectives along with the evocation of a text like The Arabian Nights which is characterized by its proliferation of narratives provides a reading of the theme of betrayal from different perspectives.
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Moira, Amara 1985. ""Dubliners" / "Dublinenses" : retraduzir James Joyce." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269967.
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Orientador: Fabio Akcelrud DurãoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-22T20:39:26Z (GMT). No. of bitstreams: 1 Moira_Amara_M.pdf: 2083817 bytes, checksum: 688ce4a9ffecb500ae13e648428af24b (MD5) Previous issue date: 2013
Resumo: O fato de existirem sete traduções do "Dubliners" de James Joyce poderia indicar duas situações diametralmente opostas: de um lado, que é possível já existir uma versão cujo brilho seria capaz de apagar, pelo menos temporariamente, a necessidade de se retraduzir os quinze contos; de outro, que há algo neste livro que resistiu e segue resistindo às mais obstinadas tentativas de tradução. O estudo destas traduções, entretanto, demonstrará que poucas são as divergências nas propostas que as animam, diferindo entre si tão-somente no grau de ousadia com que buscaram recriar o "Dubliners" em português: no geral, todas as sete (quatro brasileiras e três lusitanas) seriam filhas dum mesmo desejo de preservar a camada superficial de sentido a qualquer custo, mesmo que isto implique em apagar algumas das características mais intrigantes da prosa joyceana (a saber, a possibilidade de usos verbais dos personagens inadvertidamente despontarem na voz do narrador, as experiências coloquiais que abundam em qualquer dos contos [desvios da norma culta, expressões que não conhecem registro nos principais dicionários da língua, giros lexicais de sentido obscuro, peculiaridades do inglês falado na Irlanda, falas vazias de significação ou demasiado vagas, etc.] e as repetições que criam uma teia de sentidos dentro da obra). Pensando nisto e munido de um conhecimento minucioso tanto do texto inglês quanto do das versões em nosso idioma, empreendi uma nova tentativa de tradução do "Dubliners", tradução de viés acadêmico por vir acompanhada de notas e de um arcabouço teórico sólido, mas que não coloca em segundo plano a necessidade de se recriar a instigância do original irlandês. No que toca à obra joyceana, o crítico Hugh Kenner será uma das pedras de toque do projeto, enquanto que, no tocante à teoria da tradução, Walter Benjamin servirá como iluminador de caminhos. A versão castelhana de Guillermo Cabrera Infante, o genial escritor cubano e um admirador de Joyce, será um modelo de possibilidades criativas: não temos uma versão que se lhe equipare, uma versão que se proponha a criar uma obra rigorosa e de fato literária. Eis o desafio a que me proponho nesta dissertação
Abstract: The fact that there are seven translations of James Joyce's "Dubliners" could indicate two diametrically opposite situations: on the one hand, that it is possible that the splendour of one of these versions would be able to suppress, temporarily at least, the need for another translation; on the other, that there is something in this book that resisted and keeps resisting to the most obstinate attempts of translation. However, the analysis of these translations will show that there are few differences between their proposals: in general terms, all them ( four Brazilians and three Lusitanians) descended from the same desire of preserving at any cost the superficial layer of sense, even when it deletes some of his most intriguing characteristics (as some idioms of the characters appearing in the narrator's voice, or the numerous coloquial experiences, or the repetitions that create a web of signifiers inside the work). With that in mind and provided with a thorough knowledge of the English text as well as of the Portuguese translations, I undertake another attempt to translate it, an academic attempt with plenty of notes and a solid framework but bringing also to foreground the necessity of recreating a literary work, a work that deserves to be called literature. Hugh Kenner will be the touchstone regarding the Joycean criticism, while Walter Benjamin will illuminate new paths in translation studies. Guillermo Cabrera Infante, the bright Cuban writer and an admirer of Joyce, was my model of creative possibilities: we do not have a version as good as this one. This is my challenge with this dissertation
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Wyer, Conor. "An afterlife of James Joyce." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501581.
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Fuchs, Dieter. "Joyce und Menippos : "a portrait of the artist as an old dog" /." Würzburg : Königshausen & Neumann, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2756440&prov=M&dok_var=1&dok_ext=htm.
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Heibert, Frank. "Das Wortspiel als Stilmittel und seine Übersetzung : am Beispiel von sieben Überzetzungen des "Ulysses" von James Joyce /." Tübingen : G. Narr, 1993. http://catalogue.bnf.fr/ark:/12148/cb371487277.
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Welch, Mary. ""He coloured like a girl" "Nausicaa's reflexive tableau, and women in the author's eye/I /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=351.
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Engelhart, Bernd. ""Breeder to sweatoslaves" Form und Funktion des slawischen Wortmaterials in Joyces Work in Progress ; ein Beitrag zur Genese und Genetik von Finnegans Wake /." Trier : WVR, Wissenschaftlicher Verlag, 2002. http://catalog.hathitrust.org/api/volumes/oclc/50738566.html.
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Creasy, Matthew. "James Joyce and misquotation in 'Ulysses'." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399483.
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Plock, Vike Martina. "James Joyce and modern medical culture." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415932.
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Bataillard, Pascal. "Introduction a l'ethique de james joyce." Lyon 2, 1993. http://www.theses.fr/1993LYO20047.
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La question ethique est au coeur de la genese de l'oeuvre joycienne et rend compte de certaines impasses, au premier rang desquelles figurent le projet de constituer une esthetique et la volonte de "donner une lecon de morale" incarnee p ar dubliners dans les defaillances de la poetique, les remords d'ecriture et les intentions ou pretentions affichees, se lisent les signes d'un questionnement ethique malaise, ne se decouvrant reellement comme tel qu'avec ulysses. Cette lecture est conduite entre philosophie et psychanalyse, autant parce que l'oeuvre joycienne n'a cesse d'etre convoquee par celles-ci, de lacan a derrida, que parce que joyce provoque sans cesse une telle rencontre. Partant de l'epiphanie, envisagee comme vestige d'une rencontre avec le reel echappant a la temporalite, nous arrivons au portrait de l'artiste et sa tentative de reinscription dans l'histoire et sa prise en charge de la "brulure du peche". (kierkegaard). La deuxieme partie interroge la necessite du choix du mal pour le stephen du portrait et la question de la jalousie de the dead a exiles et ulysses. La derniere partie examine la facon dont ulysses articule ruse et ethique entre homere et spinoza; le deuil apparait ici comme le moment fondateur du sujet de l7ethique. Finnegans wake permet enfin d'aborder le probleme d'une langue enoncant l'impossible, disant la disparition sans relever du desir de totalite mais bien plutot de l'infini dont levinas nous dit qu'il est soutenu par le visage de l'autreThe ethical qustion is at the heart of the joycean oeuvre and accounts for such impasses as the project of writing a treatise of aesthetics or the desire to teach a moral lesson embodied by dubliners. In the failures of his poetics, the intendtions or pretentions joyce voiced are to be read the signs of an uneasy ethical questioning, becoming fully consc ious only with ulysses. Philosophy and psychoanalysis framed our reading, as much because joyce has been a major reference for them from lacan to derrida, as because joyce himself demands such perspectives. Starting from the epihany, seen as the residue of an encounter with the real escaping temporality, we come to the portrait and its atempt of reinscription in history and its paving the way for wakean "felix culpa". The second part brings into focus stephen's choice of evil in the portrait, as well as the question of jealousy from the dead to exiles and ulysses. The last section examines the way ylysses weaves cunning and ethics between homer and spinoza; mourning here appears as the founding moment for the subject of ethics. Last, finnegans wake allows us to consider the possibility of a language uttering the impossible and the moment of loss, yet avoiding the pitfall of a desire for totality, rather aspiring for infinity reflected, levinas tells us, in the other's face
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Fischette, Michael. ""Signs on a white field" James Joyce, Ulysses, and the postcolonial sublime /." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/626.
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Schlossman, Beryl. "Joyce's catholic comedy of language /." Madison ; London : University of Wisconsin press, 1985. http://catalogue.bnf.fr/ark:/12148/cb34923288d.
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Cheu, Hoi Fung. "Zen and the art of James Joyce." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ28480.pdf.
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Gao, Wei Zhi. "Creative criticism : the example of James Joyce /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/9422.
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McMurren, Blair R. "James Joyce and the rhetoric of translation." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:41fd0bc5-acc9-406f-b5e3-e21021470f92.
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This thesis examines theories of translation which are explicit in the themes and implicit in the rhetorical uses of form in the work of Joyce, with a focus on the French translations of Ulysses and Finnegans Wake produced with his collaboration between 1921 and 1931. Philosophies of translation from Jerome through Benjamin plus work in translation theory by Even-Zohar and Toury inform this study of the ethics both of translating and of being translated in the modernist idiom. In identifying a translation ethic arising out of the modernist aesthetic, the thesis postulates a rhetoric of translation by analogy with Booth's The Rhetoric of Fiction. To this end, key issues in translation studies are addressed: the critical status of the authorized collaborative translation; accounting in translation for persuasive (versus purely expressive) functions of literary works as text types; translation strategy as a contribution to the debate between essentialism or universal grammar and cultural relativism; the translation imagined as a frame narrative, and the translator as an implied frame narrator of varying invisibility and reliability; and translation as a model of cognitive processes such as reading, understanding, memory, and the growth of consciousness. Via a combination of descriptive, historical, and textual study, this set of topics in translation is shown to explain many thematic and technical preoccupations of Joyce - just as Joyce proves to be an ideal case for descriptive translation studies, not in spite but by virtue of his notional untranslatability. The thesis also seeks to contribute to Joyce studies proper: to an understanding of how Joyce's fiction both does and does not depart from conventions of western narrative; to a portrait of the implied author and undramatized narrator in Ulysses; to an appreciation of translation both broadly and narrowly defined as a recurrent theme in his work; and to a recognition of the influence of Joyce's many contemporary translators and their languages, cultures, and personalities upon his own innovating uses of language and narrative.
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Rainville-Duech, Lorie-Anne. "James joyce : ecritures du corps dans dubliners." Paris 3, 2000. http://www.theses.fr/2000PA030152.
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Le corps en tant qu'objet litteraire offre un champ d'application riche et divers, particulierement chez joyce. Si ulysses est explicitement designe comme une epopee du corps humain, dubliners contient deja les signes d'un interet profond pour le corps, ce corps que joyce considerait comme << a new province of material >>. C'est a l'exploration de cette terra incognito, que nous convie cette etude qui fournit des clefs de lecture permettant de mettre a jour la reelle complexite de la premiere uvre en prose de joyce. L'etude du corps dans dubliners pose la question de la constitution de l'identite a partir du visage, du fonctionnement du corps lorsque l'organique se confond avec la mecanique ainsi que la question des dereglements du corps qui sont les symptomes de conflits psychiques. Ainsi, comme l'ecriture, le corps est a la fois surface et profondeur, sorte de point de rencontre ou s'exerce le jeu du langage. Ecriture avant tout insidieuse ou l'uvre dissimule une complexite derriere une facade de simplicite. Ecriture parodique ou l'uvre renvoie a sa propre ecriture : certains moments paraissent etre des reecritures d'autres moments du recueil. Ecriture minutieuse ou fourmillentles details, l'uvre cree tout un systeme de reflets et d'echos. A l'image du corps, dubliners pose donc la question des rapports entre le tout et ses parties - question fondamentale dans cette ~uvre dont l'elucidation passe par la reconnaissance de son systeme de symetrie et d'entrecroisements, meticuleusement voulu par joyce.
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Lerm-Hayes, Christa-Maria. "James Joyce als Inspirationsquelle für Joseph Beuys /." Hildesheim : Georg Olms, 2001. http://catalogue.bnf.fr/ark:/12148/cb38940547w.
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Jung, Mathieu. "James Joyce, Raymond Roussel : modalités du lisible." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC019.
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Ce travail a pour pour but d’étudier les œuvres de Raymond Roussel (1877-1933) et de James Joyce (1882-1941). Il consiste à mettre ces auteurs en regard l’un de l’autre, en vue de l’éclairage réciproque de leurs textes, souvent qualifiés d’illisibles. Une pareille étude n’a pas encore été menée à ce jour, bien que le rapprochement de ces écrivains semble d’ores et déjà aller de soi : on range conjointement Joyce et Roussel auprès de Stéphane Mallarmé, quand on n’apparente pas leur usage du langage à celui du schizophrène Louis Wolfson. Il s’agit d’établir quelles sont les stratégies d’écriture propres à Joyce et à Roussel, de confronter l’opacité joycienne, combien problématique, à la difficile transparence – l’apparente clarté – dont témoigne l’œuvre de Roussel. L’étude comparative de Joyce et Roussel ne saurait faire l’économie d’une réflexion sur la place occupée par le commentaire au sein de l’œuvre. Cette opération revient à questionner l’autorité critique de Joyce et de Roussel. Ces auteurs produisent des textes autonomes, lesquels parlent essentiellement d’eux-mêmes. Tout en étant gros de leur projet, ils constituent leur propre objet. L’analogie avec la machine s’impose irrésistiblement. Ces manières de machines célibataires (Michel Carrouges) sont également des œuvres ouvertes (Umberto Eco). L’imaginaire des machines relie Joyce et Roussel tout en les intégrant à un espace plus vaste comprenant aussi bien Jules Verne que Marcel Duchamp. Les machines permettent d’envisager l’écriture de Joyce et de Roussel en termes de surface et de profondeur, mais elles mettent également en lumière les paradoxes du manifeste et du cachéThis thesis aims to examine the writings of Raymond Roussel (1877-1933) and of James Joyce (1882-1941). Both writers are to be put into comparison so as to shed a reciprocal light upon one another’s works, which are often deemed illegible. Such a study has not yet been carried, although connecting the two writers seems already self-evident : Joyce and Roussel are simultaneously ranked beside Stéphane Mallarmé, when their use of language is not linked with that of schizophrenic Louis Wolfson. What is at stake is to define Joyce and Roussel’s writing strategies, to bring face to face Joyce’s opacity - with all the issues it entails - and the problematic transparency - the seeming clarity - displayed by Roussel’s work. The comparative study of Joyce and Roussel could not dispense with a pondering over the weight of commentary deriving from both canons. This amounts to questionning Joyce’s and Roussel’s authority in the field of criticism.These authors generate autonomous texts which essentially deal with themselves. While fortified by their project, they are fed on their own object. An analogy to the machine seems necessary and compelling. These bachelor machines (Michel Carrouges) are also open works (Umberto Eco). The machine imagination binds Joyce and Roussel while incorporating them into a wider space that comprises Jules Verne as well as Marcel Duchamp. Machines thus make it possible to consider Joyce and Roussel’s writings in terms of surface and depth, but they also highlight the paradoxes of the manifest and of the hidden
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Chenier, Natasha Rose. "Dictionary Joyce : a lexicographical study of James Joyce and the Oxford English Dictionary." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51548.
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The similarities between James Joyce’s Ulysses and the Oxford English Dictionary are numerous and striking: both texts aim to encapsulate the meaning of nearly everything in the English-speaking world. Both are epic in scope to an unprecedented degree. Both make countless references to other works, and explicitly absorb much of the preceding literature. Both aim to set new creative and intellectual standards. Of course politically, the works are vastly different. Due to the pervasive opinions of the time, to which language scholars were not immune, the OED’s scope was limited to what was considered reputable literary language. While the OED aimed to document the (morally acceptable) established lexis, Joyce aimed to challenge and redefine it; he broke with tradition in frequently using loan words, as well as radically re-defining many of the standard words he used. He also invented entirely new ones. Moreover, he used English words to describe taboo subject matter, which is why the text was effectively banned from most of the English-speaking world until the mid-1930s. Joyce’s liberalism with language and subject matter excluded him from the OED for several decades. Despite their differences, Chapter One of this thesis aims to suggest that the writing of Ulysses was in many ways inspired and assisted by the OED. Equally of interest as Joyce’s use of the OED and other dictionaries in his writing process is the OED’s representation of Joyce. While the first edition of the OED (1928) does not cite James Joyce, nor, to our knowledge, does its 1933 supplement, OED2 (1989) adds over 1,800 Joyce citations. Whereas OED3 (2000-) currently features 2,408 Joyce citations, many of those from OED2 have been removed for reasons that are unclear. Joyce is an example of the changeable place of modernist literature in the OED. While Chapter One looks at Joyce and his creative process in connection with the OED, the central focus of Chapter Two is the OED’s treatment of Joyce (and/or lack thereof) over the course of three editions and more than a century.Arts, Faculty of
English, Department of
Graduate
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Doss, Joy M. "Aesthetic revolutionaries : Picasso and Joyce." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=379.
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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.
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Cixous, Hélène. "L'exil de James Joyce ou L'art du remplacement /." Paris : B. Grasset, 1985. http://catalogue.bnf.fr/ark:/12148/cb374873215.
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Oliveira, Felipe Lopes dos Santos. "Encontros e exílios em Ulysses, de James Joyce." reponame:Repositório Institucional da UFPR, 2014. http://hdl.handle.net/1884/36782.
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Orientadora : Profª Drª Isabel JasinskiDissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 18/09/2014
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Resumo:O presente trabalho realiza uma leitura de Ulysses, de James Joyce, interessada em investigar a maneira como os personagens principais do romance lidam com as diferenças das quais se aproximam durante suas jornadas pessoais. Amparada, principalmente, em dois autores, Emmanuel Lévinas e Jacques Derrida, a dissertação aborda o tema da alteridade e a utilização da hospitalidade, no romance, como caminho ao outro para acolhê-lo ou apropriar-se dele. PALAVRAS-CHAVE: Ulysses; Alteridade; Hospitalidade.
Abstract: The work presented here is a reading of James Joyce's Ulyssesinterested in investigating the ways the main characters of the novel use to deal with the differences they find during their personaljourneys. Supported mainly by two authors, Emmanuel Lévinas and Jacques Derrida, this reading addresses the question of alterity and the uses of hospitality, in the novel, as pathways either to welcome or to capture the other. KEYWORDS: Ulysses; Alterity; Hospitality.
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Ko, Charles. "Modernism's dislocated self: James Joyce & multiple personality." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491264.
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This thesis explores Joyce's lifelong questioning of subjectivity and language in terms of his work's largely overlooked context of multiple personality psychology, and parapsychology. Turn-of-the-century multiple personality encompassed a diverse set of pre-Freudian psychologies and discourses - hypnosis, hysteria, spiritualism, psychical research, psychopathology, and Gothic literature—constellated around the period's discovery of the unconscious and its unsettling vision of a psychically porous and multiplex self. These models of the mind—and the fears and fantasies attached to them— provide a context not only for the social and psychic reality in Joyce's fiction but also for the various procedures associated with his modernist assault on character and narrative.
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Denize, Joseph. "L'imagination créatrice chez William Blake et James Joyce." Paris 8, 2001. http://www.theses.fr/2001PA081994.
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Bien qu'appartenant à des genres différents, les poèmes de William Blake et les romans de James Joyce font état de similitudes profondes reposant essentiellement sur une conception de l'imagination créatrice commune aux deux auteurs. Faculté humaine mais aussi substance verbale (au sens théologique du terme) de l'expérience, l'imagination est la mátière première de l'être que l'artiste doit s'efforcer de capturer dans son oeuvre qui en devient ainsi l'anatomie ou le théâtre vivant. Sur les bases d'une définition précise des notions complémentaires d'imagination et d'anagogie, qui trouvent leurs prémisses dans la cosmologie et les théories hermésiennes du langage, le présent travail se propose de comparer le fonctionnement poétique des prophéties de Blake et des romans de Joyce afin, à terme, de dégager des éléments utiles à une discussion des problèmes soulevés par l'interprétation des textes hermésiens et par les théories modernes de la "dérive du sens"
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Bidenne, Daniel. "Les langues étrangères dans Ulysses de James Joyce." Lille 3, 1999. http://www.theses.fr/1999LIL30018.
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Ce travail étudie les fonctions des langues étrangères dans Ulysses en ayant recours essentiellement à des démarches liées à la linguistique et à la psychanalyse, et à des travaux qui sont au confluent de ces deux disciplines, comme ceux de Julia Kristeva. L'étude se fait en deux étapes : une première, consacrée surtout à une analyse de chacun des épisodes ; une seconde, qui est une synthèse des éléments essentiels de la première ainsi qu'une réflexion sur l'utilisation des langues étrangères. On en vient ainsi à montrer que les langues étrangères fournissent une grille de lecture ne laissant échapper aucun des termes importants de Ulysses, ni ceux particuliers à l'esthétique générale ou joycienne, tout en gardant une spécificité qui ne saurait être réduite à cette fonction. On remarque par ailleurs que les langues étrangères se font de plus en plus présentes entre le début et la fin du roman, signalant ainsi une ouverture progressive à l'altérité ; que la variation de l'importance des langues étrangères les unes par rapport aux autres souligne un changement de monde culturel. Il apparaît en outre qu'un élément déterminant dans la dynamique de l'écriture de Joyce est la relation ambivalente de celui-ci avec les langues (étrangères et maternelle). C'est en partant de cette idée d'ambivalence qu'est abordée la question de la traduction, qui permet d'éclairer le fait que le désir de communication n'est pas nécessairement la meilleure façon d'aborder la littérature
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Weiss, Katherine. "Samuel Beckett’s Film: A Tribute to James Joyce." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/2276.
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McClean, Eleanor. "Rabelais and Joyce : the influence of influence." Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314013.
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Tsoi, Sze-pang Pablo. "Writing as the Sinthome Joyce in critical theory : reading Ulysses and Finnegans Wake /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42841331.
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Siedenbiedel, Catrin. "Metafiktionalität in Finnegans Wake das Weibliche als Prinzip selbstreflexiven Erzählens bei James Joyce." Würzburg Königshausen und Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2674566&prov=M&dok_var=1&dok_ext=htm.
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Cruz, Moscoso Franklin de la. "James Joyce’s Early Works: James Joyce’s “The Dead” in Dubliners." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110291.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa.The present report, then, will focus on the “The Dead”, mainly, to show its intrinsic worth and the possible relations existing between it and the other stories within Dubliners, and Joyce’s next work, A Portrait of the Artist as a Young Man.
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Rasmussen, Goloubeva Irina. "Between colonialism and nationalism : art, history, and politics in James Joyce's Ulysses /." Uppsala : Department of English, Uppsala University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8273.
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Natali, Ilaria. "The Ur-portrait : Stephen Hero ed il processo di creazione artistica in A portrait of the artist as a young man /." Firenze : Firenze University Press, 2008. http://digital.casalini.it/9788884539083.
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Pape, Daniel Joseph. "'Up out of this' metatextuality in Joyce's Ulysses /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1564034061&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Moffat, Karen Jean. "Dream language in literature : a linguistic approach : the dream language of James Joyce's Finnegans Wake /." Thesis, [Hong Kong] : University of Hong Kong, 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12324103.
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Giovannangeli, Jean-Louis. "Détours et retours : Joyce et Ulysses." Dijon, 1990. http://www.theses.fr/1990DIJOL003.
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Baillie, Brian. ""Ireland sober is Ireland free" the confluence of nationalism and alcohol in the traumatic, repetitive, and ritualistic response to the famine in James Joyce's Ulysses /." Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/628.
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Sze, Wai-yeung Venice. "The crisis of experience James Joyce and T.S. Eliot /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31633821.
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Vichnar, David. "L'Avant-postman : James Joyce, L'avant-garde et le postmoderne." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030010.
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La thèse, intitulée « L’Avant-Postman: James Joyce, L’Avant-Garde et le Postmoderne », s’efforce de construire une généalogie littéraire post-joycienne, centrée sur les notions de l’avant-garde joycienne et de l’expérimentation littéraire, et prend les deux dernières œuvres de Joyce, Ulysses et Finnegans Wake, pour points de départ des avant-gardes d’après la seconde guerre mondiale, une époque généralement appelée « postmoderne », en Grande-Bretagne, aux États-Unis, et en France.L’Introduction identifie la notion d’une avant-garde joycienne à l'exploration, par Joyce, de la matérialité du langage et l’identification de sa dernière œuvre, le « Work in Progress », à la « Révolution du mot », défendue par Eugène Jolas dans sa revue transition. L’exploration joycienne de la matérialité du langage se comprend selon trois orientations : l'écriture conçue comme une trace physique, susceptible d’être distordue ou effacée ; le lan-gage littéraire compris comme une forgerie des mots des autres ; le projet de la création d’un idiome personnel, défini comme un langage « autonome », qui doit être caractéristique de la littérature vraiment moderne.La thèse est divisée en huit chapitres, deux pour la Grande-Bretagne (de B.S. Johnson, Brooke-Rose à Iain Sinclair), deux pour les États-Unis (de Burroughs et Gass à Acker et Sorrentino) et trois pour la France (le nouveau roman, l’Oulipo, et la groupe Tel Quel). Le Chapitre VIII retrace l’héritage joycien pour la littérature après 2000 dans ces trois espaces na-tionaux. La conclusion définit l’avant-garde joycienne, telle qu'elle est thématisée après la seconde guerre mondiale, comme un défi adressé à la notion de « postmoderne »The thesis, entitled “The Avant-Postman: James Joyce, the Avant-Garde and Postmodern-ism,” attempts to construct a post-Joycean literary genealogy centred around the notions of a Joycean avant-garde and literary experimentation written in its wake. It considers the last two works by Joyce, Ulysses and Finnegans Wake, as points of departure for the post-war literary avant-gardes in Great Britain, the USA, and France, in a period generally called “postmodern.”The introduction bases the notion of a Joycean avant-garde upon Joyce’s sustained explora-tion of the materiality of language and upon the appropriation of his last work, his “Work in Progress,” for the cause of the “Revolution of the word” conducted by Eugene Jolas in his transition magazine. The Joycean exploration of the materiality of language is considered as comprising three stimuli: the conception of writing as physical trace, susceptible to distortion or effacement; the understanding of literary language as a forgery of the words of others; and the project of creating a personal idiom as an “autonomous” language for a truly modern literature.The material is divided into eight chapters, two for Great Britain (from B.S. Johnson via Brooke-Rose to Iain Sinclair), two for the U.S. (from Burroughs and Gass to Acker and Sorrentino) and three for France (the nouveau roman, Oulipo, and the Tel Quel group). Chapter Eight traces the Joycean heritage within the literature after 2000 of the three national literary spaces. The conclusion contextualises the theme of the Joycean post-war avant-garde as a challenge to the notion of “postmodernism.”
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施惠揚 and Wai-yeung Venice Sze. "The crisis of experience: James Joyce and T.S. Eliot." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31633821.
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Heled, Mali. "The cracked lookingglass : James Joyce, Virginia Woolf and 'mimesis'." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407017.
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Castro, Thalita Serra de. "James Joyce: voz narrativa e projeto estético em construção." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-03122015-125052/.
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James Joyce é conhecido por seus grandes romances, mas podem-se destacar os contos de Dubliners por integrarem parte fundamental do que se entende por um projeto estético do autor. Cada um dos textos apresenta um aspecto e uma perspectiva específicos sobre a vida em Dublin, a qual Joyce descreveu em minúcia. Esta dissertação procura analisar os diferentes usos da voz narrativa que o autor faz na coletânea e como isso deixa entrever tal projeto estético. Oscilando entre primeira e terceira pessoas, os narradores tentam assemelhar seu estilo à maneira de falar das personagens de cada estória, o que se nota principalmente pelo vocabulário e, no segundo caso, pelas associações mentais que tentam reproduzir em discurso indireto livre. Assim, é como se a voz narrativa dissonante e perfeitamente identificável buscasse progressivamente se harmonizar ao contexto em que se insere.James Joyce is well-known for his novels, but the short stories in Dubliners are a fundamental part of what can be considered his aesthetic project. Each story reveals a specific aspect and perspective of Dublins life, which Joyce described in detail. This dissertation aims at analysing the different uses the author makes of the narrative voice in his stories, and how this unveils such aesthetic project. From first person to third person narrative, his narrators try to bring their styles close to the way characters speak, which can be identified mainly because of the vocabulary and the mental associations reproduced through free indirect speech. Therefore, it is as if the dissonant and distinguishable voice of the narrator slowly came to be in harmony with the context.
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Fourer, Chantal. "James Joyce, de "Dubliners" à "Ulysses" : modernité du baroque." Limoges, 1993. http://www.theses.fr/1993LIMO0505.
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La these se propose de montrer que l'oeuvre de joyce emprunte, consciemment et inconsciemment, a l'esthetique et aux pratiques artistiques du baroque en les renouvelant les modernisant. Le baroque euphemise, proche des origines du mouvement, a l'expression quelque peu balbutiante des nouvelles de dubliners, puis le baroque proliferant et "distancie", post-moderniste avant l'heure de ulysses informent l'oeuvre dans son ensemble. Est toutefois exclus de notre etude finnegan's wake qui exacerbe et complexifie la vision baroque en explorant de vertigineux abimes linguistiques et mythiques. Dans ulysses, mais aussi dans giacomo joyce ou les poemes de chamber music, joyce propose impose le depassement, la subversion du langage et de la vision classique, en une demarche qui calque et prend ses distances avec celle des poetes francais du 17e siecle, des musiciens baroques, ou des architectes espagnols, en integrant les techniques et les images de la modernite. Son choix de certaines figures mythiques, son usage des effets de miroirs et de trompe-l'oeil, son retour a la metaphore-anamorphose puisent aux sources du baroque et le renouvellement, sur le mode ludique et parodique. Un vaste panorama mythographique, entrelacant figures ornementales et masques emblematiques de vie et de mort, laisse emerger la figure d'un eros baroque du 20e siecle. Unifiant ainsi la tradition et la novation, annoncant a bien des egards les visions et le techniques de la litterature post-moderne de france ou des ameriquesThrough baroque art appeared in specific historical conditions, modern critics consider that the baroque vision and baroque forms of expression have outlived the conditions of their birth. Joyce's work may be interpreted in the light of that enduring tradition. It seems to derive from the baroque aesthetics, to renew, to modernize it. The shor-stories of dubliners evolve from a euphemized baroque to more ornemental forms, which are turned in ulysses into a monstrous proliferation of figures and situations. The world of ulysses, as well as that of chamber music, and even giacomo joyce is a world of games of displacement, mirror effects, labyrinthine quests, illusory devices, make-believe, etc. . . Joyce's work transcends its origins. Subverts both classical language and classical vision. A whole network of mythic figures, embedding ornemental and emblematic masks of life and death (including the dominant one of eros), structures and unifies joyces's work. As a tentative of synthetic unification, ulysses establishes a link between tradition and renewed visions, foretelling the linguistic and stylistic experimentations of finnegan's wake and post-modernist literature
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Chyi, Songling. "Les traductions françaises et chinoises d'Ulysses de James Joyce." Paris 3, 2005. http://www.theses.fr/2005PA030049.
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Ce travail compare les traductions françaises et chinoises d'Ulysses de James Joyce, ayant essentiellement des démarches éthiques et poétiques d'Antoine Berman pour la critique de traductions, associées à des thèses exposées dans l'article " La tâche du traducteur " de Walter Benjamin. L'étude, à partir d'une synthèse des éléments étrangers et étranges relevés dans une grille de lecture des textes original et traduits, suppose que la dynamique de l'écriture joycienne vise la pluralité, une ouverture progressive à l'altérité qui est l'enjeu de sa survie, que le désir de communication ne soit pas nécessairement la meilleure façon d'aborder la littérature. De là, peut-on encore parler d'une bonne traduction d'Ulysses par un critère absolu qu'est le " même sens " ? D'où vient la position déterminante du traducteur, si son désir d'aller vers l'Autre ne serait pas déjà refoulé par le dilemme fidélité/trahisonThis research project compares French and Chinese translations of James Joyce's Ulysses, applying to the ethical and poetic approaches of Antoine Berman to translation criticism, and the arguments of Walter Benjamin in his article " The Task of the Translator ". Started with the foreign and strange elements raised in a detailed reading of Ulysses and its translations, we propose that the desire of communication is not necessarily the best way to deal with literature, since the dynamic writing of Joyce is open gradually to plurality, to otherness, which is the sign of its own survival. From that, could we still talk about a good translation of Ulysses with an absolute criterion, " the same meaning "? We see that the role of the translator is determinant if his desire to otherness is not already driven back by the dilemma of faithfulness/infidelity
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Fabo, Sabine. "Joyce und Beuys : ein intermedialer Dialog /." Heidelberg : Universitätsverlag G. Winter, 1997. http://catalogue.bnf.fr/ark:/12148/cb376334700.
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Medeiros, Silvio. "A modernidade em Joyce : tradição e ruptura." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253558.
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Orientador: Joaquim Brasil Fontes JuniorTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A proposta dessa tese de doutoramento é mostrar de que forma a imaginação literária pode nos auxiliar na compreensão da realidade histórica contemporânea, marcada por profundas rupturas e transformações na ordem das coisas, e que emerge fazendo tábua rasa de seus legados culturais. A partir do desenvolvimento de um estudo intertextual em torno de três obras da literatura ocidental; a Odisséia de Homero, a Eneida de VirgíTio e o Ulisses de James Joyce, procuramos estabelecer uma tensão entre as poéticas antiga e moderna para refietirmos sobre a falta de verdades estáveis na modernidade, cuja ênfase é depositar cada vez maior peso no pensamento sobre o futuro considerando-o como dinâmico o superior ao passado, o que torna o vasto quadro das experiências passadas em si mesmo obsoleto, decretando dessa maneira o esquecimento da própria memória. Assim, visando uma reflexão significativa sobre o nosso tempo, construímos um jogo intertextual a demandar um núcleo: a desorientaçâo do homem moderno num mundo onde a tradição cultural tende a diluir-se. O resultado desse estudo permite que venhamos a estabelecer um diálogo complexo entre discursos poéticos e filosóficos, fazendo com que a Literatura e a Filosofia figurem como preocupações-chaves no pensamento contemporâneo, para somar forças contra o lado obscuro da modernidade. Nesse sentido, o Ulisses de Joyce, texto que se inscreve no modelo da poesia épica helênica, conquanto apresente uma sucessão vertiginosa de estilos e movimentos, servirá para exemplificar a insatisfação da palavra poética moderna empenhada em sobrepor-se às limitações da realidade
Abstract: The aim of this doctorate thesis is to show in what way literary imagination may help us to understand contemporary historic reality, which is marked by deep ruptures and transformations in the order of things and which emerges making tabula rasa of its cultural heritage. An intertextual study of three works of occidental literature, Homer's Odyssey, Virgile's Aeneid, and James Joyce's Ulysses seeks to establish a tension between the old and the new poetics in order to reflect about the lack of stable truths in modernism, which emphasis lies in putting an each time major weight on thinking about the future, considering it as being dynamic and superior to the past, which turns the wide range of past experiences obsolete in itself, declaring the disremembering of the proper memory. Thus, aiming toward a significant reflection on our time, we are building an intertextual game pointing to a core: the disorientation of modern man in a world where cultural tradition tends to dilute itself. The result of this study allows us to establish a complex dialogue among poetical and philosophical discourses, turning Literature and Philosophy into key issues of contemporary thinking in order to increase strength against the dark side of modernism. In this sense, Joyce's Ulysses, a text which follows the model of Hellenistic epical poetics, since it presents a vertiginous succession of diferent styles and movements, serves as an example of the dissatisfaction of the modern poetic word in attempting to superpose itself to the limits of reality
Doutorado
Filosofia e História da Educação
Doutor em Educação
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Fuchs, Dieter. "Joyce und Menippos "a portrait of the artist as an old dog"." Würzburg Königshausen und Neumann, 2002. http://deposit.ddb.de/cgi-bin/dokserv?id=2756440&prov=M&dok_var=1&dok_ext=htm.
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