appunti ulysses james joyce, Appunti di Letteratura Inglese

Scarica appunti ulysses james joyce e più Appunti in PDF di Letteratura Inglese solo su Docsity! Letteratura inglese Narrative - Singling out the concept of narrativity - How can we define a deictic shift theory in a narrative text  a shift by the reader from the non-fictional to the fictional world; Joyce applies it in the incipit of the novel. How do we accommodate in the text? Read and analysis of the first 3 lines of Telemachus (the narrative discourse, lexical choices…) - Le categorie di Dorrit Cohn relativo alle tecniche: In third-person contexts consciousness can be represented with: psycho-narration (the narrator’s discourse about a character’s consciousness), quoted monologue (monologo citato, a character’s mental discourse), narrated monologue (a character’s mental discourse in the guise of narrator’s discourse. This is what we also know as free indirect speech – discorso indiretto libero). - Differenza tra narrated monologue e stream of consciousness. Telemachus - Martello Tower. - Narrative technique: 2 and then 3 people talking (Buck Mulligan, S. Dedalus and Haines), soliloquy. - At page 3 we have a reference to Haines (“how long is Haines going to stay in the tower?”), so it’s an anticipation because it is not the point when he enters  virtually there is another presence, but it is off-screen. At the end of page 6 there is a voice, since we had the anticipation of a third presence in the tower we are led to believe this is Haines calling and it’s actually true. - Even when Buck and Stephen move in the room downstairs, where Haines is, we understand that he is in the room because Buck says something to him, but we are not provided with a description of him. This description arrives when it says, “a tall figure rose from the hammock where it had been sitting”. - So, how do we readers become aware of his presence? The first reference is when they talk about the incident of the previous night, but that doesn’t necessarily mean that he is in the tower at that moment; then we hear the voice from downstairs and we imagine it can be Haines, we follow Buck and Stephen in the room downstairs and finally, only when Buck talks to him, we readers are given the clue of where Haines had been all the time (in the hammock). - So, basically the plot of the chapter is: they are at the top of the tower then they descend into the room, they keep talking and they welcome the milk woman. After that, they go out and they go to the shore. It is difficult to follow the plot because it is all the time interspersed with narrated monologue or psycho narration – it is mainly narrated monologue because suddenly with no anticipation we are in a perspective of one character and we see things via his eyes, and we are told things via his language (Uncle Charles principle). - Stephen Dedalus is showed via Buck Mulligan’s gaze  via B.M. we get to see Stephen. This is probably due to the fact that through the novel we get to see S. as a passive character which is in strong contradiction with the way B.M. shows very self-confidence and takes over. - B.M. = stately, plump vs. S. = displeased and sleepy  both pair of adjectives play an onomatopoeia; in “displeased and sleepy” there’s the alliteration of “p”, “s” and “l” giving a slow sound which allows Stephen to enter the novel and to appear to us readers, surrounded by this kind of lazy atmosphere. - Then we have S. which looks coldly at B.M. which is presented as “an equine face with untonsured hair and grained and hued like pale oak”  no neutral language, Uncle Charles’ principle. - Parody of the Catholic Church: “ungirgled”, “untonsured”, “he added in preacher’s tone”, “for this, o dearly beloved, is the genuine Christine” ( The mocking substitution of Christine for Christ briefly makes Mulligan’s ceremony a Satanic black mass, since this inverted mass is traditionally celebrated over a woman’s naked body). - Then B.M. goes on with the parody of the mass, especially with the most important moment – transubstantiation: he parodied this transubstantiation by making the gesture of producing the same, transforming the lather in the body, soul, blood, and ouns. He performs his rite as a magician would perform his trick. There’s also the reference to “slow music, silence”  in the parody he says that the substantiation had trouble in being performed because the white corpuscles of lather could not really dematerialize. - Naturalistic dialogues because of gaps. - Chrysostomos  first instance of narrated monologue, the voice is not of the narrator but is by S. It is the attribute that was given to excellent orators in the past. This will keep happening in the episode because we have dialogues interspersed with more and more portions that we understand that they could only be Stephen’s thoughts. - The parody of the mass goes on. - Then B.M. says “The mockery of it! Your absurd name, an ancient Greek” – the reference is to S. because both names have a Greek origin: Stephen > Stefanos, but we also have a reference to the history of Christianity because Saint Stephen was the very first Christian martyr. Then we have the surname Dedalus: 1. Myth of Dedalus by Homer 2. Myth related to the labyrinth in Ovid’s Metamorphoses – Dedalus was imprisoned and in order to escape (he was with his son Icarus) he invents the waxwings. He recommended Icarus not to fly too close to the sun but Icarus discarded this recommendation and so he was burnt because he flew too close to the sun. 3. The myth of Dedalus is connected to the building of the labyrinth in order to entrap the Minotaur, so we know that Dedalus is actually the figure of a cunning artisan. The labyrinth is fundamental also when we talk about the structure of Joyce’s work and the labyrinthine form of this work. 4. A myth which is also relevant is the fact that Dedalus is narrated to have built for Passif a wooden cow to mate with the sacred bull. This two elements are important because we have many references to fertility in Ulysses, we even have a chapter which is entitled “Oxen of the sun” where the bull is referred to sexual power and opposed to catholic morality. - Metaphors: Stephen = the son  Telemachus, Hamlet, Icarus - B.M. goes on with his Greek reference and says “Malachi Mulligan, two dactyls” – he says that actually there is a Greek reference in this name as well; so Buck is a surname. The dactyl is a Greek metre and is formed by one long syllable and two shorts syllables. - “but it has a Hellenic ring” and even later B.M. will say “we have to do something for the island: Hellenize it”  Irish revival movement (Yeats, Lady Morgan and Gogarty belonged to this movement which wanted to promote Gaelic and Irish culture; Gogarty was Joyce’s friend and the one with whom he used to live in the Martello Tower and the one whom the character of B.M. is modelled) and Decadent tradition (“Jew” – connoted social repression, straightlaced Victorian morality and hostility to art - vs. “Greek” – bohemian freedom and sensual pleasure, not neoclassicist model but paganism; the Greek model is also seen as decadent). B.M. is voicing Matthew Arnold which in an essay that he wrote distinguished the Philistines' impulse of Hebraism (letting the revealed truth of religion guide one's actions) from the intellectual and aesthetic impulse of Hellenism (seeking truth History is produced by memory and not imagination. Memory produces history and imagination produces artworks, but the true knowledge is given by imagination. Paradox: history is a fable – it does not give us the truth. We come to real knowledge only by activating the imagination. - Irony: while asking questions to the students, S. tries to solve philosophical questions which were never solved. The irony can be found even in the way he’s transmitting history to the students: a series of dates, notions, and anecdotes. He never comes to a point  he’s kinch in the sense that he expresses himself only in a lapidary way while internally he leads a series of elucubrations which doesn’t express, contrary to BM (which in fact is seen by S. as Chrysostomos – excellent orator)  paralysis – frustration.  “And yet it was in some way if not as memory fabled it” – immediately contradicts himself  “A phrase then of impatience, thud of Blake’s wings of excess” – a quotation from Blake, “The marriage of heaven and hell”. According to Blake there is no strict division between heaven and hell, which is the place where energy is released. Stephen thinks that Blake’s ideas on history are too excessive, and he has gone too far. Again connection with the figure of Dedalus (Blake’s wings of excess). S. always starts with abstract concepts but comes to the reasons that led him to fail.  “I hear the ruin of all space” – quotation from Blake’s letters. So there are 3 works of Blake: Joyce knew his work pretty well and so does S. Aphoristic style, just like in B., tendency to work on paradox. In Blake we had “the ruins of Time build mansions in Eternity), so it’s a kind of rephrasing which remands to an apocalyptic vision that wasn’t present in B., which vision meant that what is immaterial is more real than reality. - The idea of power is very strong: S. feels he is in the weakest position (B.M., Mr. Deasy, he teaches in a school of rich people whose parents pay the fees etc.). We can feel the resentment that he has, the idea that people are ruling him. - “For Haines’ chapbook …” - emerges again the idea of the master and the servant when he tells the pun which the students do not understand  Irish people as the jester towards a master (British people  they want to impress them). Here returns the reflection of history perceived by Irish people in a passive way. - We have seen many versions of history so far in the episode. Obviously, the first problem was that Stephen starts this theoretical reflection on history actually starting from a very dry and arid teaching of history, that he himself imparts to his students, just asking dates and sentences anecdotes. We have seen that, while he is reflecting on history, he quotes Blake, who had a vision of history which is not canonical, because it is a vision that reverses the relationship between history and fiction. He immediately thinks that maybe Blake is not right, so maybe the events narrated by history are indeed real. Then we go on in the episode, the dialogue with the students is interspersed, all the time, by Stephen’s inner monologue. At to this point where actually, after having delivered the joke, which is not understood by the students, he thinks of Haines, therefore he thinks, more in general, about the relationship between Ireland and Great Britain, and again he ties (unisce) his initial reflections which are apocalyptic, much more apocalyptic than actually Blake’s vision to the negative position of Ireland in history. - “For them too history was a tale like any other too often heard, their land a pawnshop”  them = Irish people, from which S. likes to separate himself. Idea of Irish people perceiving history in a passive way, something that they can’t control – paralyses od the Dubliners as the metaphor of the human paralyses. - Now comes Aristotle’s thought  “Had Pyrrhus…” – no punctuation = flux. Until now even when we were inside S. thoughts there was punctuation. - “Time … weaver of the wind” – alliteration. Stephen keeps thinking and the reflection on history which was initially connected to Blake now moves to Aristotle. Joyce studied Aristotle in Paris like S. is supposed to. - Irony, reflections are becoming more and more abstracts. What is the key idea on which he reflects here? Obviously, we all know about Aristotle’s philosophy which is the idea of going from what is potential, the potentiality, proceeding into actuality. Stephen reflects on this idea: of all the potentiality, let’s say there is a set of potentialities, only one takes place. Those potentialities can be those said to have existed as potentiality, was their existence real or we can consider as real exclusively what has happened? This idea, the concept of the Aristotelian potential, is applied to his life too: “If I didn’t have to go back to Ireland, because my mother was dying, I could have become a famous writer”. - Weave = intrecciare (Penelope, labyrinth, labyrinthine work)  is a key image of the modernism, idea of weave, of simultaneity in order to express what there is in our minds. - Then the boys ask him for a ghost story, which again is a reference to this idea, which keeps present in Stephen’s mind, which is the idea of the dead mother. S. asks another student to read a poetry  Lycidas, Milton. This poem has a sentimental meaning and an ironic one: Milton wrote it for a friend who drowned while traversing the Irish sea. S. is hydrophobic  in Telemachus we saw that the sea, in Buck Mulligan’s quotations, was defined as “our mighty mother”, the water is a vital force, and it is seen as the original life and also the element which keeps transforming and it’s presenting all elements. The problem is that Stephen doesn’t like water at all, and this says something ironically on Stephen’s incapacity to embrace life. The irony lays also is in the fact that the following episode, the one in which are referred Stephen’s thoughts, is titled “Proteus” and Proteus is the sea God - able to change his form going through a perpetual metamorphosis. S. thoughts are Proteian, but he misses the qualities of Proteus. - “It must be a movement then, an actuality of the possible as possible.”  the shift to present tenses helps us again to signal the parts which are parts of the inner monologue or where the character thinks, rather than the parts narrated by the narrator in third person, because narration in third person was established, at the very incipit of the book, has been carrying out via the past simple. - “Aristotle’s phrase … the library of Saint Genevieve”  movement. Stephen is in the classroom, but his mind goes to Paris and we, as readers, have to follow him. Narrated monologue – space deixis. - S. sees himself as virtuous because he went to Paris for studying and not for the bohemian life. - The sentence goes on with non-finite verb tenses (past participle, gerund)  S. likes to feel himself out of place (he feels superior to the students). - Image of the sloth (N.B. Stephen is displeased and sleepy). - Then S. tells a riddle to the students  image of the fox connected to the death of his mother. It will come back in Proteus. Again, he delivers to his student something that they cannot understand, so the communication between Stephen and the students is a complete failure, in the sense that he speaks to his students in a language that they cannot understand. - Now we have the episode with Seargent  we see something which is very human of S., he experiences tenderness for this boy. He starts to think about his mother by looking at this clumsy, we understand this by the past tenses. - “What was real then? The only true thing in life?” – again something which comes from the Portrait. S. thinks of Cranley because in the Portrait he had a discussion with him and he said, “the only real thing in life is the love of the mother”. - The fiery Columbanus, a missionary who left Ireland to bring the catholic religion to other countries. He left his mother, who was really praying him not to leave her and then she died, shortly after his departure. S. sees himself as the Columbanus, but of course there is a discrepancy between them. - Again rosewood and ashes, but we have also the fox again. - Death of his mother = a node around which Stephen’s personality is coagulated. - Stephen’s inner monologue = it is very literary, and it is very similar to the written language; quotations, alliterations, assonances, rhetoric figures. - Again theory that S. has on Shakespeare (Hamlet)  he will expose it in Scylla and Charybdis. - “Amor matris: subjective and objective genitive”  S. keeps thinking of the nucleus of reality has been this love between a mother and a son. Subjective and objective because it is mutual love. - Then the scene ends. We are in the corridor, then we are in the porch. - Dialogue with Mr. Deasy, which is an Irish in favour of Great Britain, the English model. First of all Mr. Deasy pay S., then he asks him for a favour  he puts himself in a position of power. - Mr. Deasy is the reason why the chapter is called Nestor, which is something that we haven’t seen so far. In the Odyssey Nestor is the Greek king, Telemachus goes to him, in his wondering looking for his father, and Nestor is extremely polite and generous with him, but offers no practical information, where Telemachus could find his father. Nestor is very kind and generous but he’s completely useless. That is the same for Mr. Deasy which has a very patronising attitude with S., who is looking for a father figure. Mr. D. is very stingy and has racial views against the Jews. - Mr. Deasy is a unionist (1800: the act of Union - abolishment of the Irish parliament in Dublin) – protestant Irish which wanted to remain under the United Kingdom. Stephen is supposed to be a fenian – wanted the complete independence of Ireland by Great Britain. - Mr. D. gives the letter to S., and he skims it  hypercorrectism; reference to Cassandra (mythology). - Stereotypes on the Jews  S. visualizes in his mind a scene that he saw in Paris: Jews merchants talking one to the other in front of the stock exchange. S. incorporates Mr. D. stereotypes in this memory, but he denies them all. - “History is a nightmare from which I am trying to awake”  S., apocalyptic vision. - Incipit di Nestor (quindi Blake e memory vs imagination) - Can you give me an introduction to the conceptual focus of Nestor and the techniques? The main subject here is history, we begin in medias res in the middle of an history class taught by Stepehen. We’re in a dialogue, underlined by the inverted commas and the deixis “you”. We have an evaluative language (description influenced by Stephen’s point of view) and also a piece of 3rd person narrator in “the boy’s blank face asked the blank window”. He quotes Blake, which makes a distinction between history and fiction. - What is the main conception of history which emerges from Nestor? He takes into consideration Aristotelian theories but he also refers to Julios Cesear. - Stephen refers to “history as a nightmare”, why? Maybe the way history is talked in school… anecdotes? - Nestor – parte in cui Leopold parla con Deasy, parlarne e analizzare il testo (vedi quello che ha detto nelle lezioni). Proteus - Sandymount, 10-11 a.m., azzurro, soliloquy. - Difficulty given by the fact that most of the time we’re inside S. mind. Here his inner life takes over completely. Where there are short sentences the narrator in 3rd person is helping us to understand where S. is located  basically the narrator here has this function. - We’re inside the working of a mind, which is made by thoughts on present events, memories on different level times of his past and we also have imagination (ex. he imagines going visit his uncle – the visit is depicted as real, but actually takes place only in his imagination)  the complexity we experience is the complexity of what’s going on in our mind all the time. - Proteus = the sea God. Protean quality of the episode seen as both real and ironic. It is real in the sense that the mind works in a protean way, and it is constantly changing in the sense that we experience a flax, a constant progression of thoughts in different forms. While the irony lays in the fact that Proteus is the sea God and S. is afraid of water. - Consubstantiation: catholic diatribe, is Jesus of the same substance of his father or is he made of human substance?  he quotes Arius. - “and and and and tell us”  S. thinks about his father voice which parodies his uncle. - “His pace slackened here. Am I going to aunt Sara’s or not?”  S. imagines to go to his aunt Sara, which is not home so his uncle welcomes him. After this there is an inner monologue with considerations on his family. We understand that in Clongowes he used to tell lies about his family because he was ashamed by them. He realizes that he tried to escape his family with his intellectual ambitions which led him nowhere as well - “Houses of decay, mine, his and all”, “beauty is not there” (in his family), “nor in the stagnant bay of Marsh’s library where you read the fading prophecies of Joachim Abbas. For whom? The hundredheaded rabble of the cathedral close”  the library was near St. Patrick’s cathedral which was near a poor neighbourhood. - Then he thinks about Swift (“Houyhnhnm, horsenosetrilled. The oval equine faces” - Gulliver’s Travels) and consequently about B.M. - Reference to epiphanies, a keyword in modernism  described by Joyce as “a sudden spiritual manifestation”. In this passage Stephen looks back to his ambitions, but also to his formal writing of those of the epiphanies with sarcasm. Not only, but also his self-mock, the idea he had which was very ambitious, that his works would be sent to all the libraries in the world, included the libraries of Alexandria, which was none in the antiquity as the library which held a copy of every single book written in the world. Although by the time Stephen came to bright, the library of Alexandria had already been destroyed. - What we experienced here is the profound bitterness that Stephen has had towards himself as a young boy and his ambitions which he wasn’t able to fulfil. - “You were a student, weren't you? Of what in the other devil's name? Paysayenn. P. C. N., you know: physiques, chimiques et naturelles.”  we come to know that S. used to study medicine in Paris. - “Le Tutu, five tattered numbers of Pantalon Blanc et Culotte Rouge; a blue French telegram, curiosity to show: — Nother dying come home father”  he apprehends that his mother is dying with a telegram. Nother – no another because her mother will exist no more (or maybe it’s simply a mistake in the telegram). - “After he woke me up last night … You will see who”  reference to a dream that he made, but in reality is the anticipation of what will happen in Cyrce, when he will meet Leopold Bloom, a father figure. - The episode concludes with a retcon to the 1st episode  the handkerchief. It’s a sort of re-establishing of the equilibrium. - Perchè Proteus è difficile? Attraverso lo schema di Linati sappiamo che è ambientato sulla spiagga. È un completo inner monologue, il personaggio sta pensando a tantissime cose. La tecnica di Penelope qual è? Perché stream of consciousness non è esattamente una tecnica, si riferisce al contenuto. - Proteus: why the thecnique makes the chapter very complex? The reason is probably due to the techniques, in Proteus we have 3 techniques: inner monologue, 3rd person narration and narrated monologue. The difficulty is the passage from one technique to the other (in a passage there are more techniques combined). We can handle these difficulties with the deictics which help us (him – 3rd person narration…). - Incipit Proteus - Parallel Proteus and Penelope: there is a parallel but they are different in terms of technique. Penelope = inner monologue (we don’t have the punctuation). This chapter is difficult because of the lack of punctuation; now that it is removed we truly reflect on how much it is important in building sentences. Penelope becomes a continuous thought. Proteus = we have 3 types of narrative techniques. Here Stephen is on a beach but he does an imaginary travel, instead Penelope is a “pointless” chapter, Molly is in bed and thinks about her life. Sometimes she moves in the bed but that’s just it. - Meaning of “diaphane and adiaphane”  we’re in the Aristotelian theory Diaphne = transparent Adiaphne = he creates this word by adding the a- (inizio 2° pagina di Proteus pdf). - What is “nacheinander” and “nebeneinander“? Nacheinander refers to poetry (one thing after the other in temporal terms) vs. nebeneinander (one thing next to the other) - Empirism – Aristotele e idealism – boheme (più religioso) e Barkley - Proteus, parte in cui Stephen si rammarica di non essere riuscito a realizzare le sue ambizioni. Calypso - Leopold Bloom’s kitchen, 9 a.m.; dominant colour: orange. - L.B. = he’s Jew, but he’s also Irish. He would be Irish but has this strong identity of being Jew that his father gave him. He will convert to Catholicism but he’s still not observant. As a Jew he doesn’t respect any rules, he eats everything, he has not memory of the Jew Easter and neither of the basic concepts of the Hebraism. He’s a middleman with his virtues and his limits, which can be transposed to the limits the entire humanity. He’s probably modelled on Italo Svevo (Joyce used to teach him English in Trieste), there are contact points with Zeno Cosini (they are both permanently indecisive). - In the first instance (Telemachus) we have an overlapping, in Calypso we have the same time, so the hour is between eight and nine, on the same date and the same city, but in Telemachus we are slightly outside Dublin, while here we are right in the centre of the city. In Calypso the technique is dialogue between 2 and then soliloquy, in Telemachus we had dialogue among different people, narration and soliloquy, we don't have narration or narrative here anymore, for reasons that we will see, we actually have descriptions inter person, but from the very beginning we suspect that again there is a strong presence and influence of the point of view and the language of the character Leopold Bloom.  - Mythology, The wanderer (il viandante) and then we have the organ  for Telemachia, the first 3 chapters focusing on Stephen, we didn't have any organ while here we have the kidneys, and then, when you go to symbols, the Vagina is the first symbol  notion of the body surfaces, which we didn’t have in the Telemachia. - L.B. has a different perspective and different perceptions from S. so his inner monologue will be different. The techniques employed in this chapter are actually the same that we saw in Telemachus, indeed we have technically narration in third person, dialogue and then the representation of the inner world of Leopold again in two different ways: so either with the straight forward inner monologue or more indirectly and also in a way which is more difficult for us to understand and detect, via the narrated monologue or the free indirect speech. The techniques are the same, nonetheless it seems here that we are in a different novel, because the deictic centres are different. - S. and L.B. are in a way complementary to each other, S. appears to have a more solid culture, while L. is more pragmatic and a solid person, and doesn’t seem to be self-centred. - How much external world we see when we are inside the perspective of Leopold Bloom and how much external world we see by the perspective of Steven? Not so much via the perspective of Steven, while if we follow Bloom as we are doing in Calypso through the streets of Dublin, we actually see Dublin because we see the city through the eyes of a character who is a very good observer, we can't say the same about Stephen because the acts of watching, seeing etc.. always brings Stephen's thoughts back to himself, to quotations, to kind of images recurrent in his mind, to his past (for instance Paris), back to his failures, his family and kind of detachment from his family. - Proteus  Calypso = shift from one consciousness to another. Ulysses = representation of a series of consciousness that are all different, because we all come from a different background (ex. Stephen is a young, Irish and with catholic upbringing man, who has studied in Jesuit school and that had and still have a certain type of intellectual ambitions, while Leopold is a completely different man, who is older, he is actually 38, he is married, he has a stable job in advertisement, he is very practical and pragmatic, he has one daughter, Molly, but the second, Rudy died shortly after birth. He has a Jewish background which although not being part of the rules of his life and not even possibly a stronger religious belief, it is part of his mentality, his culture). - Calypso starts with a proper name, as in Telemachus (Buck Mulligan). Telemachus starts with 2 adjectives qualifying B.M., these adjectives give us the idea of the presence of a narrator in 3rd person which observes and describes the character  incipit of Telem. qualifies the character first. - In Calypso we don’t have anything that qualifies Leopold Bloom, if not the title, “Mr” Leopold Bloom, then we have a verb in past simple ate, precisely the same way we had at the beginning of Telemachus a verb in the past simple which is came. The two verbs are both in past simple but they qualify different actions. The past simple of “eat” does not describe a punctual action, the narrator is telling us that L.B. liked to eat inner organs of beasts and fowl, so is not telling us that he was eating at that moment  we are led to believe that this is actually an action taking place precisely like the action in the beginning of Telemachus, but it is not, this is actually the expression of what Leopold Bloom usually does and especially what he likes. In fact, the very first qualifier that we see is relish; we don’t have adjectives, but we do have this idea of what he likes and a passion for food. - L.B.  we are back to the body, body-functions. The chapter ends with a scene of defecation. In S. references to the body are always abstracts and introverts. - Another thing which is recurrent in this chapter is the idea that Leopold hates cold, low temperature and he is instead, often associated to the sun, warmth, and light. In fact in the schema the dominant colour is orange, so here we are again burning with life. - Very detailed language: so we meet Leopold Bloom not via description (we don’t have adjectives, different from what happens with Buck Mulligan) but we are introduced immediately to his strong tastes, the detailed and meticulous description of his taste gives us the idea that this is not a neutral narrator in third person but With reference to Jewish culture, Leopold seems to enjoy or to be passionate more about the culture rather than religious fate in itself, he remembers fondly of the time spent in that Jewish area of the city, of the time spent with the neighbours. This is less focused and concerned with the Jewish faith but rather with the culture surrounding it.  - “A cloud began … desolation”  there is another symmetry with Stephen: also Leopold thinks about death but in a very different way from Stephen (with Stephen we have seen this dramatic idea of the decay of the body, regret with respect the death of his mother, a sense of uselessness coming to life and then not achieving what one wants to achieve and then dying), in Leopold’s mind we have a cloud that covers the sun (Leopold looks for the sun and warmth as signal of life as oppose to cold light is signal of death),  then he thinks of the dead sea as a volcanic area (this was an old belief that actually underneath the dead sea there was an inactive volcanic area), so he thinks of the dead sea, (it is the name which triggers) the holy land, the land of the new settlements by Jewish people, it’s also a land of death in terms of this image simulated in Leopold by the very name (Mar Morto), which gives him an idea of something which is actually lightless and he also mentions these punishments mentioned in Genesis, in the Bible, Sodoma and Gomorra. Edom is another area which is not one of the 5 cities quoted in the Genesis but he mistakes that. So we travel from an idea of fertility (the farm) in the holy land, but then the holy land reminds him the dead sea, the cities destroyed by God in the Genesis, this recurrence of the idea of death reminds him the myth of the cycle of life, in his mind there is this image (which is the same we have in Stephen) of an old lady: the paradox of the woman being the origin of life, but then being a body which gives life but then decays in time. - Then there are two letters, one from Milly to Leopold, the other from Blazes Boylan to Molly (in the last chapter we’ll discover that she will meet and make love with this other man named Boylan who works with her). - References with metempsychosis: Molly is reading a cheap romance and she asks the meaning of this word “metempsychosis”  transmigration of souls. - Compare the incipit of Telemachus and Calypso. In temporal terms it’s the same hour: 9 in the morning. Incipit of Calypso  what’s the narrative? 3rd person narrator with interferences. What are Leopold qualities? He has strong tastes, he likes eating interior organs. Both Telemachus and Calypso start in the past simple but it’s kinda different; in Calypso it’s translated “ate” – mangiava, but it’s something that he still does. - Stephen’s thoughts move differently from Leopold’s thoughts. The different way they think about death: Stephen is still shocked by his mum’s death so he always thinks about it and he’s got an idea of death as decomposition (macabre idea) and he has regrets about his mum’s death. Leopold instead thinks in a different way (see Calypso) – he’s triggered by a cloud (p.5 PDF). - How does Leopold emerge through these instants of depression? Through the smell of tea and the thought of Molly next to him. - Si vede il mondo esteriore attraverso i pensieri di Stephen? No, mentre con Leopold si. - Rapporto tra Leopold e la moglie - Come vede Leopold le donne attraverso la descrizione del gatto Penelope - Molly and Leopold’s bedroom. - Molly’s consciousness; total absence of punctuation  Molly’s thought doesn’t follow the time of the narration, they follow the time of the mind which is organized in a flux. - The episode is difficult to understand because of the form. The missing pieces are the ones about her past. - Molly’s character is inspired to Nora Barnacol, Joyce’s fiancé. - There’s a big difference with Proteus about the structure, because in proteus we have 3rd prs narration, dialogue (in S. mind with the aunt), inner monologue and narrated monologue. In Proteus we have the localization, and things that happen in the external world (the dog). In Penelope she doesn't move and that’s because if in this chapter we would have been also movements, it would have been too difficult to understand because there’s already the difficulty of understanding her thoughts. - Molly thinks about her sexual desire and historically this was a tabu  sexual thoughts are parts of her mind. - Molly was considered a rude character, but actually she is not rude. - She is the more carnal character compared to S. and L.  each of these character as a limited conception of the world, but if we put them together they seem to represent a complete consciousness. - Mrs. Riordan was their housekeeper, and when she died she didn’t leave them her inheritance. And Molly does a very sexist discourse because she says that she was boring and so religious only because no one was attracted to her. - “I like that in him”  in the previous part of this paragraph Molly complains about Leopold, about the way he is, but now we have this inversion, because she says I like that in him, because he is kind with the old woman (even if he wants to steal the inheritance of an old woman), with the waiters, the beggars etc. - Being inside a consciousness means to discover a lot of contradictions, thoughts led us to think something but then we may change idea. This phenomenon is called parallax: it’s an optic phenomenon which allows our stereoscopic vision. There’s a connection between this parallax and the perspectives in the novel, because this events are showed to us from different perspectives and, the above all the fact that the same consciousness have different perspectives on the same thing. Parallax means that we can have a complete vision, and deepness in what we see, thanks to the conversion of what one eye sees and what another eye sees  a more precise vision is possible thanks to other visions. In the novel the same event is seen from different perspectives, that’s the reason why we have repetitions of events in the novel. - “I wonder why they call it that if I asked him hed say its from the Greek leave us as wise as we were before she must have been madly in love with the other fellow to run the chance of being hanged O she didnt care if that was her nature what could she do besides theyre not brutes enough to go and hang a woman surely are they theyre all so different Boylan talking about the shape of my foot he noticed at once even before he was introduced when I was in the D B C with Poldy laughing and trying to listen I was waggling my foot we both ordered 2 teas and plain bread and butter”  this part shows the shift from sentence 1 to sentence 2, actually there’s a pause, she thinks to a wife who poisoned her husband. And she asks herself about the name of this poison, if I ask it to Leopold he will say that the word comes from Greek (metempsychosis). - Mansexplaining: when a man explains to a woman a concept and he thinks that she cannot understand so he has to use simple words (that’s what Leopold does in Calypso with the metempsychosis). But Molly says that Leopold doesn’t’ know how to explain things: leave as wise as we were before .Then she reasons about man and women, talking about women she seems to be male chauvinist. - Part where we see the external world: there’s the reproduction of an onomatopoeic sound of the train whistle that Molly hears, and then she thinks about Gibraltar, where she was born. It makes us understand better her bond with Leopold, because the terms she uses are similar to the ones he thought about orientalism (sun, light etc.). - “Mulveys was the first”  this is her first lover. - Then there’s the part about Milly, where she shows a kind of competition with her daughter. Molly thinks that Milly was sent away because “only hed do a thing like that all the same on account of me and Boylan that’s why he did it Im certain the way he plots and plans everything out”  she thinks that Leopold wanted to understand if their daughter was sent away, Molly would have been with Boylan. - “the way he plots and plans everything out”  she shows that she really knows her husband. - “bringing in his friends to entertain them like the night he walked home with a dog if you please that might have been mad especially Simon Dedalus son his father such a criticiser with his glasses up with his tall hat on him at the cricket match and a great big hole in his sock one thing laughing at the other and his son that got all those prizes for whatever he won them”  here Molly talks about Simon Dedalus saying that he always bring his friend home. - “who knows is there anything the matter with my insides or have I something growing in me getting that thing like that every week when was it last I Whit Monday yes its only about 3 weeks I ought to go to the doctors”: she thinks that she is going to have her period. - “O and the sea the sea crimson sometimes like fire and the glorious sunsets and the figtrees in the Alameda gardens yes and all the queer little streets and the pink and blue and yellow houses and the rosegardens and the jessamine and geraniums and cactuses and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.”  That’s the final part of this chapter, which ends whit this imagine of Gibraltar, but then she thinks about the first kiss with Leopold, and to the fact that she repeats this YES. There’s also a point in the chapter where we have the repetition of a NO: “no thats no way for him has he no manners nor no refinement nor no nothing in his nature slapping no thats no way for him has he no manners nor no refinement nor no nothing in his nature slapping”  here she is thinking about Boylan, when they had sex, and this is the only NO in this chapter. - Penelope opens and closes with “yes”. The last one is a yes to life and a married life with Leopold.