From James Joyce's Stephen Hero to "After The Race" - Blending Narrator and Character
James Joyce's fragment of a novel, Stephen Hero, leaves the reader little room to interpret the text for themselves. The work lacks the narrative distance that Joyce achieves in his later works. Dubliners, a work Joyce was writing concurrently, seemingly employs a drastically different voice. A voice which leaves the reader room to make judgments of their own. Yet it is curious that Joyce could produce these two works at the same time, one that controls the reader so directly, telling not showing , while the other, Dubliners, seems to give the reader the power of final interpretation over the characters it portrays.
By changing voice from a narrator who tells the reader to a narrator who shows the reader in Dubliners, Joyce has seemingly relinquished considerable control over his vision of Dublin. However, Joyce's change of narrator yields him alternative forms of authorial sovereignty. In fact, Joyce guides the reader in a much more powerful way in Dubliners; without the reader's knowledge. Through quick shifts in point of view and interjections that seem to be the voice of a character, yet are not directly linked to it, Joyce controls the stories in Dubliners more subtly and with more effect than the bold declarations in Stephen Hero ever do.
In her essay "'Oh She's A Nice Lady!'": A Rereading of "A Mother" Jane E. Miller addresses the issue of judgment in the story.
Although told in an aloof and anonymous third-person, the narrativeis always shifting, almost imperceptibly, from an objective stance to less neutral observations which, because of their perspective or particular choice of words, appear to be those of Mrs. Kearney. (Miller,...
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These interjections in "After the Race" are not the complete rupture of objectivity that they are in Stephen Hero. Still, the effect is much the same. They channel the reader rather than tell the reader how to judge. They offer the reader a guide to the reading of "After the Race" in much the same way a legend acts for a map.
This is not to say that phrases like this operate in every story of Dubliners as they do here. But in the story "After the Race" they give the reader "important directions for reading" much like the narrative language does in "A Mother". In addition, these phrases seem to be a much more polished version of the blunt preaching Joyce does in Stephen Hero. They operate on the reader subtly, blending the voice of character and narrator to produce a guide to the reading, not a usurpation of, as in Stephen Hero, the text.<
In “Sex and Violence: A Perspective,” MacKinnon turns her focus to the common definition of rape as a form of violence. The categorizations of rape, sexual harassment, and pornography as forms of violence are problematic in themselves because they do not capture the reality of sex. In fact, much of intercourse is about violence (MacKinnon p. 268), in the way that power and dominance are extremely eroticized, thus to say “rape is violence” is a misnomer. MacKinnon brings one’s attention to the construction of rape, which separates rape from intercourse based on the amount of force applied (p. 268). This definition is especially legitimate in the legal system, which derives solely from a male point of view: it is called rape when there is penetratio...
Wilson, M. & Clark, R. (n.d.). Analyzing the Short Story. [online] Retrieved from: https://www.limcollege.edu/Analyzing_the_Short_Story.pdf [Accessed: 12 Apr 2014].
Rape is a virus that infects every nation, culture and society. It is constantly referred to as “the unfinished murder”, because of the deep state of despair the rapist leaves the victim in. There is no common identifiable trend that determines who will be a rape victim. Women are not assaulted because of their attitudes or actions, they are attacked simply because they are present. With rapists, just as with their victims, there is no identifiable trend. The old myth that only “sick, dirty, old, perverted men” commit rapes is a lie that society tells itself in order to sleep better at night. The startling truth is that most rapists work under a veil of normalcy. In order for the percentage of rapes to decrease, we have to change our ideas about rape and let go of the old myths of the past. And until this happens, rape will continue to plague our world at large.
Brave New World, written by Aldous Huxley, is a thought provoking novel set in a future of genetically engineered people, amazing technology and a misconstrued system of values. Dubliners, written by James Joyce, is a collection of short stories painting a picture of life in Dublin Ireland, near the turn of the 19th century. Though of two completely different settings and story lines, these two works can and will be compared and contrasted on the basis of the social concerns and issues raised within them.
In Dubliners, James Joyce tells short stories of individuals struggling with life, in the city of Dublin. “It is a long road that has no turning” (Irish Proverb). Many individuals fight the battle and continue on the road. However, some give up and get left behind. Those who continue to fight the battle, often deal with constant struggle and suffering. A reoccurring theme, in which Joyce places strong emphasis on, is the constant struggle of fulfilling responsibilities. These responsibilities include; work, family and social expectations. Joyce writes about these themes because characters often feel trapped and yearn to escape from these responsibilities. In “The Little Cloud”, “Counterparts”, and “The Dead” characters are often trapped in unhappy living situations, often leading to a desire of escape from reality and daily responsibilities.
A collection of short stories published in 1907, Dubliners, by James Joyce, revolves around the everyday lives of ordinary citizens in Dublin, Ireland (Freidrich 166). According to Joyce himself, his intention was to "write a chapter of the moral history of [his] country and [he] chose Dublin for the scene because the city seemed to [b]e the centre of paralysis" (Friedrich 166). True to his goal, each of the fifteen stories are tales of disappointment, darkness, captivity, frustration, and flaw. The book is divided into four sections: childhood, adolescence, maturity, and public life (Levin 159). The structure of the book shows that gradually, citizens become trapped in Dublin society (Stone 140). The stories portray Joyce's feeling that Dublin is the epitome of paralysis and all of the citizens are victims (Levin 159). Although each story from Dubliners is a unique and separate depiction, they all have similarities with each other. In addition, because the first three stories -- The Sisters, An Encounter, and Araby parallel each other in many ways, they can be seen as a set in and of themselves. The purpose of this essay is to explore one particular similarity in order to prove that the childhood stories can be seen as specific section of Dubliners. By examining the characters of Father Flynn in The Sisters, Father Butler in An Encounter, and Mangan's sister in Araby, I will demonstrate that the idea of being held captive by religion is felt by the protagonist of each story. In this paper, I argue that because religion played such a significant role in the lives of the middle class, it was something that many citizens felt was suffocating and from which it was impossible to get away. Each of the three childhood stories uses religion to keep the protagonist captive. In The Sisters, Father Flynn plays an important role in making the narrator feel like a prisoner. Mr. Cotter's comment that "… a young lad [should] run about and play with young lads of his own age…" suggests that the narrator has spent a great deal of time with the priest. Even in death, the boy can not free himself from the presence of Father Flynn (Stone 169) as is illustrated in the following passage: "But the grey face still followed me. It murmured; and I understood that it desired to confess something.
What do you think and feel when you hear the word rape? Do you feel uncomfortable? Maybe even angry? Your certain feelings and emotions towards this word is a result of rape culture. Rape culture, essentially, is how a society as a whole sees and reacts towards rape or instances of rape. In 2013 rape was defined by the FBI as, “Penetration… of the vagina or anus with any body part or object, or oral penetration by a sex organ of another person, without the consent of the victim.” (Division’s Crime Statistics Management Unit 1). The definition was finally changed after the old definition deemed inappropriate by today’s standards, which beforehand, stated that physical force needed to be used for rape to be considered rape. This is good news for men and women who have been fighting for the definition to be changed, but unfortunately this does not mean that state laws are being changed the same way. Even though the FBI may acknowledge the older inappropriate definition, most states do not. Sexual assault is a commonly unreported crime, where only an average of 36% of sexual abuse is actually reported to the authorities (Planty 7). Some forms of rape can include physical harm, threats, and even death of the victim, and most victims do not want to tell others for fear of criticism, self-blame, or even the fear that their attackers will carry out on their threats. In many cases, victims do have a reason to be afraid. When someone is brave enough to come forward and say they were sexually assaulted, they are putting themselves in the position of being in not only a long legal process, but also having their motives questioned and misunderstood, which is the last thing they want after their experience. The legal system in the United States...
James Joyce began his writing career in 1914 with a series of realistic stories published in a collection called The Dubliners. These short literary pieces are a glimpse into the ‘paralysis’ that those who lived in the turn of the century Ireland and its capital experienced at various points in life (Greenblatt, 2277). Two of the selections, “Araby” and “The Dead” are examples of Joyce’s ability to tell a story with precise details while remaining a detached third person narrator. “Araby” is centered on the main character experiencing an epiphany while “The Dead” is Joyce’s experiment with trying to remain objective. One might assume Joyce had trouble with objectivity when it concerned the setting of Ireland because Dublin would prove to be his only topic. According the editors of the Norton Anthology of Literature, “No writer has ever been more soaked in Dublin, its atmosphere, its history, its topography. He devised ways of expanding his account of the Irish capital, however, so that they became microcosms of human history, geography, and experience.” (Greenblatt, 2277) In both “Araby” and “The Dead” the climax reveals an epiphany of sorts that the main characters experience and each realize his actual position in life and its ultimate permanency.
Levin, Harry. "The Artist." James Joyce, A Portrait of the Artist as a Young Man: Text, Criticism, and Notes. Ed. Chester G. Anderson. New York: Penguin, 1968. 399-415.
Since the 16th century, the language of English, which in theory, stems from a small island between the North Atlantic Ocean and the North Sea has, to an extent, stretched across the world, with as many as 50 countries now using it has their official language (British Council, 2013) in some form or another. This spread was seemingly due to several influential factors; the expansion of the British Empire, Britains leadership in the industrial revolution, American's economic and political ascendancy from the late 19th century and the spread of English through technology like the internet (E. Schneider, 2007: 1).
Justin Levenstein. ‘Ulysses, Dubliners, and the Nature of Relationships in the Modern World’. Emergence: A Journal of Undergraduate Literary Criticism and Creative Research. Available from(WWW) http://journals.english.ucsb.edu/index.php/Emergence/article/view/21/100 Date Accessed: 11/12/13
Inertwined with rape myths, are subsequent rape scripts. As Ryan (2011) and Clay-Warner and McMahon-Howard (2009) showed, depending what script is prevalent or dominant, reporting rates and overall acknowledgement can be greatly affected. Our understanding of what constitutes a rape or sexual assault needs to significantly change otherwise countless victims will remained silenced. If the understanding of these crimes was broadened, and the acquaintance scenarios taken more seriously, more victims would come forward, report, and get the help they may desperately need, in addition to aiding the legal system in punishing the offender and improve society’s population.
In James Joyce’s Dubliners, the theme of escape tends to be a trend when characters are faced with critical decisions. Joyce’s novel presents a bleak and dark view of Ireland; his intentions by writing this novel are to illustrate people’s reasons to flee Ireland. In the stories “Eveline, “Counterparts”, and the “Dead”, characters are faced with autonomous decisions that shape their lives. This forlorn world casts a gloomy shadow over the characters of these stories. These stories are connected by their similar portrayal of Ireland. They clearly represent Joyce’s views on people’s discontent with Ireland.
James Joyce is widely considered to be one of the best authors of the 20th century. One of James Joyce’s most celebrated short stories is “Eveline.” This short story explores the theme of order and hazard and takes a critical look at life in Dublin, Ireland in the early 20th century. Furthermore, the themes that underlie “Eveline” were not only relevant for the time the story was wrote in, but are just as relevant today.
Over the past year or two, the Anti-Rape Culture Movement has gained massive popularity all over the world. This movement has drawn the question, “has rape culture become a societal normality?” front and center as reporters and social movement leaders alike go head-to-head over this argument. Rape culture has been called both a global problem and a fad in society. A huge movement has risen up in an effort to expose rapists and sex crime supporters, but a large amount of people don’t believe that sex crimes are as big of a problem as they are. While different parts of society believe that rape culture isn’t real, it has become more and more apparent in society over the last decade as more people are willing to speak