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진선주 한국중앙영어영문학회 2003 영어영문학연구 Vol.45 No.2
This paper investigates the issue of multiple styles or techniques employed in Joyce's Ulysses in terms of postmodernist literary perspective. As is well known, Ulysses, which is composed of eighteen episodes, has a different style per episode. Up to now, the various styles have been studied frequently, but Joyce's purpose of using them has not attracted much scholarly attention. The present article, an Odyssean journey into the text, is to explore the reason why he exercised such a chameleonic technique. The paper focuses on the examination of styles in text's latter half, because they are much more varied than those in its first half. This means that Joyce needed more and more freedom, as the text progresses, to demonstrate the reality as extensively as possible. Upon scrutiny, his various styles reflect Joyce's vision of relativity or uncertainty in life. Since it is impossible for a single mode of expression to carry all the complexities of life in full, Joyce exploited multiple techniques in order that he might reveal various aspects of reality. In this sense, his strategy of multiple styles is not extrinsic to a central meaning; rather, it creates the meanings in the text.
『율리시스』의 "우연"의 주제와 부재의 수사학 : "...우연의 일치는 소설보다 더 기묘한 진실..."(U 17. 323)
진선주 한국제임스조이스학회 2004 제임스조이스저널 Vol.10 No.1
The paper aims to explore James Joyce's message to the readers in the theme of chances-or coincidences-which he developed in his Ulysses by use of "rhetoric of absence," his narrative strategy of gaps. To carry out that purpose, two representative cases were selected out of the numerous chances which take place in the text; one is the "T/throwaway" motif, the other the "man in macintosh" motif. It is noteworthy that both of these motifs are developed through the method of rhetoric of absence, as termed by Phillip F. Herring, in which Joyce intentionally avoids giving evidence supporting the process of discourses so as to have them appear self-reflexively free of author's intervention. Upon close examination, it turned out that the former is related to Joyce's view of language as unstable or arbitrary, and the latter is related with his view of the world as mysterious. Since it is doubtful that Joyce is concerned with chances without any significant reason, it appears that his main and comprehensive concern is to reveal his skeptical vision of life as is exhibited in Stephen's saying that the world is founded upon the void or incertitude, in expectation that his readers would share his vision.
조이스의 민족주의 : "타라로 가는 지름길은 호울리헷을 거쳐야" "the shortest way to Tara was via Holyhead"
진선주 한국제임스조이스학회 1999 제임스조이스저널 Vol.5 No.1
The purpose of this study is to investigate a deconstructive aspect, the absence of center, in Joyce's works, centering on the main character Stephen Dedalus. Jacques Derrida, the French philosopher, converts the structuralist meaning, that is, the presence of center, into the absence of center, dealing with structuralism based upon linguistics. Saussure, a linguist, maintained that a sign formulates its meaning, not simply by the symbolic representation between a thing and its name, but by the relations and the differences between signs. Like Saussure, structuralists presuppose and believe in the presence of center, origin, and the fixed meaning of the sign which is being spoken or written about. But, according to Derrida, 'the center could not be thought in the form of a present-being,' because of the diffe´rance in language. This is one of the methods of deconstructive criticism employed by Derrida. This methodology can be applied to Joyce's character Stephen. Stephen, in A Portrait of the Artist as a Young Man and Ulysses, searches for the presence of center, followed by the absence of center. He thinks that he has found the center in the rector's room, a prostitute's breast, religion, art, "Old father," and his spiritual father Bloom. But, in the end, he realizes the temporal nature of the present center and takes his departure into his new world. This study shows that Joyce, like Derrida, calls into question and subverts the concept of center in structuralism. This is Joyce's deconstructive concept which 'disrupts the presence of center and extends the domain and the play of signification infinitely.'