Автор работы: Пользователь скрыл имя, 28 Марта 2013 в 17:40, сочинение
James Augusta Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre also includes three books of poetry, a play, occasional journalism, and his published letters.
Style
In Dubliners Joyce rarely uses hyperbole, relying on simplicity and close detail to create a realistic setting. This ties the reader's understanding of people to their environments. He does not tell readers what to think, rather they are left to come to their own conclusions. This is even more evident when contrasted with the moral judgements displayed by earlier writers such as Charles Dickens. This frequently leads to a lack of traditional dramatic resolution within the stories.
It has been argued [3] that Joyce often allows his narrative voice to gravitate towards the voice of a textual character. For example, the opening line of 'The Dead' reads "Lily, the caretaker's daughter, was literally run off her feet." She is not, in this instance, "literally" run off her feet, and neither would Joyce have thought so; rather, the narrative lends itself to a misuse of language typical of the character being described.
Joyce often uses descriptions from the characters' point of view, although he very rarely writes in the first person. This can be seen in Eveline, when Joyce writes, "Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne". Here, Joyce employs an empirical perspective in his description of characters and events; an understanding of characters' personalities is often gained through an analysis of their possessions. The first paragraph of A Painful Case is an example of this style, as well as Joyce's use of global to local description of the character's possessions. Joyce also employs parodies of other writing styles; part of A Painful Case is written as a newspaper story, and part of Grace is written as a sermon. This stylistic motif may also be seen in Ulysses (for example, in the Aeolus episode, which is written in a newspaper style), and is indicative of a sort of blending of narrative with textual circumstances.
The collection as a whole displays an overall plan, beginning with stories of youth and progressing in age to culminate in The Dead. Great emphasis is laid upon the specific geographic details of Dublin, details to which a reader with a knowledge of the area would be able to directly relate. The multiple perspectives presented throughout the collection serve to contrast the characters in Dublin at this time.
"Eveline" is a story from Dubliners by James Joyce.
A young woman of about nineteen years of age sits by her window, waiting to leave home. She muses on the aspects of her life that are driving her away, while "in her nostrils was the smell of dusty cretonne". Her mother has died as has her older brother Ernest. Her remaining brother, Harry, is on the road "in the church decorating business". She fears that her father will beat her as he used to beat her brothers and she has little loyalty for her sales job. She has fallen for a sailor named Frank who promises to take her with him to Buenos Aires (spelt Buenos Ayres). Before leaving to meet Frank, she hears an organ grinder outside, which reminds her of a melody that played on an organ on the day her mother died and the promise she made to her mother to look after the home. At the dock where she and Frank are ready to embark on a ship together, Eveline is deeply conflicted and makes the painful decision not to leave with him. Nonetheless, her face registers no emotion at all.
Like other tales in Dubliners, such as "Araby", "Eveline" features a circular journey, where a character decides to go back to where their journey began and where the result of their journey is disappointment and reluctance to travel.
"The Dead" is the final short story in the 1914 collection Dubliners by James Joyce. It is the longest story in the collection and is often considered the best of Joyce's shorter works. At 15,672 words it has also been considered a novella.
It was made into a film also entitled The Dead in 1987, directed by John Huston. In 1999 it was adapted into a musical by Richard Nelson and Shaun Davey. Christopher Walken starred in the original production.
Characters
Gabriel Conroy, Gretta Conroy, Kate and Julia Morkan, and Bartell d'Arcy are all alluded to in James Joyce's later work, Ulysses, though no character from "The Dead" makes a direct appearance in the novel.
Plot summary
The story centres on Gabriel Conroy on the night of the Morkan sisters' annual dance and dinner in the first week of January 1904, perhaps the Feast of the Epiphany (January 6). Typical of the stories in Dubliners, "The Dead" develops toward a moment of painful self-awareness; Joyce described this as an epiphany. The narrative generally concentrates on Gabriel's insecurities, his social awkwardness, and the defensive way he copes with his discomfort. The story culminates at the point when Gabriel discovers that, through years of marriage, there was much he never knew of his wife's past.Upon arriving at the party with his wife, Gabriel makes a joke that is not funny about the maid's marriage prospects; and he fidgets, adjusts his clothing, and offers her money as a holiday present. Not long after that, he gets flustered again when his wife pokes fun at him over a conversation they had earlier, in which he had forced her to wear galoshes for the bad weather. With such episodes, Gabriel is depicted as particularly pathetic. Similarly, Gabriel is unsure about quoting a poem from the poet Robert Browning when he is giving his dinner address, as he is afraid to be seen as pretentious. But, at the same time, Gabriel considers himself above the others when he speculates that his audience would not understand the words he uses.
Later, when giving the traditional holiday toast, Gabriel overcompensates for some of his earlier statements to his evening dancing partner Miss Ivors, an Irish nationalist. His talk relies heavily on conventions; and he praises the virtues of the Irish people and idealizes the past in a way that feels contrived and disingenuous, especially considering what the past will mean to him once he hears his wife's story. In fact he hurts Miss Ivors by mistake so much that she rushes away even before dinner is served.
As Gabriel is preparing to leave the party, he sees a woman absorbed in thought, standing at the top of the staircase. He stares at her for a moment before he recognizes her as his wife. He then envisages her as though she were the model in a painting that he would call "Distant Music". Her distracted and wistful mood arouses sexual interest in him. He tries indirectly to confront her about it after the party, in the hotel room he has reserved for them; but he finds her unresponsive. Trying to make ironic, half-suggestive comments, Gabriel learns that she was feeling nostalgic after having heard Mr. D'Arcy singing The Lass of Aughrim at the party.
Upon being pressed further, Gretta says that the song reminds her of the time when she was a girl in Galway and in love with a boy named Michael Furey. At the time, Gretta was being kept at her grandmother's home before she was to be sent off to a convent in Dublin. Michael was terribly sick and unable to see her. Despite being bedridden, when it came time for her to leave Galway, Michael travelled through the rain to Gretta's window; and, although he was able to speak with her again, he died within the week.
The remainder of the text delves further into Gabriel's thoughts after he hears this story, exploring his shifting views on himself, his wife, the past, the living and the dead. It is ambiguous whether the epiphany is just an artistic and emotional moment or is meant to set the reader pondering whether Gabriel will ever manage to escape his smallness and insecurity.
In fact, Gabriel is forced to consider whether it is better to die young, when emotion and time diminish weakness; or die old, when the threat of error grows more with every year. It's a question of being remembered, and Gabriel may seem to find himself wishing he were gone.
A Portrait of the Artist as a Young Man
A Portrait of the Artist as a Young Man is a nearly complete rewrite of the abandoned novel Stephen Hero. Joyce attempted to burn the original manuscript in a fit of rage during an argument with Nora, though to his subsequent relief it was rescued by his sister. A Künstlerroman, Portrait is a heavily autobiographical[41] coming-of-age novel depicting the childhood and adolescence of protagonist Stephen Dedalus and his gradual growth into artistic self-consciousness. Some hints of the techniques Joyce frequently employed in later works, such as stream of consciousness, interior monologue, and references to a character's psychic reality rather than to his external surroundings, are evident throughout this novel.[42] Joseph Strick directed a film of the book in 1977 starring Luke Johnston, Bosco Hogan, T.P. McKenna and John Gielgud.
A Portrait of the Artist as a Young Man is a semi-autobiographical novel by James Joyce, first serialised in the magazine The Egoist from 1914 to 1915, and published first in book format in 1916 by B. W. Huebsch, New York. The first British edition was published by the Egoist Press in February 1917. The story describes the formative years of the life of Stephen Dedalus, a fictional alter ego of Joyce and an allusion to the consummate craftsman of Greek mythology, Daedalus.
A novel written in Joyce's characteristic free indirect speech style, A Portrait is a major example of the Künstlerroman (an artist's Bildungsroman) in English literature. Joyce's novel traces the intellectual and religio-philosophical awakening of young Stephen Dedalus as he begins to question and rebel against the Catholic and Irish conventions with which he has been raised. He finally leaves for abroad to pursue his ambitions as an artist. The work is an early example of some of Joyce's modernist techniques that would later be represented in a more developed manner by Ulysses and Finnegans Wake. The novel, which has had a "huge influence on novelists across the world",[1] was ranked by Modern Library as the third greatest English-language novel of the 20th century.[2
Composition
Portrait is a rewrite of Joyce's earlier attempt at the story as written in Stephen Hero, with which he grew frustrated in 1905. The story was changed considerably to emphasize the psychological experience of Stephen Dedalus. For instance, several of his siblings were major characters of the earlier version, but are almost completely absent in Portrait. The incomplete first draft of Stephen Hero was published posthumously in 1944.
Literary style
Stylistically, the novel is written as a third-person narrative with minimal dialogue, though towards the very end of the book dialogue-intensive scenes involving Dedalus and some of his friends, in which Dedalus posits his complex, Thomist aesthetic theory, and finally journal entries by Stephen are introduced. Since the work describes Stephen's life from the time he was a child to his increasing independence and ultimate abandonment of Ireland as a young man, the style of the work progresses through each of its five chapters, with the complexity of language gradually increasing. The book's opening pages have examples of Stephen's thoughts and conscious experience when he is a child. Throughout the work, language and prose are used to describe indirectly the state of mind of the protagonist, and the subjective effect of the events of his life. Hence the fungible length of some scenes and chapters, where Joyce's intent was to capture the subjective experience through language, rather than to present the actual experience by prose narrative.[3] The writing style is notable also for Joyce's omission of quotation marks; he indicated dialogue by beginning a paragraph with a dash, as is commonly used by French, Spanish or Russian publications. The novel, like all of Joyce's published works, is not dedicated to anyone.
The book is set in Joyce's native Ireland, partly in Dublin. It deals with various Irish issues of the time such as the quest for autonomy and the role of the Catholic Church. A particular personage, who is also mentioned in Dubliners and Ulysses, and alluded to in Finnegans Wake, is the Irish politician Charles Stewart Parnell.
The myth of Daedalus and Icarus features prominently in the novel. In Greek mythology, Daedalus is an architect and inventor who becomes trapped in a labyrinth of his own construction. Later, he finds himself on an island and fashions wings of feathers and wax for his son (Icarus) and for himself, so that they can escape. As they fly away Icarus grows bolder and flies higher, until, finally, he flies too close to the sun, which causes the wax to melt and Icarus to fall into the sea.
Stephen's name is an allusion to Saint Stephen, the first Christian martyr. Like Saint Stephen, Stephen Dedalus has conflicts with the established religion of his day.
Stephen makes direct allusions to the doctrines of Catholic theologian Thomas Aquinas[4] For example Stephen paraphrases Aquinas' definition of beauty as "ad pulchritudinem tria requiruntur: integritas , consonantia, claritas," which he then translates as "Three things are needed for beauty: wholeness, harmony and radiance.""[5]
Stephen's use of the name 'Dante' for his aunt because of the way 'The Auntie' sounds in her Cork accent, alludes to The Divine Comedy of Dante Alighieri.
The epigraph from Ovid's Metamorphoses, Et ignotas animum dimittit in artes ("And he sets his mind to unknown arts")[6] alludes to the myth of Dedalus who set his mind to the art of flying, but famously failed in that art.
Allusions to the novel
The title has been adapted and parodied by many writers including Dylan Thomas in his Portrait of the Artist as a Young Dog, Ogden Nash in his poem Portrait of the Artist as a Prematurely Old Man, Joseph Heller in Portrait of an Artist, as an Old Man, A.M. Klein in his poem Portrait of the Poet as Landscape, Andrew Barlow and Kent Roberts' A Portrait of Yo Mama as a Young Man, Grayson Perry's biography Portrait of the Artist as a Young Girl, punk band Dillinger Four's song Portrait of the Artist as a Fucking Asshole, and William Eastlake's Portrait of an Artist with 26 Horses. In Patrick White's novel The Solid Mandala, Waldo Brown plans but fails to write a novel called Tiresias a Youngish Man, thereby parodying both Joyce's novel and T. S. Eliot's The Waste Land. Also the song Portrait Of The Artist As A Fountain by Simon Bookish. Steve Boyett's short story collection Treks Not Taken includes a Star Trek: The Next Generation parody entitled A Portrait of the Artist as a Young Fan. King of the Hill parodied the novel with an episode entitled Portrait of the Artist as a Young Clown.
Ulysses
As he was completing work on Dubliners in 1906, Joyce considered adding another story featuring a Jewish advertising canvasser called Leopold Bloom under the title Ulysses. Although he did not pursue the idea further at the time, he eventually commenced work on a novel using both the title and basic premise in 1914. The writing was completed in October, 1921. Three more months were devoted to working on the proofs of the book before Joyce halted work shortly before his self-imposed deadline, his 40th birthday (2 February 1922).
Thanks to Ezra Pound, serial publication of the novel in the magazine The Little Review began in 1918. This magazine was edited by Margaret Anderson and Jane Heap, with the backing of John Quinn, a New York attorney with an interest in contemporary experimental art and literature. Unfortunately, this publication encountered censorship problems in the United States; serialisation was halted in 1920 when the editors were convicted of publishing obscenity.[43] Although the conviction was based on the “Nausicaä” episode of Ulysses, The Little Review had fuelled the fires of controversy with dada poet Elsa von Freytag-Loringhoven’s defence of Ulysses in an essay “The Modest Woman.”[44] Joyce's novel was not published in the United States until 1933.[45]
Partly because of this controversy, Joyce found it difficult to get a publisher to accept the book, but it was published in 1922 by Sylvia Beach from her well-known Rive Gauche bookshop, Shakespeare and Company. An English edition published the same year by Joyce's patron, Harriet Shaw Weaver, ran into further difficulties with the United States authorities, and 500 copies that were shipped to the States were seized and possibly destroyed. The following year, John Rodker produced a print run of 500 more intended to replace the missing copies, but these were burned by English customs at Folkestone. A further consequence of the novel's ambiguous legal status as a banned book was that a number of "bootleg" versions appeared, most notably a number of pirate versions from the publisher Samuel Roth. In 1928, a court injunction against Roth was obtained and he ceased publication.
With the appearance of both Ulysses and T. S. Eliot's poem, The Waste Land, 1922 was a key year in the history of English-language literary modernism. In Ulysses, Joyce employs stream of consciousness, parody, jokes, and virtually every other established literary technique to present his characters.[46] The action of the novel, which takes place in a single day, 16 June 1904, sets the characters and incidents of the Odyssey of Homer in modern Dublin and represents Odysseus (Ulysses), Penelope and Telemachus in the characters of Leopold Bloom, his wife Molly Bloom and Stephen Dedalus, parodically contrasted with their lofty models. The book explores various areas of Dublin life, dwelling on its squalor and monotony. Nevertheless, the book is also an affectionately detailed study of the city, and Joyce claimed that if Dublin were to be destroyed in some catastrophe it could be rebuilt, brick by brick, using his work as a model.[47] In order to achieve this level of accuracy, Joyce used the 1904 edition of Thom's Directory—a work that listed the owners and/or tenants of every residential and commercial property in the city. He also bombarded friends still living there with requests for information and clarification.
The book consists of 18 chapters, each covering roughly one hour of the day, beginning around 8 a.m. and ending some time after 2 a.m. the following morning. Each chapter employs its own literary style, and parodies a specific episode in Homer's Odyssey. Furthermore, each chapter is associated with a specific colour, art or science, and bodily organ. This combination of kaleidoscopic writing with an extreme formal schematic structure renders the book a major contribution to the development of 20th-century modernist literature.[48] The use of classical mythology as an organising framework, the near-obsessive focus on external detail, and the occurrence of significant action within the minds of characters have also contributed to the development of literary modernism. Nevertheless, Joyce complained that, "I may have oversystematised Ulysses," and played down the mythic correspondences by eliminating the chapter titles that had been taken from Homer
Ulysses is a novel by the Irish author James Joyce. It was first serialised in parts in the American journal The Little Review from March 1918 to December 1920, and then published in its entirety by Sylvia Beach in February 1922, in Paris. One of the most important works of Modernist literature,[1] it has been called "a demonstration and summation of the entire movement".[2] "Before Joyce, no writer of fiction had so foregrounded the process of thinking."[3]
Ulysses chronicles the passage of Leopold Bloom through Dublin during an ordinary day, 16 June 1904 (the day of Joyce's first date with his future wife, Nora Barnacle).[4] Ulysses is the Latinised name of Odysseus, the hero of Homer's poem Odyssey, and the novel establishes a series of parallels between its characters and events and those of the poem (e.g., the correspondence of Leopold Bloom to Odysseus, Molly Bloom to Penelope, and Stephen Dedalus to Telemachus).
Ulysses is approximately 265,000 words in length, uses a lexicon of 30,030 words (including proper names, plurals and various verb tenses),[5] and is divided into eighteen episodes. Since publication, the book has attracted controversy and scrutiny, ranging from early obscenity trials to protracted textual "Joyce Wars." Ulysses' stream-of-consciousness technique, careful structuring, and experimental prose—full of puns, parodies, and allusions, as well as its rich characterisations and broad humour, made the book a highly regarded novel in the Modernist pantheon. In 1998, the Modern Library ranked Ulysses first on its list of the 100 best English-language novels of the 20th century.[6] Joyce fans worldwide now celebrate 16 June as Bloomsday.
Background
Joyce first encountered Odysseus in Charles Lamb's Adventures of Ulysses—an adaptation of the Odyssey for children, which seemed to establish the Roman name in Joyce's mind. At school he wrote an essay on Ulysses entitled "My Favourite Hero".[7][8] Joyce told Frank Budgen that he considered Ulysses the only all-round character in literature.[9] He thought about calling Dubliners by the name Ulysses in Dublin,[10] but the idea grew from a story in Dubliners in 1906, to a "short book" in 1907,[11] to the vast novel that he began in 1914.
Structure
oyce divided Ulysses into 18 chapters or "episodes". At first glance much of the book may appear unstructured and chaotic; Joyce once said that he had "put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant," which would earn the novel "immortality".[12] The two schemata which Stuart Gilbert and Herbert Gorman released after publication to defend Joyce from the obscenity accusations made the links to the Odyssey clear, and also explained the work's internal structure.
Every episode of Ulysses has a theme, technique, and correspondence between its characters and those of the Odyssey. The original text did not include these episode titles and the correspondences; instead, they originate from the Linati and Gilbert schema. Joyce referred to the episodes by their Homeric titles in his letters. He took the idiosyncratic rendering of some of the titles––'Nausikaa', the 'Telemachia'––from Victor Bérard's two-volume Les Phéniciens et l’Odyssée which he consulted in 1918 in the Zentralbibliothek Zürich.