本文旨在从意象主义的写作手法入手,对其短篇小说《都柏林人》中《姊妹们》、《阿拉比》和《伊芙琳》等几个故事中多次出现的最具代表性的两个意象“窗户”和“灯”进行全面细致的分析,从而加深读者对《都柏林人》以道德瘫痪为中心主题的理解。
与此同时, 文章有针对性地探讨了《都柏林人》的重要现实意义。乔伊斯在这部作品中警示国人要反抗英国殖民当局和爱尔兰教会的黑暗统治。这部充满革命精神的作品不仅仅象征着乔伊斯与传统文学的告别, 同时也作为一部象征着改革与创新的宣言不断地激励着一代又一代人。
关键词：詹姆斯•乔伊斯,《都柏林人》, 意象主义
CONTENTS
Acknowledgements.. i
Abstract ii
摘要. iii
1 Introduction 1
2 Imagism 5
2.1 The Definition of Imagism. 5
2.2 The Imagistic Features in Dubliners . 7
3 Window Works as Image in Dubliners .. 8
3.1 The Threshold Between Dream and Reality.... 8
3.2 The Bridge Between Past and Future 9
4 Light Works as Image in Dubliners.. 11
4.1 The Expectation of Life and Love.. 11
4.2 The Reality of Numbness and Desperation 12
5 Paralysis in Dubliners.. 15
5.1 The Inevitability of Moral Paralysis .15
5.2 The Ubiquity of Religious Paralysis15
5.3 The Ultimacy of Political Paralysis...16
6 Conclusion.. 18
Bibliography 19
1 Introduction
James Joyce was born into a middle-class, Catholic family in 41 Brighton Square, Rathgar, Dublin, on February 2, 1882. The family’s prosperity started to dwindle soon after the birth of Joyce thus forced them to move from their comfortable home to the impoverished area of North Dublin. Nevertheless, Joyce managed to attend a prestigious Jesuit school as a brilliant student. Despite the chaotic family life worsened by his father’s addiction to alcohol and unstable financial situation, he went on to attend University College Dublin to study philosophy and languages. He moved to Paris after his graduation in 1902 to pursue medical school, but he turned his attention to writing instead. In 1903 he returned to Dublin, where he met his future wife Nora Barnacle from west of Ireland in the following year. From then on, Joyce emigrated permanently to other countries in continental Europe. From 1905 to 1915 he and Nora lived in Rome and Trieste, Italy, and from 1915 to 1919 they lived in Zurich, Switzerland. Between World War I and World War II, they lived in Paris. They returned to Zurich in 1940, where Joyce died in 1941.
Although he spent most of his adult life abroad, Joyce’s fictional world never leaves Dublin, and this fictional world is populated mainly by the characters who quite resemble the family members, friends and even enemies from his time in Dublin; Ulysses (1922) is in particular set in the real streets and alleys of Dublin. Shortly after the publication of Ulysses he explained his preoccupation about this, saying, “For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world”. In 1907, at the age of twenty-five, Joyce published a collection of poetry titled Chamber Music. Joyce’s autobiographical novel A Portrait of the Artist as a Young Man came out after Dubliners was published in 1916, and a play, Exiles, followed in 1918. Joyce is most famous for his later experimental stream-of-consciousness novels, Ulysses (1922) and Finnegan’s Wake (1939). These two works symbolize his signature stream-of-consciousness prose style, which mirrors his characters’ thoughts without the limitations of traditional narrative, a style he didn’t adopt in Dubliners. Ireland permeates all of Joyce’s writing, especially when Ireland was during the tumultuous time in the early twentieth century. The political scene at that time was uncertain but hopeful, as Irish people tried to seek independence from the British colonists. The nationalist Charles Stewart Parnell, who became active in the 1870s, had reinvigorated Irish politics with his proposal Home Rule Bill, which intended to allow Ireland to get a greater voice in British government. Parnell, conferred as the “Uncrowned King of Ireland”, gained a huge respect and support in Ireland, both for his anti-English opinions and his support of land ownership for local farmers. In 1889, however, his political career crumbled to dust when his adulterous affair with the married Kitty O’Shea went public. Both Ireland and England were scandalized by this affair, Parnell refused to resign and his career never recovered. Parnell died in 1891, when Joyce was nine years old. In the last part of the nineteenth century, after Parnell’s death, Ireland went through a dramatic cultural revival. Irish citizens struggled to define what it meant to be Irish, and a movement began to reinvigorate Irish language and culture. This movement revived Irish literature and encouraged people to learn about the Irish language, which many people were forgoing in favor of the more modern English language. Finally the cultural revival of the late nineteenth century managed to give the Irish a greater sense of pride in their identity. Despite the cultural revival, the negative publicity surrounding Parnell’s affair, and later his death, destroyed all hopes of Irish independence and unity. Ireland splintered into factions of Protestants and Catholics, Conservatives and Nationalists. Such social forces form a complex context for Joyce’s writing, which repeatedly taps into political and religious matters. 德语论文《都柏林人》的意象主义解读(2):http://www.751com.cn/yingyu/lunwen_31883.html