Ulysses and the Metamorphosis of Stephen DedalusBucknell University Press, 2001 - 222 pages This study makes the case that the novel's intricate self-consciousness begins as a very recognizable story: the 'Kunstlerroman.' In such a reading, Ulysses emerges as the story of the time-obsessed Stephen Dedalus, who desires to compose a masterful chronicle that will one day rival the timeless narratives of Ovid and Homer. McBride's analysis treats at length Stephen's poetic theories and compositions, examinig them as clear forerunners to the novel that the reader is reading. The culminating point is the claim that the figures of Leopold and Molly Bloom may be elaborate fictions created by Stephen. |
Contents
29 | |
38 | |
Coming Events Cast Their Shadows Before Stephens Poetics and the Creation of Ulysses | 61 |
A Perfect Wreath The Nostos as the Novels Source | 99 |
Beyond the Modality of the Audible The Silent Subtext in Stephens Story About Bloom | 124 |
The Circle of Penelope Weaving and Unweaving the Artists Image | 172 |
Notes | 185 |
204 | |
217 | |
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Common terms and phrases
actual adultery Aeolus allusions Ann Hathaway appears Aristotelian Aristotle Aristotle's artist Boötes Boylan Buck Calypso Cambridge chapter character chronicle Circe clock create creation critical cuckold death diegesis Dublin Eccles Street emphasis added epic episode Eumaeus eyes fabulous artifice fact father fiction Gerty Gifford and Seidman Hamlet Homer hour Ibid imagination ineluctable modality Ithaca James Joyce Joyce's Ulysses Künstlerroman Leopold Bloom Lestrygonians letter looking MacCabe metafictional Metamorphoses Molly Molly's morning myth mythopoeic narration narrative Nausicaa Nelson's Pillar Nestor Nostos noted novel odyssey Ovid Ovid's Oxford parable Penelope phrase Pill Lane Plums poet poetry Portrait possible as possible postcreation potential protagonist Proteus reader reading Riquelme role scene Scylla and Charybdis seems self-begetting Sirens soap Stephen Dedalus Stephen Hero Stephen's story story's syllables tale telling temporal tion Ulysses University Press vision watch wife William Shakespeare women wonder words work's write York young
Popular passages
Page 12 - We shall never know, for the good reason that writing is the destruction of every voice, of every point of origin. Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing.
Page 19 - What's in a name? That is what we ask ourselves in childhood when we write the name that we are told is ours. A star, a daystar, a firedrake rose at his birth. It shone by day in the heavens alone, brighter than Venus in the night, and by night it shone over delta in Cassiopeia, the recumbent constellation which is the signature of his initial among the stars.