By Kevin Dettmar
For almost 3 quarters of a century, the modernist means of analyzing has been the one means of examining James Joyce—useful, certain, and robust yet, like several frameworks, constrained. This ebook takes a jump throughout these limits into postmodernism, the place the pleasures and chances of an unsuspected Joyce are but to be stumbled on. Kevin J. H. Dettmar starts through articulating a stylistics of postmodernism drawn from the most important texts of Roland Barthes, Mikhail Bakhtin, and Jean-François Lyotard. learn inside of this framework, Dubliners emerges from at the back of its modernist facade because the earliest made of Joyce’s proto-postmodernist sensibility. Dettmar exposes those tales as stories of poser, no longer mastery, regardless of the modernist earmarks of abundant symbols, allusions, and epiphanies. Ulysses, too, has been inadequately served via modernist critics. the place they've got emphasised the work’s inventive Homeric constitution, Dettmar focuses in its place upon its seams, these issues at which the narrative willfully, joyfully overflows its self-imposed bounds. ultimately, he reads A Portrait of the Artist and Finnegans Wake as much less playful, much less bold texts—the first limited via the valuable, would-be poet at its heart, the final marking a stunning retreat from the always evolving, vertiginous event of Ulysses. in brief, The Illicit Joyce of Postmodernism explores what occurs while the extra-literary pronouncements of Eliot, Pound, and Joyce, in addition to Joyce’s early critics, are put aside and a brand new, “unauthorized” Joyce is authorized to seem. This postmodern Joyce, extra willful and no more simply compartmentalized, stands as a counterpoint to the modernist Joyce who has might be develop into too commonplace.
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Additional info for Illicit Joyce Of Postmodernism: Reading Against The Grain
A character's word about himself and his world is just as fully weighted as the author's word usually is; it is not subordinated to the character's objectified image as merely one of his characteristics, nor does it serve as a mouthpiece for the author's voice. html6/20/2010 2:57:03 PM page_33 < previous page page_33 next page > Page 33 style and variform in speech and voice" (DI 261). Though he approaches the text with a very different set of preconceptions, Bakhtin would be in full agreement with T.
This is especially surprising since Joyce was known to several of Bakhtin's associates. Pumpiansky was at work on a book on Joyce in 1932, and V. O. Stenich, who was close to members of the Bakhtin circle in Leningrad . . translated Joyce. html6/20/2010 2:57:02 PM page_28 < previous page page_28 next page > Page 28 have been motivated politically. As of at least the First Writers' Congress in 1934, Ulysses could no longer be praised in print, and this was still true in 1965 when the dissertation was published as a book [Rabelais and His World].
Dostoyevsky gives his characters their own voices: Dostoyevsky's major heroes are, by the very nature of his creative design, not only objects of authorial discourse but also subjects of their own directly signifying discourse. In no way, then, can a character's discourse be exhausted by the usual functions of characterization and plot development, nor does it serve as a vehicle for the author's own ideological position (as with Byron, for instance). 33 The consciousness of a character is given as someone else's consciousness, another consciousness, yet at the same time it is not turned into an object, is not closed, does not become a simple object of the author's consciousness.