By Kevin Dettmar
For almost 3 quarters of a century, the modernist method of analyzing has been the single means of analyzing James Joyce—useful, certain, and robust yet, like several frameworks, constrained. This booklet takes a jump throughout these limits into postmodernism, the place the pleasures and chances of an unsuspected Joyce are but to be came across. Kevin J. H. Dettmar starts off via articulating a stylistics of postmodernism drawn from the major texts of Roland Barthes, Mikhail Bakhtin, and Jean-François Lyotard. learn inside of this framework, Dubliners emerges from in the back of its modernist facade because the earliest manufactured from Joyce’s proto-postmodernist sensibility. Dettmar exposes those tales as stories of puzzle, now not mastery, regardless of the modernist earmarks of considerable symbols, allusions, and epiphanies. Ulysses, too, has been inadequately served through 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. eventually, he reads A Portrait of the Artist and Finnegans Wake as much less playful, much less bold texts—the first restricted via the valuable, would-be poet at its middle, the final marking a stunning retreat from the consistently evolving, vertiginous event of Ulysses. briefly, 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 permitted to seem. This postmodern Joyce, extra willful and not more simply compartmentalized, stands as a counterpoint to the modernist Joyce who has maybe turn into too commonplace.
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Additional info for Illicit Joyce Of Postmodernism: Reading Against The Grain
Hence, the chameleonlike changes in his nomenclature and thought can be seen not as the byproduct of methodological sloppinessthough there is perhaps an element of that as wellbut rather as a symptom, or better the sign, of a joyously postmodern celebration of the possibilities inherent in language. Mikhail Bakhtin Though written in the Soviet Union in the 1930s through the 1960s, Mikhail Bakhtin's work in linguistics and poetics did not become known to Western readers until the late 1960sand then through the writing, in part, of Barthes's student, friend, and colleague (fellow semiotician and Tel Quel member) Julia Kristeva who, happily, reads Russian.
The inherent features of carnival that he underscores are its emphatic and purposeful 'heteroglossia' (raznogolosost') and its multiplicity of styles (mnogostil'nost'). Thus, the carnival principle corresponds to and is indeed a part of the novelistic principle itself. . Since the novel represents the very essence of life, it includes the carnivalesque in its properly transformed shape" (R x). Bakhtin begins Rabelais by claiming that Rabelais is "the least popular, the least understood and appreciated" of all great writers of world literature (R 1).
29 Since the modernists were still personae non grata in the Soviet Union during the period Bakhtin was writing the bulk of his work, his argument was necessarily couched in a celebration of the proletariat spirit in Rabelais and Dostoyevskythe anarchic principle of the carnival which, when it came in contact with literary texts, created a new genre: the carnivalized novel. For Bakhtin, the novel and the carnivalesque are almost synonymous. Just as the carnivalesque celebrates the gay relativity of all life, so the novel proclaims the relativity of all "truth," and the inherent fallibility of all discourse.