Dublin from paralysis to international tourism, Sintesi del corso di Lingua Inglese

Scarica Dublin from paralysis to international tourism e più Sintesi del corso in PDF di Lingua Inglese solo su Docsity! DUBLIN. FROM PARALYSIS TO INTERNATIONAL TOURISM. INTRODUCTION The introduc-on was conceived as a text-based i-nerary aimed at improving one’s linguis-c competence by focusing on the growth of Dublin into a great European capital and an exci-ng tourist des-na-on through different perspec-ves. Paralysis and tourism contrasts the town portrayed by James Joyce in Dubliners as the ‘centre of paralysis’ with tourist guide representa-ons of Dublin as vibrant, buzzing capital city. In There and away the short story Eveline provides a pretext for discussing transporta-on vocabulary, as the protagonist’s incapability to escape her condi-on of inner paralysis and the sense of physical as well as psychological insularity that pervades the story are juxtaposed to the wealth of Ireland’s interna-onal connec-ons today. In Accommoda9on, The boarding house is used as an introductory text for vocabulary and text types concerning this important sector, also offering an interes-ng insight into concrete aspects of accommoda-on in the past. In Ge<ng around, following the movements of the two protagonists in Two Gallants offers the opportunity for a virtual walk through Dublin. In the conclusion, a reading of The dead closes the i-nerary just as it closes Joyce’s Dubliners. JOYCE AND DUBLIN The sec-on JOYCE AND DUBLIN is meant as a sort of introduc-on providing background informa-on about the city of Dublin and about James Joyce’s rela-onship with the city which he passionately loved and equally passionately despised. Taken from an early 20th century guide to the city, In Dublin introduces Dublin as a tourist des-na-on as it was represented in Joyce’s -mes, whereas Dublin, from a popular website, concentrates in a few dense paragraphs general informa-on about contemporary Dublin. A short history of Dublin, taken from the same website, offers a concise history of the city, which can be used as a basis for further research on specific events. The ci9zen and the ar9st is taken from a study aimed at exploring Joyce’s role as ci-zen and ar-st. It is wriSen in simple academic language and provides important basic informa-on on Dubliners as a literary work, to be supplemented by further readings. Finally, a few pages from a study on James Joyce and the city provide a guide to the symbolism of place-names in Joyce’s fic-on. ON JAMES JOYCE James Joyce was born into a middle-class Catholic family in Rathgar, a suburb of Dublin, in 1882. Joyce aSended a pres-gious Jesuit school and went on to study philosophy and languages at University College Dublin. He moved to Paris aZer gradua-ng in 1902 to pursue medical school, but instead turned his aSen-on to wri-ng. In 1903 he returned to Dublin, where he met his future wife, Nora Bernacle, the following year. From that point on, Joyce has lived in other countries. Between the First and the Second World War he and his wife lived in Paris. They returned to Zurich in 1940, where Joyce died in 1941. In 1907, Joyce published Chamber music, a collec-on of poems. Previously, he had also wriSen a collec-on of short stories, Dubliners. Although, Joyce had wriSen the book years earlier, the stories contained characters and events that were similar to real people and places. Joyce’s autobiographical novel A portrait of the ar9st as a young man followed Dubliners in 1916, and a play named Exile followed in 1918. Joyce is best known for his later experimental novels, Ulysses (1922) and Finnegan's wake (1939). These two works symbolize his typical stream of consciousness prose style, which mirrors the characters’ thoughts without the limita-on of tradi-onal fic-on. THEMES, MOTIFS AND SYMBOLS IN DUBLINERS THEMES are the fundamental and oZen universal ideas explored in a literary work. The prison of rouAne. Limi-ng rou-nes and the repe--ve, boring details of everyday life mark the lives of Joyce’s Dubliners and trap them in circles of frustra-on, self-control, and violence. Rou-ne influences characters who face difficult situa-ons, but it also influences characters who have liSle open conflict in their lives. The most consistent consequences of following boring rou-nes are loneliness and unrequited love. The desire for escape. The characters in Dubliners may be ci-zens of the Irish capital, but many of them desire escape and adventure in other countries. Such longings are never actually realized by the stories’ protagonists. The impulse to escape from unhappy situa-ons defines Joyce’s Dubliners. The intersecAon of Life and Death. Dubliners opens with The sisters and closes with The dead. These stories complete the collec-on and emphasize its focus on the mee-ng point between life and death. The dead throw a shadow on the present, aSrac-ng aSen-on to the mistakes and failures that people make genera-on aZer genera-on. The monotony of Dublin life leads Dubliners to live in a suspended state between life and death. MOTIFS are recurring structures, contrasts or literary devices that can help develop and inform the main themes of the text. Paralysis. In most of the stories in Dubliners, a character has a desire, faces obstacles to it. These moments of paralysis show the characters’ inability to change their lives and reverse the rou-nes that obstacle their wishes. Such immobility blocks the Dubliners in cycles of experience. Perfect examples are both the young boy in Araby and Eveline. They evoke the theme of death in life as they show characters in a state of inac-on and paralysis. This demoralizing state appears as part of daily life in Dublin, which all Dubliners admit and accept. Epiphany. Characters in Dubliners experience both great and small revela-ons in their everyday lives, moments that Joyce himself men-ons as ‘epiphanies’. These epiphanies don’t bring new experiences and the possibility of reform. These epiphanies allow characters to beSer understand their par-cular circumstances, usually common with sadness and rou-ne, which they then return to with resigna-on and frustra-on. Some-mes epiphanies run only on the narra-ve level, serving