James Joyce Dublin 1882 Zrich 1941 Born in

James Joyce Dublin 1882 - Zürich 1941

• • • • Born in Dublin 1882; educated at Jesuit schools in Dublin, including the University College studied Italian, German and French Literatures and Languages and, obviously, English literature. thought of himself as a European , and, in this regard, . . . he contrasted greatly with other Irish artists, his contemporaries, who tried to rediscover the Celtic identity by. . . referring back to the past, to the world of Irish mythology, In this way they believed it was possible to create a national conscience that would support the struggle for the independence of Ireland. Joyce, instead , thought that the only way to develop Ireland’s awareness was by. . . offering a realistic portray of its life from a European point of view. For this reason he left Ireland went to France first and then to Italy where he settled and worked in Trieste and Rome. Even if he went into a voluntary exile at the age of twenty-two, his works are all set in Ireland mostly in Dublin of which he tries to give a realistic portrayal presenting the life of ordinary people, who do ordinary things and live ordinary lives.

POOR EYE-SIGHT • He was almost blind , but this physical problem was compensated by his keen sense of hearing and. . . • the sound of words was very important to him, consequently. . • to fully appreciate his literary production and the particular sound devices he uses, his works should be read aloud. • In this respect, one of Joyce’s greatest talents is in … • his linguistic resourcefulness/inventiveness, i. e. his capacity to render in writing the rhythm, tone of a large variety of speaking voices. • He is able to imitate musical forms in words or to invent a new language as he did in ‘Finnegans Wake’, written in a language which is the result of the borrowing from other languages.

Joyce and the tradition • As a young student Joyce was an enthusiastic admirer of Walter Pater. • It was from aestheticism that he derived his interest in form which is central to his approach to novel writing. • He didn’t share the aesthetes’ belief in “Art for Art’ sake” because for him literature was a means to promote awareness, but like them… • he maintained that art should be independent of other disciplines and of any moral aim. • The formal aspect of fiction was therefore very important for him. • Particularly important was the problem of the point of view.

IMPERSONALITY OF THE ARTIST • Joyce believed in the impersonality of the artist , whose task was to render life objectively. • According to him. . . • the artist did not have to express his own point of view, he did not have to teach or convince but. . . • he simply had to make people become aware of reality through their own perception of it. • This necessarily led to the isolation and detachment of the artist from society. • Consequently, Joyce used in his works. . . • different points of view and different narrative techniques appropriate to the characters portrayed and to the different situations. • That’s why he used. . . • flashbacks, • third person narrator from the character’s point of view, • interior monologue, • point of view shifting from external narration to inside the character’s mind

SUBJECTIVE PERCEPTION OF TIME • • • Joyce’s stories and novels open. . . “in medias res”, res i. e. in the middle of things, with the analysis of a particular moment, moment and. . the portrait of the character is based on introspection rather than description In the same way the accurate description of Dublin is derived from the character’s mind floating

STYLE • In conclusion, • his style, technique, and language pass from • the realism and disciplined prose of the Dubliners • through the use of free indirect speech and the Epiphany • to the interior monologue with two levels of narration, • to the extreme interior monologue where language breaks down into a succession of words with no punctuation or grammar connections. • In this way he tries to solve the problem of how to represent the multifaceted (=complex) nature of reality.

CENTRAL THEMES • Joyce’s main theme is the human condition and the subjectivity of experience. • In particular he is interested in how the different stages in human life: i. e. • youth, • adolescence, • adulthood and. . . • maturity influence the identity of each character.

The mythical method • Literary device used by Joyce in his “Ulysses” based on : • • • THE JUXTAPOSITION OF AN ANCIENT MYTH UPON CONTEMPORARY EXPERIENCE. • In other words, . . . the MYTHS OF THE PAST ARE USED TO HIGHLIGHT AND EMPHASIZE THE SQUALOR, THE EMPTINESS, THE MEANINGLESSNESS OF MODERN LIFE. MYTHS ARE ALSO USED AS SUBSTITUTE FOR THE PLOT: THEY GIVE THE STORY A SENSE OF NARRATIVE AND ALLOW THE WRITER TO CONCENTRATE ON THE CHARACTER’S INNER LIFE: TO ANALYZE THEIR MENTAL AND EMOTIONAL WORLDS. The “mythical method” is “a way of controlling, ordering, of giving shape and significance to the immense panorama of futility and anarchy which is contemporary history” (T. S. Eliot)

Free indirect thought/style/speech • • • Device by which a character’s own voice is intertwined with the writer’s. It combines features of indirect speech: third-person pronouns, past tenses, no quotation marks, with features of direct speech: generally, no introductory verb, direct questions forms, question/exclamation marks, tag questions, vocabulary and syntax of direct speech, colloquialism etc. − ‛Home! She looked round the room’, (line 20) − ‛She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save her’, (line 110) − ‛No! No! It was impossible. Her hands clutched the iron in frenzy’. (line 131) • In the above examples it is the narrator speaking, but it is the character who is thinking, and his/her thoughts are presented in the language that the character would use if he/she were speaking. The Free indirect thought reflects the character’s education, age and social position. Thus, the reader is in close contact with the character’s thoughts, and tends to accept his/her point of view.