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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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Dick, Maria-Daniella. "Dante ... Joyce : Derrida." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2494/.
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James Joyce remains a logocentric figure, a position confirmed in his perceived relation to Dante within a patriarchal canonical lineage and its philosophical implications. Joyce also occupies this position within the writing and thought of Jacques Derrida, for whom his work then represents both the logos and its own deconstruction. In contrast, this thesis proposes that Joyce in fact is not a logocentric author, and that his writing is explicitly directed towards a deconstruction of the idea of the logos. This claim is advanced through the suggestion that there is in Joyce a deconstruction rather than a validation of the phonocentric linguistic theory and practice of Dante, and concomitantly of a patriarchal Joyce construed through that Dante. In this interrogation of the Dantean logos by Joyce’s writing the thesis then reads the Derridean view on Joyce and examines its investments, proposing that in it there are wider implications for a critical reading of Derrida’s work and for an understanding of his grammatology. It does so in three imagined papers on Joyce and Dante, an insert, a lecture and an essay. They constitute phantom artefacts in which to read deconstructively, and to read deconstruction, by unbinding Derrida’s Joyce. The first chapter is an imagined insert from Joyce and Dante into Of Grammatology and its first chapter, ‘The End of the Book and the Beginning of Writing’. In the folds of the insert it is proposed that Derrida cleaves to the idea of the book and is bound to it in Joyce. This binding initiates a retrospective reading of ‘The End of the Book and the Beginning of Writing’ and of the wider grammatological opening; its implications are unfolded in the insert. By then unbinding the thread of a logocentric Dante in Joyce, the insert unbinds Joyce from the Derridean idea of the book and furthermore suggests that Joyce, read in the deconstruction of Dante, represents the closure of the book as imagined in that essay. Building upon the proposal of a Joycean closure of the book as unfolded in chapter one, the second chapter advances and outlines the shape of that closure in an imagined lecture by Joyce. The chapter follows the displaced letter a in Ulysses as it interrogates mimesis, tracing the development of a subject in différance. The lecture performs that deconstruction of mimesis and, in doing so, announces not the apotheosis but the death of the realist novel in Ulysses. The final chapter draws together the conclusions of the previous two chapters in an imagined essay that arche-writes ‘Two Words for Joyce’ as an example of its own thesis. It does so in a previously untraced Dantean connection, through a conversation between Joyce and Beckett on Dante that finds its way into Finnegans Wake and is archived in the two words Derrida extracts as the spur for his essay. The imagined essay brings together Derrida, Beckett and Joyce in Dante as a concatenation of pairs within the pair of essays; it also shadows another pair, the Derridean Joyce and his other from whom the imagined essay comes. It both performs a deconstructive reading of Derrida in ‘Two Words for Joyce’ and then, through that reading, more widely affirms a Derridean grammatology. The argument of the thesis as it has advanced through the three chapters is here brought to a conclusion, suggesting that in Joyce’s writing it can be proposed that the relationship of deconstructive reading to its own practice is mediated through literature; it also proposes what might be a relationship between deconstructive reading and literature beyond those consequences.
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李復愛 and Fuk-oi Lee. "Joyce in China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B3121552X.
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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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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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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.<br>Arts, Faculty of<br>English, Department of<br>Graduate
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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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Gilbert, Simon. ""Growing up strange" des nouvelles de Joyce Marshall en traduction /." Mémoire, [S.l. : s.n.], 2007. http://savoirs.usherbrooke.ca/handle/11143/2524.
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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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Joseph, Sarah. "Proust and Joyce in dialogue." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614813.
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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 Durão<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-22T20:39:26Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>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<br>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<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária
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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.<br>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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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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Holtkamp, Grace. "Apocryphal Joyce : fuga per canonem." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:154334c7-cd61-48bb-a1b2-75f7ec07ea43.
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This dissertation explores the idea of an 'apocryphal Joyce' by tracing the evolving apocryphal conflicts - crises of truth, doubt, authority and authorship - in his work. Building on the original meaning of 'apocryphal' as hidden writing (apocrypha scripta), this dissertation follows what it calls Joyce's fuga per canonem: his flight through the canon. This phrase, from his notes for Ulysses, is especially apt for Joyce given his early connection of the writer as craftsman and apostate with Daedalus, the mythic figure whose wings symbolized for Joyce the liberated intellect of the artist. With the frame of the canon and the canonical versus 'hidden writing' and the apocryphal this dissertation traces Joyce's various styles of interrogating canonical, authoritative discourse through transgressive or illicit forms of writing. Specifically, this dissertation shows how these various 'apocryphal modes' of Joyce converge as a growing movement of flight. This 'taking flight' shows Joyce's evolution from his depictions of spiritual and psychological unrest in his early work into his creation of a poetics of unrest, his prodigious invasion and evasion of canonical categories in the transgressive somatic imagery of Ulysses. Finally, this dissertation offers new insights into the humor of Finnegans Wake by exploring the heretofore overlooked comedy of Joyce's many references to canonical and apocryphal scripture in his depiction of the authors of the four canonical Gospels, 'Mamalujo,' and the controversy of the apocrypha scripta they seek, the spurious 'hen's letter.' Ultimately we see that the apogee of Joyce's flight is his embrace of the artist's intellectual liberation, creativity and insight in the apocryphal positions of the outlaw, the marginalized, the exiled and the disenfranchised. The radical experiences and alternative systems of value of these vantages become, as we will see, Joyce's most fundamental creative mode.
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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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DeVault, Christopher. "Amorous Joyce: Ethical and Political Dimensions." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/196.
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My dissertation challenges the longstanding dismissal of love in James Joyce's texts by examining the ethical and political implications of his love stories. Primarily using Martin Buber's works (but also including perspectives derived from bell hooks and Julia Kristeva), I define love as an affirmation of otherness and adopt a critical framework that promotes the love of others over the narcissistic devotion to oneself. In so doing, I highlight love as the ultimate challenge to authoritarian systems because the embrace of the other is necessary to transcend the boundaries that alienate individuals from each other and that justify imperialist and racist political structures. I thus offer a love ethic that not only compels meaningful individual interaction, but also establishes a model for effective social and civic participation, encouraging a climate of cooperation that embraces the solidarity and empathy needed for progressive politics. I also argue that analyzing Joyce's works provides a fruitful opportunity to recognize the individual and political viability of this love ethic. Focusing on Dubliners, Stephen Hero, A Portrait of the Artist as a Young Man, Exiles, and Ulysses, I examine the relationships between his characters' pursuits of love and their socio-political struggles, arguing that their love for others directly influences their acceptance of otherness within the colonialist discourses of Joyce's Dublin. For example, James Duffy's refusal of Emily Sinico in "A Painful Case" also rejects her advice to engage in the political cooperation that would promote his socialist ideas. Similarly, Stephen Dedalus's promotion of symbolic romance over real-world attachments focuses his aesthetics on ideal beauty instead of everyday Dublin, which alienates him from his audience and limits the practical success of his art. By contrast, Leopold Bloom's love for his wife Molly reflects a broader empathy for others that encourages social dialogue and counteracts what Joyce called "the old pap of racial hatred," an element in both British imperialism and Irish nationalism. My dissertation's afterword anticipates the amorous potential of Finnegans Wake, reading ALP's concluding soliloquy as a demonstration of her enduring affection for HCE that is reignited through each iteration of the text's cyclical narrative.
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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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Robinson, Jasmes Christopher. "Joyce and Dante : Excile, memory, community." Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535023.
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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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Novillo-Corvalan, Patricia. "Borges and Joyce : a comparative study." Thesis, Birkbeck (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499074.
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My thesis examines the literary relationship between Jorge Luis Borges and James Joyce. It demonstrates that Borges's conflictual relation with Joyce produces complex intersections that centre upon issues such as the reception of Joyce in Spain and Latin America; translation as an act of recreation across linguistic, historical and cultural boundaries; fictional projects concerned with the notion of infinity and total recollection; the clash of literary genres in contrasting narrative expressions (epic magnitude vs. compressed ficciones); and the ubiquitous presence of Homer, Dante and Shakespeare in their literary productions. The thesis comprises two parts. Part I consists of two chapters which examine the relationship between the two writers from a historical viewpoint that offers a comprehensive survey of Borges's reception of Joyce from 1925 to 1946 in various Buenos Aires periodicals. It suggests that Borges played a decisive role in the dissemination of Joyce's work in the Hispanic world with his pioneering reviews of Ulysses and Finnegans Wake and fragmentary translation of 'Penelope'. Part II consists of four chapters. Principally, it is concerned with the practice and methodology of comparative literature as a pluralistic forum that negotiates the complex relations between Borges and Joyce and inscribes them within a larger corpus of writings and theoretical perspectives. The first chapter develops Borges's suggested 1941 analogy between 'Funes the Memorious' and Ulysses and discusses it through a network of scientific, theological and philosophical discourses in conjunction with the ancient tradition known as the art of memory. The final chapters investigate Borges and Joyce's triadic conversation with Homer, Dante and Shakespeare. These foreground the crucial fact that their intersections with the Western tradition are mediated by a long-standing English critical heritage that informs and infuses Borges's and Joyce's twentieth-century conceptions of the three canonical writers, and equally contributes to their mutual endeavors to generate new versions or afterlives of their works, as they shift Homer, Dante and Shakespeare into new cultures, languages and ideologies
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Giovannangeli, Jean-Louis. "Détours et retours : Joyce et Ulysses." Dijon, 1990. http://www.theses.fr/1990DIJOL003.
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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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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'autre<br>The 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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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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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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Paproth, Matthew Walker. "Modernist authors, postmodernist writers : Joyce, Beckett, Rushdie /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1147179731&sid=16&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Stocker, Barry. "Law and form : Joyce, Beckett and philosophy." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307251.
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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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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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Issitt, John. "The life and works of Jeremiah Joyce." Thesis, Open University, 2000. http://oro.open.ac.uk/58059/.
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This thesis traces the life and works of Jeremiah Joyce (1763-1816). Chapter 1 introduces Joyce and presents the methodology applied in the production of the thesis. Chapter 2 traces his upbringing as a Presbyterian dissenter and his experiences as a glazier's apprentice in Georgian London. It also gives an account of the influence of Arian and Unitarian teachers on Joyce and the education he received at Hackney College. Chapter 3 records Joyce's activities in radical metropolitan societies and his involvement in the 1794 Treason Trials. Chapter 4 explores Joyce's early writings produced whilst in the employment of the Earl of Stanhope. Chapter 5 gives an account of Joyce's life as a jobbing author in the first sixteen years of the nineteenth century. Chapter 6 is the largest chapter and traces Joyce's works. The chapter is organised around Joyce's publishers and explores his many titles, some of which were published under pseudonyms. It probes the nature of Joyce's work as a writer, compiler and editor, and the different strategies he used to present scientific knowledge. It also traces the compromises between the theological, pedagogical and commercial concerns which dictated the form and content of the works. The thesis is concerned to resurrect Joyce as an interesting figure whose importance as a political activist and science educationalist has hitherto been overlooked. His life and work is cast against the influences of the French Revolution on British society. In the early 1 790s, Joyce was engaged in political education and the distribution of radical literature. From the later 1790s, his energies were focused on science education. The thesis traces this transition as revealed in Joyce's personal history and literary output.
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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 Junior<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-07-24T16:11:59Z (GMT). No. of bitstreams: 1
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Previous issue date: 1999<br>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<br>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<br>Doutorado<br>Filosofia e História da Educação<br>Doutor em Educação
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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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Raffan, Mary. "Joyce, philosophy and the drama of authorship." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10650.
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This thesis will examine the representation, consequence and transformation of the idea of authorship in the work of James Joyce and suggest a way of re-addressing the contentious question of authorship. While postmodern criticism has emphasised the “revolutionary” cultural and political ramifications of Joyce’s response and the ways that his work has helped to deconstruct this question for modernity and postmodernity, this thesis will trace the ideas and ideologies, individuals and characters, historical, cultural and biographical circumstances that contributed to both the prominence and the hermeneutical consequence of the question of authorship in Joyce’s work. Highlighting Joyce’s awareness of and fascination with the multivalency of a question shaped by theological, historical, political, philosophical, philological, epistemological, methodological and hermeneutical ideas as well as literary representations, it will examine Joyce’s reformulation and response to this question through four pervasive models of authorship in his work: critic, philosopher, bard and theologian. While each chapter will make a distinction between these models in order to analyse their characteristics and significance, as a way of tracing not only the evolution of these models but also the complex network of interrelation that is established between these distinctive but also intertwining ideas of authorship, the thesis will be structured historically, biographically and “ergographically” (in Barthes’ definition of an ‘ergography’) as well as thematically. As a way of approaching the ideologically overdetermined concept of authorship, but also avoiding another postmodern “renaming” of this concept, these models will be proffered in order to examine the construction, fabrication and invention as well as the deconstruction of the idea of authorship and the representation of the role of the author in fiction, culture, society and history in the work of Joyce. The “drama” of authorship will be interpreted in terms of Joyce’s fictional and hermeneutic dramatisation of the role and idea of the author, but also in terms of the consequence of Joyce’s interest in and early idealisation of the genre of drama. This thesis will finally suggest that Joyce’s “failure” to become a dramatist and engagement with philosophical analyses of this genre contributed significantly to his deconstruction, reconstruction and dramatisation of the role and “exagmination” of the author. The thesis as a whole will delineate how each of these four models gradually becomes more distinctive but simultaneously also inextricable from a variegated template that is only methodologically divided into four parts; the four exegetes in Finnegans Wake inconspicuously multiply. The first three chapters will follow the attempt outlined in Joyce’s early draft of the Portrait ‘to liberate from the personalised lumps of matter that which is their individuating rhythm, the first or formal relation of their parts’- the growing self-consciousness of the artist’s understanding of his role(s) as an artist and of the idea(s) of authorship. In the last two chapters that will look at Ulysses and Finnegans Wake these four models will be more clearly differentiated although the growing theatricality in their portrayal and widening nexus of relations will complicate and indeed undermine the idea of a “model”.
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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 caché<br>This 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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Mayekiso, Amlitta Cordelia Theresa-Marie. "The historical novels of Jessie Joyce Gwayi." Thesis, University of Zululand, 1985. http://hdl.handle.net/10530/1158.
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Submitted in fulfillment of the requirement for the degree Master of Arts in the Department of African Languages at the University of Zululand, South Africa,1985.<br>In the first chapter we are given the biography of Joyce Jessie Gwayi, including a section on her domestic position, her present occupation and her state of health. It is her state of health that has made it impossible for her to undertake any further literary work. This has been the worst drawback to the budding Zulu historical novelist. Here also a few writers of various Zulu books are reviewed. Most of these books found their way into the classroom because there had been no Zulu literature except the Holy Bible. This was so chiefly because, for a long time, schools belonged to missionaries whose primary aim was to bring the Christian Gospel to the Black people.
Moses Ngcobo, Gwayi's husband, inspired her because, as a novelist, he had already written the historical work on the Xhosa National Suicide.
Gwayi wanted to write about Dingiswayo Mthethwa, her ancestor, after discovering through research that the names Gwayi and Mthethwa were synonymous, used in the Transkei and Natal respectively.
She discovered that Shaka Zulu grew up under the guidance of Dingiswayo Mthethwa and that after uniting the Zulu and the Mthethwa Tribes, he initiated a period of conquest. Gwayi seems to have been interested in this period which is known as "Difaqane" and thus used the Tlokoa Tribe, with its 'warrior queen', as the subject of her first novel Bafa Baphela, It was after the completion of this novel that she wrote Shumpu after which she wrote the third book Yekanini.
The theme, structure and plot in each novel conform to the pattern as has been diagrammatically represented in the dissertation. There is exhibited a very well developed sunrise, noontide and sunset trend in each novel.
/To
To achieve this the novel must have a variety of characters. We find Gwayi's heroes and heroines behaving realistically, especially in view of the fact that some of them are real historical people. Both her simple and complex characters behave very much like ourselves or our acquaintances. There are characters central to the plot and also those who are included simply to enrich the setting of the story. Gwayi even has characters who are ancestors of living people.
In Chapter Four, the milieu of Gwayi's books is discussed. Ancient people have a different culture from modern people so that as her characters lived prior to westernization, they conform to their environment. This aspect is obtained from traditional and oral history because Zulus were, up to then, illiterate. Attire, food and religion, however, remained largely unchanged for a long period of time. Ancestor worship, it is true, has been disturbed by the introduction of Christianity. On the military side it was Dingiswayo Mthethwa who regimented his warriors and Shaka Zulu who revolutionized the method of fighting by introducing a short spear (Iklwa).
It is the style, language and technique that disclose the fact that the novels have been written by two people. (Gwayi confirmed this fact to the author.) The language in the first two books leaves much to be desired. For example, some expressions are used in such a manner that a non-Zulu reader may be confused. This is regrettable since Gwayi cannot now do anything about it. The language of the third book is good. The structure could have been Gwayi's, but Ngcobo so deftly manipulated the language that this book proves to be the best of the three. Ngcobo ends the book so conveniently that the reader becomes anxious to know what happened to Zwide Ndwandwe and Shaka Zulu when Dingiswayo had gone. It leaves the reader with a wish to read his next book, which deals with the conflict between Zwide and Shaka.
It is unfortunate that Gwayi and Ngcobo do not revise and edit the books to the advantage of the future Zulu reader.
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Horton, James David. "Reading in theory : towards a thematic stylistics in Joyce studies." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7729.
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This thesis presents an account of the relationship between literary Theory and close reading in Joyce studies. Throughout, 'Theory' is understood not in a general, conceptual sense, but as a word we use to refer to certain specified intellectual developments in the literary academy that have taken place over roughly the last half-century. Working from the basis that little can be deduced regarding the contentious relationship between Theory and close reading as long as the issue remains an abstract one, the thesis works towards a description of that relationship based upon scrutiny of key works in the field. To that end, it performs a series of case studies of some of the more significant attempts to combine a deep Theoretical commitment with rigorous textual analysis. The argument developed is that in a significant number of cases a commitment to reading 'Theoretically' has led the critic into an erroneous reading of the literary text under discussion. The possibility of such error is defined with reference to a set of standards which, the author hopes, will be accepted by most scholars working in the field. Alongside this primary concern, the thesis sets out a technique of close reading designed to minimise the chances of such errors occurring. This technique is referred to as Thematic Stylistics. Requiring both broad and deep engagement with literary texts, it aims to encourage both fidelity and sensitivity when put into practice, and thereby to act as a balance to the suggested tendencies of Theoretical reading. This technique is not left as a set of bare principles, but is exemplified in alternate chapters with reference to errors discussed during the critique described above. Together, the critique of Theory and the outline of Thematic Stylistics are taken to provide a constructive suggestion for the future of the academy.
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Totev, Stela Kostova. "Variation on motherhood in Woolf, Lawrence, and Joyce." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6445.
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Woolf, Lawrence, and Joyce all have a deep interest in the problem of the mother, and especially in the problem of the mother figured as a problem of the self. The main focus of their work is the identity of the self and how problematic it is to find or preserve that identity. In this quest, they raise some of the general concerns of modernism about origins. Since origins are a major aspect of self-definition, here is where the problem of motherhood begins. This thesis explores the mother figure as seen through the psychoanalytical lens of Freud. By using such Freudian concepts as narcissism, melancholy, and the death instinct, it focuses on the mother figure as she relates to the child or child figures, to the world, and to her own function as a mother and shows how Woolf, Lawrence, and Joyce cooperate with Freud in defining for mothers a central role in the modern self's investigations of its origins. For Woolf, Lawrence, and Joyce, the mother figure is something other than a specific person. Although the actual mother in the novels I study is physically out of reach, she is still present as a psychological projection of the self, so that even though the self can grow out of its biological need for the mother, it is impossible to grow out of the epistemological need for her. Thus, my analyses of the mother figure are concerned with what the mother is not, or should not be---since inheritance, history, and identity can emerge only if there is something beyond the mother as a specific person, some continuity leading from the mother outward to what is beyond her. And it is precisely this function of continuity, rather than the individual physical experience of having a child, that I define as motherhood proper. All three authors investigate the relationship of a specific female human being to motherhood, and the degree to which the mother as a concrete human being is more, less, or other than motherhood, as well as the ways in which motherhood is something more than the individual. The mother figure is ontologically dead/unavailable as origin for Woolf, physically dead/sexually unavailable for Lawrence, and historically dead/unavailable as inheritance for Joyce. For Woolf, there are doubts that the mother ever existed in the past (lack of continuity); for Lawrence, that she exists in the present (lack of contemporaneity); and for Joyce, that she will be reincarnated in the future (lack of chronology). But in all three of them, motherhood emerges as problematic and ambivalent, and, if its status and authority are restored, it is only through the struggle and growth of the individual self.
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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 Jasinski<br>Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 18/09/2014<br>Inclui referências<br>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.<br>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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Acharya, Bobby Samir. "Joyce compactifications of string theory and M theory." Thesis, Queen Mary, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299930.
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Treip, Andrew David. "The later works of Joyce : writing and reading." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315950.
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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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Eyben, Piero Luis Zanetti. "Nóstos-escritura : meta-signo em Mallarmé e Joyce." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/6373.
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Tese (doutorado)—Universidade de Brasília, Departamento de Teoria Literária e Literaturas, 2008.<br>Submitted by Larissa Ferreira dos Angelos (ferreirangelos@gmail.com) on 2009-09-28T19:14:08Z
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Previous issue date: 2008<br>Esta tese tem por objetivo discutir — a partir do conceito de escritura e de suas conseqüências para a teoria literária — a problemática da estrutura de retorno que a linguagem dos textos de Mallarmé e Joyce mantém sobre si mesma. A fim de se alcançar tal objetivo, será ensaiada a matematização de um conceito proposto — o de meta-signo —, cujo intuito é a transmissão do discurso desses textos a partir das teorias da desconstrução e da psicanálise, vistas aqui tão-somente naquilo em que colaboram para o desenvolvimento de uma "crítica da escritura". Na tentativa de compreensão de qual seja o papel da escritura — na redefinição da significância do texto frente aos problemas da leitura e escrita da própria literatura na modernidade — procura-se estabelecer o grafo e o matema do meta-signo sob o efeito dos fenômenos da assemia (Barthes) e da disseminação (Derrida) que, em conjunto com as teorias psicanalíticas acerca da psicose, do real, da letra e da representação, impulsionam a discussão a respeito da destituição e desgaste do funcionamento do signo enquanto representante. Assim, ao estabelecer a relação entre os textos desses dois autores, entendidos como binômios de uma mesma concepção a propósito da escritura, tem-se por definição a constatação dos elementos que obscurecem e apagam os sentidos em uma dada contextura de significância que apenas seria transmissível, mas não comunicável. Compreender o matema proposto seria, desta forma, apontar o discurso como réplica das relações lingüísticas enquanto possibilidades de compreensão metafigurativa, ou ainda como meta- referencial (tendendo a zero no gráfico cartesiano, proposto por Saussure e Jakobson), uma vez que tal discurso parte da nulidade do signo à metonímia complexa de seus elementos que ultrapassem a noção mesma de significação. ______________________________________________________________________________ ABSTRACT<br>This thesis aims to discuss — from the concept of writing and its consequences for literary theory — the problem of the structure of return that the language of Mallarmé’s and Joyce’s texts keeps up on itself. In order to achieve this objective, the mathematisation of a proposed concept — that of meta-sign — will be essayed, whose aim is transmitting the speech of those texts from the deconstruction’s and psychoanalysis’ theories, seen here as just only in which they collaborate to develop a "critique of writing". In attempt to understand what is the role of writing — redefining the significance of the text facing the problems of reading and writing of literature itself in modernity — we seek to establish the meta-sign’s graph and mathem under the effect of the concepts of asemy (Barthes) and dissemination (Derrida) which, together with the psychoanalytic theories about psychosis, real, letter and representation, impel the discussion about the destitution and wear of the sign’s functioning as a representation. Therefore, in establishing the relationship between the texts of those two authors, defined as binomial of the same conception of writing, we have the finding of the elements that obscure and erase the senses in a given structure of significance that would only be transferable but not communicable. Understanding the proposed mathem would be thus pointing the speech as a reply of the linguistic relations while possibilities of a meta-figurative as well as meta-referential understanding, as this speech departs from the sign nullity to the complex metonymy of its elements that go beyond the notion of meaning.
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Caron, Stéphanie. "Réinventer le lyrisme : le surréalisme de Joyce Mansour." Paris 10, 2001. http://www.theses.fr/2001PA100190.
Full textAbstract:
Etonnante "voyageuse du troisième convoi" surréaliste, Joyce Mansour (1928-1986) a publié une oeuvre abondante et d'une grande diversité : poésie, récits, théâtre, textes critiques ou pseudo journalistiques - aucune forme d'écriture n'est étrangère a cet écrivain multiculturel et polyglotte. Pourtant, par-delà son apparente dispersion dans les genres, son oeuvre, considérée dans sa longévité, manifeste une évidente cohérence : elle peut être définie comme essentiellement lyrique, si on admet avec les théoriciens contemporains que le terme de lyrisme désigne, bien au-delà des notions de culte du moi ou de sentimentalisme auxquelles il a longtemps été associé, la quête d'une identité. Avec "Cris", recueil paru en 1953, le sujet s'expose à des affects extrêmement violents, dont la libération lui ouvre l'accès à des zones inconnues de lui-même, terrritoire étrange et étranger où son écriture élit d'emblée résidence. Jusqu'à "Trous noirs" (1986), toute sa production peut en effet être lue comme une série de stratégies successivement éprouvées pour approcher ce qui, en soi, résiste ou dérobe, cet abîme intérieur que la poésie lui a révélé, et où il a très tôt conscience que gît le secret de son identité. . .<br>One of the last travellers of the "third surrealist convoy", Joyce Mansour (1928-1986) produced rich and surprisingly diverse works. Poetry, narratives, drama, pseudo journalistic or critical texts : no literary form is unknown to the pen of multicultural and bilingual writer. However, despite the seemingly scattering of genres, her works can be defined as essentially lyrical -lyricism as unterstood by theoricians, that is a quest for identity, far beyond the ego workship or sentimentalism long associated with this notion. With "Cris", a collection published in 1953, the subject is displayed a prey to extremely violent affects. And their release gives access to zones unknown to him/her, to territories where Mansour's writing takes up instant residence. Until "Trous noirs" (1986), all her publication can be read as series of successively explored strategies to approach a resisting, evadind inner space, the inner abyss disclosed to the subject by poetry, which, as he / she is soon aware, conceals a key to his / her identify. .