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The theme of Hamlet in Joyce's Ulysses: The reflections of Stephen Dedalus's aesthetic theory in his later theory of Hamlet and the specific implications that arise from it
Brymová, Petra ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The thesis deals with the theory of Hamlet created by Stephen Dedalus, the main protagonist of Ulysses, and with its counterpart in the form of Joyce's theory, which can be imagined as a twisted theory of Stephen reflected in the narrative of Ulysses. The first chapter concerns the origins of Stephen's Hamlet theory; it focuses on Stephen's aesthetic views with emphasis on the terms Stephen uses and shows how Stephen diverts from the models he is drawing on. It is revealed that the basic concept of Stephen's aesthetic theory is the indispensability of "real life" for an artistic creation. Most of the terms Stephen employs include this issue, except for his idea of a "detached artist", which is the very opposite of a contact with reality. However, this paradox is a link towards reconcilliation of two opposing tendencies, which seems to form the essence of an artistic creation. The chapter likewise comments on Joyce's ironical treatment of Stephen's views. Stephen detaches himself from Christianity, yet he uses religious parallels and thus, paradoxically, pays homage to it. Irony also surfaces concerning the relation between an artist and his work of art; Joyce's "new" theory of Hamlet is closer to Aquinas than Stephen's original. In a similar way Joyce regards Stephen's analogy between a literary...
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The Language and Subjectivity of a Portrait
Dudešek, Štěpán ; Armand, Louis (advisor) ; Vichnar, David (referee)
In A Portrait of the Artist as a Young Man Joyce shifts away from the traditional objective narration to a more subjective mode of writing. The reader can experience the story and the characters not only through what is actually written but also through how it is written. Joyce employs various language techniques to show different styles that create the feeling of different voices. Four major registers can be distinguished: a child's language, 19th century lyricism, the language of the Catholic school and the more complicated style of the last chapter. The prevalent techniques suggesting a child-like usage are manifested through repetition, childish expressions, use of modality and questions. Lyricism then draws on Byronic and other 19th century parallels, for instance the overuse of adjectives, elevated metaphors and frequent occurrence of standard poetic tropes. The language of the Church is reflected in sermon-like repetition, archaic words, biblical expressions and heavy diction. The language of the last chapter tries to use precise technical terms in an imitation of Thomist and other scholastic texts and manages to incorporate many of the previous elements as well, although often in a self-mocking way. All these techniques and devices in part substitute the traditional objective narrative and help to...
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The theme of Hamlet in Joyce's Ulysses: The reflections of Stephen Dedalus's aesthetic theory in his later theory of Hamlet and the specific implications that arise from it
Brymová, Petra ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The thesis deals with the theory of Hamlet created by Stephen Dedalus, the main protagonist of Ulysses, and with its counterpart in the form of Joyce's theory, which can be imagined as a twisted theory of Stephen reflected in the narrative of Ulysses. The first chapter concerns the origins of Stephen's Hamlet theory; it focuses on Stephen's aesthetic views with emphasis on the terms Stephen uses and shows how Stephen diverts from the models he is drawing on. It is revealed that the basic concept of Stephen's aesthetic theory is the indispensability of "real life" for an artistic creation. Most of the terms Stephen employs include this issue, except for his idea of a "detached artist", which is the very opposite of a contact with reality. However, this paradox is a link towards reconcilliation of two opposing tendencies, which seems to form the essence of an artistic creation. The chapter likewise comments on Joyce's ironical treatment of Stephen's views. Stephen detaches himself from Christianity, yet he uses religious parallels and thus, paradoxically, pays homage to it. Irony also surfaces concerning the relation between an artist and his work of art; Joyce's "new" theory of Hamlet is closer to Aquinas than Stephen's original. In a similar way Joyce regards Stephen's analogy between a literary...
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The Language and Subjectivity of a Portrait
Dudešek, Štěpán ; Armand, Louis (advisor) ; Vichnar, David (referee)
In A Portrait of the Artist as a Young Man Joyce shifts away from the traditional objective narration to a more subjective mode of writing. The reader can experience the story and the characters not only through what is actually written but also through how it is written. Joyce employs various language techniques to show different styles that create the feeling of different voices. Four major registers can be distinguished: a child's language, 19th century lyricism, the language of the Catholic school and the more complicated style of the last chapter. The prevalent techniques suggesting a child-like usage are manifested through repetition, childish expressions, use of modality and questions. Lyricism then draws on Byronic and other 19th century parallels, for instance the overuse of adjectives, elevated metaphors and frequent occurrence of standard poetic tropes. The language of the Church is reflected in sermon-like repetition, archaic words, biblical expressions and heavy diction. The language of the last chapter tries to use precise technical terms in an imitation of Thomist and other scholastic texts and manages to incorporate many of the previous elements as well, although often in a self-mocking way. All these techniques and devices in part substitute the traditional objective narrative and help to...
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Symbolism in Joyce's "Dubliners"
HÜTTLOVÁ, Monika
This thesis analyses symbolism in Dubliners written by the influential Irish writer James Joyce. The introduction of the thesis focuses on Joyce's reception in Ireland, and his life and work. Furthermore we pay particular attention to the publishing and structure of Dubliners. The core of this thesis is to examine the symbolism in the following short stories: An Encounter, The Boarding House, A Painful Case, A Mother, The Dead. These stories were selected as the representations of the four imaginary sections in Dubliners: childhood, adolescence, maturity, public life. The Dead is a section of its own, and serves as an epilogue to the short story collection. It will be in and through the analysis of symbols that various interpretations of the stories will be explored.
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