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JAMES JOYCE IN TRANSITION: A STUDY OF "A PORTRAIT OF THE ARTIST AS A YOUNG MAN", "GIACOMO JOYCE", "EXILES", AND "ULYSSES".

Record Type:	Electronic resources : Monograph/item
Title/Author:	JAMES JOYCE IN TRANSITION: A STUDY OF "A PORTRAIT OF THE ARTIST AS A YOUNG MAN", "GIACOMO JOYCE", "EXILES", AND "ULYSSES"./
Author:	MAHAFFEY, VICKI LEE.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1980,
Description:	437 p.
Notes:	Source: Dissertations Abstracts International, Volume: 41-07, Section: A.
Contained By:	Dissertations Abstracts International41-07A.
Subject:	Literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8101548
ISBN:	9798644973446

JAMES JOYCE IN TRANSITION: A STUDY OF "A PORTRAIT OF THE ARTIST AS A YOUNG MAN", "GIACOMO JOYCE", "EXILES", AND "ULYSSES".
MAHAFFEY, VICKI LEE.

JAMES JOYCE IN TRANSITION: A STUDY OF "A PORTRAIT OF THE ARTIST AS A YOUNG MAN", "GIACOMO JOYCE", "EXILES", AND "ULYSSES". - Ann Arbor : ProQuest Dissertations & Theses, 1980 - 437 p.

Source: Dissertations Abstracts International, Volume: 41-07, Section: A.

Thesis (Ph.D.)--Princeton University, 1980.

This item must not be sold to any third party vendors.

James Joyce's artistic aims and methods underwent a startling metamorphosis within a period of five years (1911-1916), during which he recast A Portrait of the Artist as a Young Man, wrote Giacomo Joyce and Exiles, and began Ulysses. We know comparatively little about Joyce's life, his intellectual interests, and his artistic experiments during those vital transitional years; it is almost as if the fictional continuity that binds Ulysses to Portrait has silently seamed over the personal and artistic revolutions that enabled Joyce to shape both works and determine the relationship between them. This study is an exploration of the most important and mysterious transition of Joyce's artistic career. Three major developments helped to change Joyce's attitudes towards life and art during this time. First, he redefined his relationship to women, emphasizing the difference between the ideal woman who had reigned over his youth and the practical, instinctive, simple, warm, unreliable and generous woman, based on his wife, who became his nemesis and his preservative in middle age. Second, he turned away from the entire system of faith as a viable approach to women, art or life, adopting a philosophical attitude of skepticism and doubt modelled on that of Nietzsche. Third, he experimented with two separate styles, fantasy and drama, as a means of exploring the characteristics and limits of the "inner eye" of imagination and the "outer eye" of observation, respectively. Giacomo Joyce is a lyrical fantasy, highly visual in nature, whereas Exiles is a terse, philosophical but realistic exploration of the same feeling of betrayal that Joyce sketched out as vividly conceived visions in Giacomo Joyce. Both Giacomo Joyce and Exiles are experiments with the raw materials of Ulysses, and especially "Circe," which interweaves the discoveries that Joyce had been making about his own life, philosophy and style ever since the refashioning of Portrait. Chapter 1 is an exploration of Joyce's use of the techniques of fantasy (or narrative) and drama in A Portrait of the Artist as a Young Man, and it also contends that Joyce's novel presents a theory for reading the "book" of life with both the heart and the mind; by emphasizing Stephen's failures of perception, Joyce heightens the reader's awareness of how one should read. Chapter 2 is an examination of Joyce's sketchbook, Giacomo Joyce, its characteristics as fantasy and its treatment of vision, its importance for Ulysses and for Joyce's life. Chapter 3 is concerned with the way that Exiles adumbrates some of the styles, techniques and themes of Ulysses, but it is also concerned with Joyce's philosophy of life and art, his discovery of skepticism as a viable and fertile philosophical position. Chapter 4 is a treatment of "Circe," in which Joyce elaborates upon the technique of Giacomo Joyce, which is to present a series of vastly different visual images cinematically, combining this cinematic technique with the dramatic technique of Exiles. "Circe" integrates all three of the discoveries--personal, intellectual, and artistic--that Joyce had worked his way towards in Portrait, Giacomo Joyce and Exiles. It shows that perception is partly imagined and partly observed through its use of the two techniques of fantasy and drama; it is the episode in which Bloom triumphs over his paralyzing uncertainty by simply accepting it; it shows Bloom recognizing himself in the mirrors that three women hold up to him: the nymph Calypso, the sorceress Circe, and his unfaithful wife, Molly.

ISBN: 9798644973446Subjects--Topical Terms:

537498
Literature.

JAMES JOYCE IN TRANSITION: A STUDY OF "A PORTRAIT OF THE ARTIST AS A YOUNG MAN", "GIACOMO JOYCE", "EXILES", AND "ULYSSES".
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100 1 $a MAHAFFEY, VICKI LEE. $3 3686300
245 1 0 $a JAMES JOYCE IN TRANSITION: A STUDY OF "A PORTRAIT OF THE ARTIST AS A YOUNG MAN", "GIACOMO JOYCE", "EXILES", AND "ULYSSES".
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300 $a 437 p.
500 $a Source: Dissertations Abstracts International, Volume: 41-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (Ph.D.)--Princeton University, 1980.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a James Joyce's artistic aims and methods underwent a startling metamorphosis within a period of five years (1911-1916), during which he recast A Portrait of the Artist as a Young Man, wrote Giacomo Joyce and Exiles, and began Ulysses. We know comparatively little about Joyce's life, his intellectual interests, and his artistic experiments during those vital transitional years; it is almost as if the fictional continuity that binds Ulysses to Portrait has silently seamed over the personal and artistic revolutions that enabled Joyce to shape both works and determine the relationship between them. This study is an exploration of the most important and mysterious transition of Joyce's artistic career. Three major developments helped to change Joyce's attitudes towards life and art during this time. First, he redefined his relationship to women, emphasizing the difference between the ideal woman who had reigned over his youth and the practical, instinctive, simple, warm, unreliable and generous woman, based on his wife, who became his nemesis and his preservative in middle age. Second, he turned away from the entire system of faith as a viable approach to women, art or life, adopting a philosophical attitude of skepticism and doubt modelled on that of Nietzsche. Third, he experimented with two separate styles, fantasy and drama, as a means of exploring the characteristics and limits of the "inner eye" of imagination and the "outer eye" of observation, respectively. Giacomo Joyce is a lyrical fantasy, highly visual in nature, whereas Exiles is a terse, philosophical but realistic exploration of the same feeling of betrayal that Joyce sketched out as vividly conceived visions in Giacomo Joyce. Both Giacomo Joyce and Exiles are experiments with the raw materials of Ulysses, and especially "Circe," which interweaves the discoveries that Joyce had been making about his own life, philosophy and style ever since the refashioning of Portrait. Chapter 1 is an exploration of Joyce's use of the techniques of fantasy (or narrative) and drama in A Portrait of the Artist as a Young Man, and it also contends that Joyce's novel presents a theory for reading the "book" of life with both the heart and the mind; by emphasizing Stephen's failures of perception, Joyce heightens the reader's awareness of how one should read. Chapter 2 is an examination of Joyce's sketchbook, Giacomo Joyce, its characteristics as fantasy and its treatment of vision, its importance for Ulysses and for Joyce's life. Chapter 3 is concerned with the way that Exiles adumbrates some of the styles, techniques and themes of Ulysses, but it is also concerned with Joyce's philosophy of life and art, his discovery of skepticism as a viable and fertile philosophical position. Chapter 4 is a treatment of "Circe," in which Joyce elaborates upon the technique of Giacomo Joyce, which is to present a series of vastly different visual images cinematically, combining this cinematic technique with the dramatic technique of Exiles. "Circe" integrates all three of the discoveries--personal, intellectual, and artistic--that Joyce had worked his way towards in Portrait, Giacomo Joyce and Exiles. It shows that perception is partly imagined and partly observed through its use of the two techniques of fantasy and drama; it is the episode in which Bloom triumphs over his paralyzing uncertainty by simply accepting it; it shows Bloom recognizing himself in the mirrors that three women hold up to him: the nymph Calypso, the sorceress Circe, and his unfaithful wife, Molly.
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