Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Literary criticism ulysses james joyce
Literary analysis of James Joyce's Ulysses
Ulysses analysis james joyce
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Literary criticism ulysses james joyce
Use of Language in James Joyce's Ulysses
In his essay “The Decomposing Form of Joyce’s Ulysses,” Henry Staten has argued “that Ulysses achieves some of its most characteristic effects by pressing the internal logic of mimesis to the limit, above all through onomatopoeia, which manifests in a peculiarly condensed way the self-contradictory character of the realist project” (Staten 174-5). Mimetic narrative and method are undone by an onomatopoeiac mode, which is conceived by Stephen “as the pure self-expression or self-annunciation of reality” (175): “Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide…” (Ulysses 3.2-3, emphasis added). “Listen: a fourworded speech: seesoo, hrss, rsseeiss, ooos” (3.456-7). In textually representing “wavespeech,” Stephen’s onomatopoeiac “signatures” foreground the mediated nature of our knowledge and perceptions of the world. Indeed, any ideal or phenomenal referent to which our signifying language is merely attached, acting as a transparent medium through which we might know and perceive the referent, is absent. One might say referents in Joyce’s text are in turn other signs. In other words, the unmediated or immediate reception of sense, of the sense of a thing’s ‘quiddity’ or ‘eidos,’ its ideal, “iterable” form is impossible. Language is not a transparent mediation of sense. There is always semeiotic mediation, a contingent though not necessarily arbitrary process.
The undermining of mimesis in language might be, Staten further argues, Joyce’s aesthetic intention. Perhaps Ulysses is the first novel to willfully undermine its mimetic composition, its own intentionality in attempting to mirror nature. It displays language as deconstructive of itself, ...
... middle of paper ...
...rcalated elements contingently link in series, composing, decomposing, recomposing. We have entered a thoroughly non-Platonic world in this passage of generalized simulacra. Perhaps Ulysses is an extravagant Rube Goldberg machine, or even transit system of signs, an indeterminate semeiotic. Even Molly’s closing words echo this contingent though non-arbitrary nature in her choosing Bloom for her life’s mate: “I thought well as well him as another … yes I said yes I will Yes” (18.1604-9). This “Yes” is an opening not a closing, the closed form of the novel is elided, and we find ourselves again, as indeed we had during our reading, in a world “there all the time without you: and ever shall be, world without end” (3.27-8).
Works Cited
Ulysses. Random House: New York, 1986.
James Joyce’s Ulysses: A Casebook. (ed. Derek Attridge). Oxford University: Oxford, 2004.
12. What form of figurative language does the author use in lines 8 & 9 of page 216 to make his writing more
The remaining story developments of both books detail further growth in the character development of the protagonists and the principle characters. And so it is with us and how we unravel the mysteries of symbolism in literary word puzzles, that we as readers can also grow like "blossoms blooming" through the eyes of Hurston and Fitzgerald.
Author: Walter Benn Michaels is the chair of the Department of English at the University of Illinois at Chicago teaching literary theory, and American literature. Michaels has also has multiple essays and books published such as Against Theory, The shape of the Signifier, and Diversity's False Solace
Everett, Nicholas From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamiltong. Oxford: Oxford University Press, 1994. Copyright 1994 by Oxford University Press.
In this poem called “Creatures” by the author Billy Collins there is a literary device called a metaphor when the reader is reading this poem. A metaphor is a comparison of two unlike things without using the words like or as. In lines one (1) through...
"John William Waterhouse's Ulysses and the Sirens." John William Waterhouse's Ulysses and the Sirens. N.p., n.d. Web. 14 Feb. 2014.
9- Bennett, Jonathan. "Berkeley and God." Cambridge University Press: Royal Institute of Philosophy: Philosophy 40.153 (1965): 207-21. Print.
In Ithaca, the depth of Joyce's irony is displayed. The denouement of this odyssey is perfect for this story, while at the same time leaving us with the exact opposite of the resolution in the tale the book proclaims to emulate. Odysseus' public apotheosis parallels Bloom's private shame. The concise question and answer format which Ithaca adopts, found no where else in the book, is refereed to by many critics as reminiscent of a catechism. The description is well deserved given the overt religious themes in Ulysses. The almost mathematical precision of the text in juxtaposed with gut wrenching emotion surrounding infidelity. The parallels that one can draw between the characters of Ulysses and the Odyssey are perhaps the deepest in Ithaca while the themes and undertones of the work drift further apart.
Ulysses was probably one of the most outrageous and most brave men to ever live and he went through a lot while on his adventure to war and then, also coming back. When he came back home everyone respected him and knew that when he got older he was never just going to roll over and die. He was going to fight until he was killed or until he died of a disease. In the poem Ulysses by Tennyson there are three messages the he makes.
“Dubliners” by James Joyce was first published in 1914. It is a collection of short stories, which takes place in the same general area and time frame, moving from one individual’s story to the next. Boysen in “The Necropolis of Love: James Joyce’s Dubliners” discuses the way the citizens of Dublin are caught in this never ending misery because of the lack of love- mainly instituted by the “criminalization of sensual love” from the church- and the economic stress, and struggle to survive. Zack Brown goes through the individual short stories, pointing out their references to paralysis, as well as a few other themes in “Joyce’s Prophylactic Paralysis: Exposure in “Dubliners.”” “James Joyce’s usage of Diction in Representation of Irish Society in Dubliners” by Daronkolaee discuses the background knowledge of the culture and particular details of the city that enhance the understanding of the reader and enforce the ideas presented by Boysen and broken down by Brown. These analytical articles help support the idea that Joyce uses
James Joyce uses sexuality throughout his works to establish an intimate and relatable bond between the reader and the characters in his works. All of Joyce’s works address issues in sexuality, which presents the idea that sexuality was of upmost importance to him. Given that sex is a large part of human existence, it is a good way to get the attention of the reader. A substantial amount of characters throughout Ulysses and A Portrait of the Artist as A Young Man are driven by sexual desire. In fact, there is so much sex throughout in Ulysses that “early publishers and critics refused to publish it because of its vulgarity; the sexuality featured in Ulysses was part of the claims that the novel was obscene” (Ivie). Sex is a wonderful way to connect the reader to the character, and Joyce is talented in being able to bring the reader right into the sexually suggestive minds of the characters. Each character in all of Joyce’s works are defined by their sexuality and are in search of some type of self-identity, and through that idea is how Joyce best portrays that sexuality itself may be defined by adultery, prostitution, and masturbation and other bodily functions.
In the history of written literature, it is difficult not to notice the authors who expand their reader's style and manner of reading. Some write in an unusual syntax which forces the reader to utilize new methods of looking at a language; others employ lengthy allusions which oblige the reader to study the same works the author drew from in order to more fully comprehend the text. Some authors use ingenious and complicated plots which warrant several readings to be understood. But few authors have used all these and still more devices to demand more of the reader. James Joyce, writer of Ulysses and Finnegans Wake, uses extraordinarily inventive and intricate plot construction, creative and often thought-provoking word constructions, allusions to works both celebrated and recondite, and complex issues and theories when challenging his readers to expand their method of reading.
The narrative of the poem is told disjointedly according to some, and even to what audience, if any, the poem is being presented can be confusing. T.S. Eliot, along with other critics, says that it does not give a sense of clear story. “[F]or narrative Tennyson had no gift at all,” Eliot went so boldly as to say (Napierkowski and Ruby 283). However, other critics argue that the structure of the poem, through its meandering way, is one of its greatest strengths. Ian Scott-Kilvert claims that the flowing structure and lyricism of "Ulysses" “illustrates… that Tennyson’s essential classicism is in his view of the poem as a work of art, with form as its distinguishing characteristic,” (Scott-Kilvert 328). He is saying that the structure is meant to represent an emotional landscape, instead of a literal one. However, similar to Eliot, no specific examples are used to support this claim. Meanwhile, Charles Mitchell argues that the poem’s strange narrative style has a purpose within the plot, and suggests it is not a monologue at all. “It has been generally assumed that the poem is formally a dramatic monologue. However, that assumption is not easily established, for the disclosure that Ulysses faces an audience comes gradually and belatedly,” (Mitchell 289). He argues that the poem is spoken
...s Joyce. The Modern Library. 1928. 5-11. Rpt. in Twentieth Century Literary Criticism. ed. Dennis Poupard. Detroit: Gale Research Company, 1985. 16:203-205.
During the time-period when they authored this essay, the commonly held notion amongst people was that “In order to judge the poet’s performance, we must know what he intended.”, and this notion led to what is termed the ‘Intentional fallacy’. However, Wimsatt and Beardsley argue that the intention, i.e., the design or plan in the author’s mind, of the author is neither available nor desirable for judging the success of a work of literary art. It is not available because the author will most certainly not be beside the reader when he/she reads the text, and not desirable because intention as mentioned already is nothing but the author’s attitude towards his work, the way he felt while writing the text and what made him write that particular piece of writing and these factors might distract the reader from deciphering the meaning from the text. This method of reading a text without any biographical or historical background of either the poem or the poet practiced by the New Critics was known as ‘Closed Reading’. This stemmed from their belief in the autonomy of the text.