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Rainville-Duech, Lorie-Anne. "James joyce : ecritures du corps dans dubliners". Paris 3, 2000. http://www.theses.fr/2000PA030152.
Pełny tekst źródłaBidenne, Daniel. "Les langues étrangères dans Ulysses de James Joyce". Lille 3, 1999. http://www.theses.fr/1999LIL30018.
Pełny tekst źródłaGiovannangeli, Jean-Louis. "Détours et retours : Joyce et Ulysses". Dijon, 1990. http://www.theses.fr/1990DIJOL003.
Pełny tekst źródłaChyi, Songling. "Les traductions françaises et chinoises d'Ulysses de James Joyce". Paris 3, 2005. http://www.theses.fr/2005PA030049.
Pełny tekst źródłaThis 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
Barron, Graham. "The self in conversation : James Joyce's Ulysses". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60607.
Pełny tekst źródłaMedeiros, Silvio. "A modernidade em Joyce : tradição e ruptura". [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253558.
Pełny tekst źródłaTese (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
Fourer, Chantal. "James Joyce, de "Dubliners" à "Ulysses" : modernité du baroque". Limoges, 1993. http://www.theses.fr/1993LIMO0505.
Pełny tekst źródłaThrough 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
Butts, Gerald Michael. "Between two roaring worlds : personal identity in James Joyce's Ulysses". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29770.
Pełny tekst źródłaHaving experienced frustrations common to many readers of the book, I can understand why so many readers "give up" on Ulysses. Obviously, I was drawn back to the book, but by neither its encyclopaedic nature, nor the various games it plays with literary traditions, nor any other "technical" aspect of the author's virtuosity; I was, of course, ignorant to these features. Rather, I found---and continue to find---Ulysses an extremely compelling work of art because of the manner in which it seems to be energized with "warm fullblooded life," in the words of Bloom. The impressive extent to which Joyce has successfully created ostensibly real human beings is both remarkable and often remarked upon. Less well documented are the underlying philosophical assumptions which inform Joyce's meticulous method of characterization. The present study of Ulysses aims to uncover these assumptions.
Ungar, Andras. "The epic of the Irish nation state : history and genre in James Joyce's Ulysses". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39443.
Pełny tekst źródłaUlysses thematizes the compositional imperatives which Virgil's Aeneid made canonical for the national epic. This perspective reconfigures the legacy of Stephen Dedalus' heroic stance in A Portrait of the Artist as a Young Man and Arthur Griffith's arguments in The Resurrection of Hungary: A Parallel for Ireland (1904) through which Sinn Fein won national prominence.
Through Stephen's encounter with Leopold Bloom, Ulysses substitutes its own account of the origin and future of the modern Irish polity. The "Telemachiad" redefines Stephen the epic poet as an epic character. Bloom's family history, including the characterization of Milly, supplants Griffith's founding myth with a more comprehensive historical vision. Through this concern with the genre and history, Ulysses reconstitutes the national epic's traditional discursive domain.
Clissold, Bradley. "Author--Ulysses--readers : seduction in the gaps". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22575.
Pełny tekst źródłaDownes, Gareth J. "James Joyce, Catholicism and heresy : with specific reference to Giordano Bruno". Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/14800.
Pełny tekst źródłaRoughley, Alan Robert. "Finnegans wake as a deconstructive text". Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27520.
Pełny tekst źródłaArts, Faculty of
English, Department of
Graduate
Howie, Jordan. "A cemetery of symmetry : chiastic structure in Wandering Rocks and Ulysses". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99375.
Pełny tekst źródłaConley, Tim. "The hoax that joke bilked : sense, nonsense, and Finnegans wake". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26682.
Pełny tekst źródłaSalado, Régis. "Ulysses de Joyce, laboratoire de la modernité : étude de réception comparée dans les domaines français et anglo-saxon (1914-1931)". Paris 10, 1994. http://www.theses.fr/1994PA100103.
Pełny tekst źródłaJoyce's u stands central in the movement of literary renovation which takes place after W. W. I. The historical process of u's reception was staggered over months by the serialized pre-publication of the novel in the U. S. And in England between 1918 and 1921 and then by the release of the novel in 1 volume in Paris in 1922. This process successively, and sometimes simultaneously, implied 3 cultural areas which are distinct but inter connected in parts. Through the study of u's reception, and subsequently of the French version (1929), mutation and a certain reluctance appear: these phenomena operate within the English, the American and the French fields, over a period which witnesses the emergence of a new aesthetics that was later on coined "modernism". The comparative bias of the doctorate aims at explaining the internationalization of literary relationships, as well as at understanding the gaps between the cultural fields taken into account. Eventually, complementary results can be drawn : according to the "aesthetics of reception" theory and to hermeneutics, the readings produced as a critical answer to u betray the difficulty to appropriate Joyce’s text, in spite of early interpretations and "critical orthodoxies" such as Pound's (1914-1922) and Larbaud's (19211922) ; in a more historical perspective, it appears that u played a vital part in the constitution of a modernist self-consciousness in the Anglo-Saxon literary world, while this function didn't operate as decisively in France, where the integration of Joyce’s novel
Martin, William School of English UNSW. "The recurrence of rhythm: configurations of the voice in homer, plato and joyce". Awarded by:University of New South Wales. School of English, 2007. http://handle.unsw.edu.au/1959.4/26001.
Pełny tekst źródłaROSPARS, NAVAI ANNE-MARIE. "Le juif et le celte dans Ulysse de James Joyce". Paris 13, 1986. http://www.theses.fr/1986PA131014.
Pełny tekst źródłaErgal, Yves-Michel. "De l'oeuvre "in nucleo" à l'oeuvre "in progress" : Marcel Proust et James Joyce". Paris 4, 1992. http://www.theses.fr/1992PA040027.
Pełny tekst źródłaMarcel Proust and James Joyce conceived, at the beginning of the XXth century, the idea of a new literary genre: that of the work. At the age of 25, both published their first books of short stories, Les plaisirs et les jours and Dubliners. Despite the themes "in nucleo" in their early works, Proust and Joyce lacked a spokesman: he will be Jean Santeuil and Stephen Hero. When Proust and Joyce discover the circular structure of the work, the "in nucleo" - the roman d'initiation - we move on to the "in progress", the novel of the artist. In the "in progress", Proust and Joyce stage the portrait of the anti-artist, Swann Charlus or, for Joyce, Leopold Bloom. The essential function of the novel is to reveal the sexuality of the characters. Liberated from his fears, the artist may disappear from the work he has in fact just written
Stafuzza, Grenissa Bonvino [UNESP]. "O discurso da crítica literária universitária: sobre James Joyce e Ulysses". Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/103559.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A análise do discurso da crítica literária universitária apresenta-se inédita em diversas áreas em que se trabalha com o texto literário, em especial na análise do discurso. Por isso a presente reflexão parte da interface entre a análise do discurso e algumas áreas do conhecimento humano que tratam com interesse do texto literário (ciências sociais, história, filosofia, teoria literária), com o intuito de analisar o discurso da crítica literária universitária mostrando a evolução tanto do gênero artigo crítico literário, de autoria de acadêmicos, publicados em uma revista especializada, quanto da recepção crítica do escritor James Joyce e de sua obra, ressaltando a sua entrada e lugar na universidade. Assim, optamos recortar como corpus de análise artigos críticos publicados na revista francesa literária La Revue des Lettres Modernes - Histoire des idées et des littératures (Revista de Letras Modernas - História das idéias e das literaturas), uma vez que essa revista contempla análises críticas francesas, inglesas, americanas e irlandesas, feitas especialmente por professores universitários sobre James Joyce e sua obra; sobretudo, Ulysses, por ter sido publicada em Paris, França, em 1922. Consideramos como referencial de análise, artigos que sejam representativos dos períodos de 1956-1965 e 1988-1994, com alguns recortes pertinentes ao estudo, devido a quantidade e complexidade do material a ser analisado nesta tese. Selecionamos dois (02) artigos crítico-literários para o estabelecimento de análises centradas a partir de um recorte de dezessete (17) artigos, no sentido de examinar o funcionamento da crítica literária universitária. São eles: Le mysticisme qui plaisait a Joyce - Note sur la source première d´Ulysse (1951), do professor W. B. Stanford, que filia seu discurso crítico-literário universitário à história literária...
Discourse Analysis in university literary criticism seems to be something inedited in several areas which work with literary texts. This thesis aims at reflecting on an interface between discourse analysis and other fields of human knowledge which deal with literary texts (Social Sciences, History, Philosophy and Literary Theory). Such study aims at analyzing the discourse of university literary criticism, showing an evolution of a genre called literary critic paper, written by academicians and published in specialized Reviews, focusing James Joyce's critic reception and the criticism on his pieces. Besides, it will be emphasized Joyce's acceptance and academic place in university studies. Thus, it was taken as corpus, critic papers published in a French Literary Review called La Revue des Lettres Modernes - Histoire des idées et des littératures. Such Review approaches French, English, American and Irish critic analysis, written, specially, by university professors on James Joyce and his pieces. It will be given special attention to criticism on Ulysses, which has been published in Paris, France, in 1922. It will be taken as reference for analysis, representative papers in the period of 1956-1965 and 1988-1994. Some restricted aspects were emphasized and selected for analysis, considering the great number of papers and their complexities. It was selected two (2) papers on literary criticism to establish analysis from a sample of seventeen (17) papers. Such choice aims at examining universitarian literary criticism working. They are: Le mysticisme qui plaisait a Joyce - Note sur la source première d´Ulysse (1951), by Professor W. B. Stanford, who inscribe his universitarian literary criticism in literary history, founding his theoretical framework in philological studies; and, 'Sirènes': l´expressivité nomade (1988), by Professor André Topia, who expresses... (Complete abstract click electronic access below)
Esteves, Lenita Maria Rimoli. "A (im)possivel tradução de Finnegans Wake : uma investigação psicanalitica". [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/271093.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho parte de uma obra literária singular, Finnegans Wake, de James Joyce, para abordar várias questões relativas à linguagem e principalmente à tradução. Essa obra impõe uma leitura diferenciada, que se afaste do que normalmente julgamos ser a leitura e a interpretação de textos emgeral e também literários. A psicanálise, trazida principalmente por textos de Freud e Lacan, mostrou-se uma via ideal de abordagem dessa obra que, ao mesmo tempo, se assemelha e se diferencia de formações do inconsciente como o chiste e o sonho, da poesia - como a psicanálise a concebe - e das produções de sujeitos psicóticos. O primeiro capítulo faz um contraponto entre Finnegans Wake e essas formações, que evidenciamo inconsciente em ação na linguagem. o segundo capítulo vem ligar essa perspectiva da psicanálise à tradução, por meio da obra Letra a Letra, de Jean Allouch, onde o autor propõe, pela íopologia do nó borromeano, uma interdependência entre a tradução e duas outras operações, a transcrição e a transliteração. O terceiro capítulo trata de analisar a escrita de Joyce tendo como contraponto as três operações propostas por Allouch. Analisam-se também traduções de alguns excertos de Finnegans Wake para o português, com a identificação de pontos de impossibilidade.Procura-se demonstrar que se, como propõe Lacan, o sujeito James Joyce apresenta uma constituição psíquica singular, que o diferencia tanto de um psicótico quanto de um neurótico, essa singularidade deve se inscrever em sua própria obra e, justamente nesses pontos de inscrição, a tradução se torna impossível. A tese busca demonstrar que, se a tradução se depara com certos limites, esses limites são determinados pela incidência das duas outras operações, transcrição e transliteração. Em contrapartida, a tradução não pode ser considerada isoladamente, sendo sempre apoiada pelas duas outras operações. Se a tradução tem sido tradicionalmente teorizada com base na oposição forma/sentido, a tese se propõe a considerá-Ia num triplo, composto de forma/sentido/nãosentido
Abstract: The key motivation of this thesis was a singular literary work - Finnegans Wake, by James Joyce - and the several issues it raises related to language and especially to translation. Joyce's work imposes a different reading process, apart ITomwhat we generally consider to be reading and interpretation of texts in general, as well as literary texts. Psychoanalysis, represented mainlyby texts by Freud and Lacan, was considered an ideal way of approaching this text which, at the same time, is similar to and different ITomunconscious formations such as dreams and verbaljokes, poetry - as conceived by psychoanalysis- and the productions of psychotic subjetcs. The first chapter presents a comparison between Finnegans Wake and these formations, which put in evidencethe unconscious at work in language. The second chapter links this psychoanalytical perspective to translation, based on the book Letra a Letra, by Jean Allouch, in which the author proposes, by means of the topology of the Borromean rings, that there is an interdependence between translation and two other operations, transcription and transliteration. The third chapter analyses Joyce's writing in view of the three operations proposed by Allouch. Translations of some excerpts of Finnegans Wake into Portuguese are also analysed, aiming at indicating some points of impossibility.This analysis tries do show that if, according to what Lacan proposes, James Joyce has a singularpsychological make-up, which is neither that of a psychotic nor that of a neurotic, then this singularity must be inscribed in his own work and that, exactly in these points of inscription, translation becomes impossible. The thesis tries to show that, if translation faces some limits, these limits are determined by the incidence of the two other operations, transcription and transliteration. On the other hand, translation can not be considered in isolation, being always supported by the two other operations. If translation has been generally theorized based on the opposition form/sense, this work proposes to consider it in a triple, constituted by form/sense/non-sense
Doutorado
Doutor em Linguística
Moira, Amara 1985. ""Dubliners" / "Dublinenses" : retraduzir James Joyce". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269967.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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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
Johns, Alessa. "Joyce and Chaucer : the historical significance of similarities between Ulysses and the Canterbury tales". Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63365.
Pełny tekst źródłaDenize, Joseph. "L'imagination créatrice chez William Blake et James Joyce". Paris 8, 2001. http://www.theses.fr/2001PA081994.
Pełny tekst źródłaGrossman, Évelyne. "Entre corps et langue : l'espace du texte (James Joyce - Antonin Artaud)". Paris 7, 1994. http://www.theses.fr/1994PA070106.
Pełny tekst źródłaAt first view, the works of James Joyce and Antonin Artaud's are quite remote from each other. They both however have a conception of the literary writing that relates them to the contemporary identity crisis in so far as they underline a similar rupture between body and mind. Mixing up every genre (theatre, critical essays, novels, drawing or music), their writings upset at the same time the subjective boundaries and the limits of any literary utterance. Striving to reshape thr0ugh the act of writing the body that fails them, they succeed in modifying the relationship between author and reader. Between body and language, they build up a textual space which includes the reader : a bordeline space outlining a new type of subjectivity
Jung, Mathieu. "James Joyce, Raymond Roussel : modalités du lisible". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC019.
Pełny tekst źródłaThis 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
Branco, Elizabeth Hey. "Molly's monologue in Ulysses". reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24339.
Pełny tekst źródłaBelluc, Sylvain. "Signe, nature, signature : parcours étymologiques dans l’œuvre de James Joyce – Dubliners, A Portrait of the Artist as a Young Man et Ulysses". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030105.
Pełny tekst źródłaOne of the hallmarks of Joyce’s prose is the acute consciousness it reflects of the history of words. This tendency is the product of the emergence of comparative linguistics and historical semantics in the 19th century, both of which had revolutionized the concept of etymology and seemed to make the history of words relevant to their use. Yet that approach soon became irremediably outdated and its numerous contradictions had been subjected to severe criticism by the time Joyce wrote his books. Accordingly, his works, far from giving a faithful and stable image of the etymological discourse prevalent in the century of his birth, reflect its biases and contradictions. Although the writing strategy of Dubliners relies on a constant exploitation of the data unveiled by linguists, it opposes any transcendental philosophy and makes much of the subjective and random nature of the activation of words’ etymological potentialities by the reader. Stephen’s attempts at finding a superior meaning in the direct and then indirect motivation of names in A Portrait of the Artist as a Young Man evolves, in the next novel, into a bitter rejection of the “imposture of sounds”. Ulysses, however, also brings into relief the inconsistencies of the linguistic theories of its own time: in highlighting the role played by folk etymology in the use of language, it constitutes an implicit criticism of Saussure’s positivist claims and calls into question any pseudo-rational and supra-individual conception of history
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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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
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.
Verger, Mathias. "La haine de la langue maternelle : une lecture de James Joyce, Jean Genet, Thomas Bernhard". Paris 8, 2013. http://www.theses.fr/2013PA083897.
Pełny tekst źródłaThe syntagm “mother tongue” does not refer to a linguistic concept. Rather, it operates as a common set expression which superimposes different linguistic imaginaries. This thesis aims to deconstruct this expression through an analysis of XXth century novelistic poetics, focusing in particular on excessively distorted writing. The novels of James Joyce, Jean Genet and Thomas Bernhard use narrative and stylistic orchestrations to undermine the idea of a shared language allowing communication, the political dimension of national languages, the literal understanding of the “mother tongue” as the language of/from the mother, and the labeling of a first language as “native”. More generally, distorted writings contribute to the political anxiety the novels express concerning the fixation and fossilization of everyday language, the dominance of the nation-state apparatus and that of genealogical orders. Such a political engagement in writing allows these novelists to reject established monolingualisms and forge new relations with the Other and with foreign languages. Joyce, Genet and Bernhard abandon the ideology of normative grammar and develop singular idioms which draw on translation processes. The three writers break with traditional socio-political forms of belonging while creating “monolingualisms of the other” or idioms which don’t belong exclusively to any language. As both a so-called “native” speaker and a social subject, the author’s hatred of his own mother tongue resists the power of norms. Joyce, Genet and Bernhard attack the family romance and overarching national narratives through a poetics of hatred which sets texts and languages in motion, and in which metaphoric bile stands for the malleability of identities, categories and names. Their stylistics of dissent calls for a reading “in translation” that is mindful of the memory of languages
Clissold, Bradley. "Recovering the common sense of high modernism : embodied cognition and the novels of Joyce, Faulkner, and Woolf". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36895.
Pełny tekst źródłaJousni, Stéphane. "James Joyce : un héritage encombrant : Flann O'Brien, John McGahern, John Banville : comment assumer la succession". Rennes 2, 2000. http://www.theses.fr/2000REN20007.
Pełny tekst źródła@Creator of an immense work, each of whose opus constituded an artistic revolution, James Joyce (1882-1941) has left to Anglo-Irish writers a formidable legacy. Leaving behind the XIXth century novel, Joyce irrevocably altered the modern literary map. Representing that moment of transition for contemporary sensitivity known as modernity, Joyce's work undeniably was and still is a burden to generations of Irish writers. A comparative study of O'Brien, McGahern and Banville's novels and short stories can lead to a fruitful historical analysis of Joyce's influence on XXth century Irish literature. Each of those three writers has indeed benefited, consciously or inconsciously, from the literary lessons of the " master ", whose heritage, possibly a source of inhibitions, is now possible to measure. Altohgh Flann O'Brien (1911-1966) was hailed as the author of several masterpieces, the general critical reception derided the Joycean undertones of his work, and tended, not undully so, to condemn his work as inferior imitation. As a matter of fact, O'Brien remains as the first Irish metafictionalistalong with Joyce. Less than two generations later, John McGaherrn (1932-)appeared on the Irish literary scene. Undeniably marked by Joyce's early work, whose realistic and symbolical influence can be perceived in most of his short stories and some of his novels, McGahern only reluctantly admits his indebtedness to the author of Dubliners. And despite the poetic originality of his writings, he continues to write as though James Joyce had never existed. As for John Banville (1945-), who seems to have inherited Joyce's sense of experimentation as well as his capacity to recycle the work of his predecessors, he has obviously started to pave the way to new forms of literature -maybe for the first time since Ulysses. With Banville, the Irish literary community may be able to turn over the leaf Joyce wrote nearly a century ago
Briggs, Roger T. "Dubliners and the Joycean epiphany". Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t065.pdf.
Pełny tekst źródłaBormanis, John Curt. "Oppositional constructions of Jewishness, gender and ethnicity in the works of James Joyce (1882-1941) and Gertrud Kolmar (1894-1943) (Ireland)". Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186666.
Pełny tekst źródłaFigueroa, Lienqueo Tamara Valentina. "A portrait of the subject as a young artist: James Joyce and modernism". Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109942.
Pełny tekst źródłaDosse, Mathieu. "Poétique de la lecture de la traduction : James Joyce, Vladimir Nabokov, João Guimarães Rosa". Paris 8, 2011. http://octaviana.fr/document/168361973#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaAt the crossroads between two theoretical and practical fields, the act of reading translation positions itself as a problematic practice. This thesis tries to give an account of a poetics of reading translation, by emphasizing the positive side of translation (as opposed to the traditional notion of loss usually attached to it). It therefore lies within the framework of both translation studies (which it tries to renew by stressing the reading of the translated text) and reader-response theory (which it contributes to by submitting its concepts to a type of text, i. E. Translation, it had so far ignored). It thus attempts to bring to light (through Joyce's Ulysses) certain modalities exclusive to reading in translation. Questioning the relation between the original text and its translations, and thanks to a transtextual reading of all the translations of Grande Sertão : Veredas by Guimarães Rosa, it induces us to regard a translation as a specific text, which calls for a particular mode of reading Ŕ if we want it to be more than second best. We then find out that translation is a key concept to better understand problems of poetics and reading that can only be solved by it. Reading in translation is also reading a translator, and it is in this sense that we seek to define the specificities of what could constitute a translating subject (by examining Nabokov's achievements as a translator). Reading translations can consequently be conceived as a poetics in its own right, in the sense that it involves our critical relationship to texts and theories
Otero, Ana Flávia Ribeiro. "Escre(ver) Ulysses : a escritura de Joyce atravessada pela visão". reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21202.
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Esta dissertação aborda as questões que envolvem o sentido visual a partir de uma análise do texto de Ulysses. Dessa forma, busca-se observar essa obra a partir da linguagem articulada e de como esse movimento pode proporcionar um pensamento acerca desse sentido. Para tanto, será necessário debruçar-se sobre as questões que envolvem a linguagem e como esse romance pode se aproximar de elementos ligados à poesia. Assim, busca-se expandir a visão a partir das relações linguísticas construídas pelo texto joyceano. A partir disso, um diálogo com o pensamento derridiano será desencadeado, de maneira a repensar os vínculos articulados em Ulysses a partir de Derrida. Assim, esse diálogo permitirá que se reflita sobre algumas ideias do filósofo, tais como a cegueira, a escuridão, as lágrimas, a ética, o animal e a escritura. _________________________________________________________________________________________________ ABSTRACT
This dissertation intends to discuss the issues concerning to the visual sense from an examination of Ulysses’s text. Thus, it seeks to observe this work from the language articulation and how this movement can provide a thought about this sense. For this purpose, it will be necessary to study the issues that concern the linguistic constructions and how this novel can get closer to elements linked to poetry. So it seeks to extend the vision through the linguistic relations built from Joyce’s text. Then, a discussion with Derrida’s thought will be articulate in order to rethink the established links between Joyce and Derrida. Therefore, this dialogue will allow to think about some ideas of the philosopher such as blindness, darkness, tears, ethics, animal and writing.
Vichnar, David. "L'Avant-postman : James Joyce, L'avant-garde et le postmoderne". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030010.
Pełny tekst źródłaThe 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.”
McIntyre, John 1966. "Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and Woolf". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38232.
Pełny tekst źródłaI begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.
Azi, Françoise. "James joyce et joao guimaraes rosa. Techniques du recit et particularites du langage dans ulysses et grande sertao : veredas". Paris 4, 1987. http://www.theses.fr/1986PA040066.
Pełny tekst źródłaThe comparison is stressed by an identical concept of the novel in its narrative technique as well as language particularities in spite of "time-space" obstacles (ireland and brazil). At first, we situate g. Rosa within brazilian literature and the regionalist movement revealing his esthetic characteristics. A common theme is at the source of a new and similars techniques in the works of joyce and rosa : the desire to express movements of consciousness. The narrative structure becomes complex at the sight of the confusion which rules the mind; the reappearance of certain themes motis, leitmotive guide the reader and signify the heroes obsessions. They express themselves througu a nex modality : the streams of consciousness of the characters. Joyce and rosa are
Weber, Bruno [UNESP]. "Diálogos entre literatura e cinema: um estudo sobre The Dead de James Joyce". Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91523.
Pełny tekst źródłaConselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
James Joyce configura-se como um dos autores mais importantes do século vinte, e suas técnicas inovadoras influenciaram diversos escritores e artistas por gerações. Contudo, apesar de seu evidente prestígio no campo literário e cultural, pouco são os trabalhos versando sobre suas adaptações para o cinema. A intenção do presente estudo é de analisar os implícitos sexuais marcados no conto Os Mortos de James Joyce e sua representação na adaptação cinematográfica de John Huston, de 1987. Será levado em conta, como abordagem teórica, as questões levantadas por Seymour Chatman e David Bordwell a respeito das relações existentes entre literatura e cinema, tais quais o narrador literário e cinematográfico. Segundo Chatman essas questões são de essencial importância para o estudo das relações entre os dois meios, porque possibilitam uma abordagem não baseada no biografismo. Também serão levados em consideração os trabalhos de Linda Hutcheon (Theory of adapatation, 2006) e de Robert Stam (Literature and film: a guide to the theory and practice of film adaptation, 2005) acerca da teoria da adaptação, teoria desenvolvida ao longo dos últimos trabalhos desses autores. O estudo, considerando tais argumentos, examinará um possível significado dessas relações sexuais implícitas no conto e em sua adaptação. Os Mortos compõe o último conto da coletânia intitulada Dubliners, de James Joyce, publicada em 1914
James Joyce is one of the most important twentieth century authors, and his cutting edge techniques influenced many authors and artists from his and subsequent generations. However, in spite of his prominent prestige on literary and cultural grounds, few works study the adaptation of his texts to cinema. The objective of this study is to analyze implicit sexual relations in Joyce’s The Dead and in its representation in John Huston’s cinematographic adaptation, 1987. This work will consider, as theoretical approach, the issues raised by Seymour Chatman and David Bordwell about the relation between literature and films, such as the literary and the cinematographic narrator. According to Chatman (1990) this questions are fundamental for this type of study due to the fact that they allow an approach not based on pure author’s biography. This study will also take into account Linda Hutcheon’s Theory of adaptation (2006) and Robert Stam’s Literature and film: a guide to the theory and practice of film adaptation (2005) about the theory of adaptation, theory developed throughout these two author’s last works In addition to that, this study will consider one way of regarding these implicit sexual relations in the short story and in its adaptation to the cinema. The Dead is the last short story from the collection entitled Dubliners, by James Joyce, 1914
Mayo, Kim Martin. "Joyce's Dubliners and Hemingway's In Our Time: A Correlation". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500421/.
Pełny tekst źródłaMiller, Lynette. "The sound of dreams : Toru Takemitsu's Far Calls. Coming, Far! and James Joyce's Finnegans Wake". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21242.
Pełny tekst źródłaMayo, Michael. "The well-disposed mind : Joyce, Loyola, and the psychoanalysis of ambivalence". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:13d9376a-2e20-45b5-87ac-0ca6012be6ef.
Pełny tekst źródłaAzerad, Hugues. "Un univers constelle : presence et confluences de marcel proust et de james joyce dans l'oeuvre de william faulkner". Paris 4, 1998. http://www.theses.fr/1997PA040284.
Pełny tekst źródłaThe aim of my study is to analyse the work of william faulkner through the prism of the double influence of james joyce and marcel proust. I have tried to analyse the components of faulkner's modernism by comparing them with the innovations brought about by proust and joyce. These themes are shared by the three authors so that the normal influence of the two earlier masters could be digested into confluence : the moment when faulkner started to build a cosmos of his own from his native imagination, using and distorting stylistic instruments which belonged to a european culture. The main line of my argument is that faulkner staged the natural conflicts which arise between the novel, time, space and its own language. Faulkner arrives at the same conclusion as proust in time regained : that time is a negative force as long as it is bound to the past and thus viewed in an edenic light. If time is the enemy, it cannot be excluded from the novel's own framework of which it forms an intrinsic and vital part. In faulkner, as in proust and joyce, time is abolished when fully accepted: when the longing to recapture it has ceased. I analyse the ways in which time is perceived by characters: from the prisoners of internal time to the prisoners of objective time. I then switch to the important concept of the spatialization of time which follows the attempt made by the three writers to exclude time, to shatter it. I finish with the exploration of the literary space of the three universes, which orbit the same clusters of images of modernity and archaicisms. By concentrating on the poetical means used to render literary space: i clarify which trope will produce art out of the traps of time and space. My conclusion focuses on metaphor as a way of fusing time and space, thus creating a universe within a universe, in which abstract feelings, divested of their fetters, could be fully lived, that is, fully expressed
Silva, Lemarchand Francisco. "Synesthetic Traits in the Perception of Language in Stephen Dedalus considered as an avatar of James Joyce". Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110287.
Pełny tekst źródłaThe general objective of this work is to analyze the work of James Joyce, specifically, the analysis of A Portrait of the Artist as a Young Man.
Valtat, Jean-Christophe. "Les figures de la relativité dans "Le temps retrouvé" et "Finnegans wake"". Paris 3, 2000. http://www.theses.fr/2000PA030062.
Pełny tekst źródłaRivaux, Romain. "De la résistance du texte de "Dubliners" : vers la vision rhizomatique d'un écrit joycien de jeunesse". Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2001/document.
Pełny tekst źródłaThis study aims primarily at re-thinking the relationship between Dubliners and the words "paralysis", "gnomon", and "simony" which appear in the very first paragraph of "The Sisters". Given that critics have approached them following patterns leading to the centering, de-centering and re-centering of Joyce's collection, the concept of rhizome, as developed by Deleuze and Guattari in A Thousand Plateaus, can be a relevant tool to present the variation of territoriality relationships between the work and the three words. At the end of this study, the latter are granted successive statuses, which challenge the idea of a structural center or core (the arborescent). The framework of this study is as follows: three rhizomatic movements illustrating the capacity of these words to allow for endless building, collapsing, and re-building of the textual territory, namely territorialization, deterritorialization, and reterritorialization. This ritournelle style approach leads to the identification of Joyce's irreducible writing technique in his early period
Valtat, Jean-Christophe. "Culture et figures de la relativité Le Temps retrouvé, Finnegans Wake /". Paris : H. Champion, 2004. http://catalogue.bnf.fr/ark:/12148/cb39145153p.
Pełny tekst źródłaPraia, Mariangela Ferreira Andrade. "“Nas curvas de uma emoção” : Stephen Dedalus e a escritura". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/17587.
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Esta dissertação aborda questões em torno da escritura joyceana. Stephen Dedalus, personagem-conceito assume a escrita do texto e brinca de artífice, dando margem para que o texto trabalhe questões como aspectos de sua criação, uma certa característica de hospitalidade, seus desdobramentos e a reflexão acerca do gênero textual. A hospitalidade derridiana é discutida também sob os olhares da tradução, que se revela enquanto abertura infinda. Nesse ponto o trabalho também discute a relação cíclica texto-leitor-texto e suas leis. A discussão acerca do gênero textual envolve Biografia, Autobiografia, Retrato, Confissão, Diário, Ensaio. Os pactos leitorautor-texto, o pacto e o espaço biográfico. Por fim, as questões da criação conversam com Gilles Deleuze e Félix Guattari sobre o plano da imanência, o da composição e o que mais nos importa do personagem-conceitual que é Stephen Dedalus. _______________________________________________________________________ ABSTRACT
This dissertation addresses issues concerning Joyce’s writing. The conceptual persona Stephen Dedalus undertakes the writing of the text and acts as an artificer, letting the text work issues such as aspects of its creation, a certain trait of hospitality, its consequences and reflections on genre. Derrida’s hospitality, which is also discussed from the standpoint of translation, is revealed as a conceptual opening up. At this point the cyclical text-reader-text relationship and the laws governing it are then discussed. The discussion on genre involves Biography, Autobiography, Portrait, Confession, Diary, Essay; all the possible pacts readerauthor- text, and then the biographical pact and biographical space. Finally, the issues of criation converse with Gilles Deleuze and Félix Guattari on the plane of immanence, composition and what matters most importantly, Stephen Dedalus as a conceptual persona.
Hercend, Olivier. "Le rapport au lecteur dans les textes de T.S. Eliot, Virginia Woolf et James Joyce". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL169.
Pełny tekst źródłaThis thesis aims to draw a parallel between the artistic endeavors of T.S. Eliot, Virginia Woolf and James Joyce, by shedding light on the similarities in their ways of conceptualizing the relation to the reader. Through a comparative study of their works of fiction and essays, as well as the numerous critical sources which have underlined the complexity of their rhetorical and narrative strategies, it reveals the existence of a similar tension in all three authors, which led them to question the very foundations of the interaction over literary texts. After establishing the sociopolitical, narrative, poetic and philosophical ramifications of such a posture, the present study examines classical reception theories, but also the findings of post-marxist pragmatics, hermeneutics and post-structuralist thought, in order to construe a theory of reading that may do justice to the readability and singularity of the corpus. Indeed, against the ideal of irenic communication, founded on the reader faithfully following the intentions of a transcendent Author figure, modernism plays on ambiguity, the transformation and even inversion of roles, and ultimately on the freedom of the instance of reception, as well as its responsibility towards its own interpretation. This is how Joyce, Eliot and Woolf proposed to circumvent the issues of traditional authorship, without falling into the traps of solipsism of the Fascist cult of the Artist as guide. They accepted the unpredictable, revelatory and ever-renewed encounter with this “Other of the text” that the reader truly is