Ulysses의 내면구조 = Inner Structure of Ulysses

다국어 초록 (Multilingual Abstract)

This study has examined the inner sturcture of James Joyce's Ulysses.
Since 1922, the year of the publication of Ulysses, Joyce has been acknowledged as the supreme innovator of modern fiction, the writer who gave the novel a new subject and a new style. The author of Ulysses is not a narrator describing a subject outside himself. He is a recorder of what is sometimes called "the stream of consciousness"-the haphazard progress of reflection, with all its paradoxes, irrelevancies, and abrupt shifts of interest. By this means Joyce made his characters the authors of his work while, as creator of both them and their thoughts, he viewed their actions down the long perspective of history and myth, imposing structure on what, at first, seems merely random.
To create the structural pattern of his works which offers harmony, unity, and dialectical rhythm, Joyce employs various techniques and artistic strategies.
A Portrail's structure is articulated by a complex of echoes, cross-references, repeated phrases, parallels, recurring images and symbols, which reinforce the theme of 'alienation' in this novel. The structure of the novel shows that Joyce is far beyond Stephen.
In Ulysses, Joyce exploits more various techniques and artistic strategies than in his earlier works. By understanding the stylistic framework of discrete episodes within the text we can determine how Joyce formed a unified rhetorical strategy for the entire novel. Local repetition is used for thematic intensification and may affect us subliminally. The book's symbols and literary allusions deepen our sense of the incrustation of his text, its meticulously arranged and richly decorated surface. Selection, foregrounding, perspective, juxtaposition, interpolation, and other devices play as great a part in the transparent narrative at which Joyce aimed as they do in any other form of storytelling. Joyce could boast both of creating a new form of realism, and of ensuring his immortality by the mass of enigmas and puzzles he had put into the novel.
The structure of Ulysses may give some trouble although, determinded, like theme, by the three characters, it falls naturally into three simple parts, the three great blocks of material with which Joyce built his book. However complex the setting, and whatever our consequent expectations, the action of Ulysses is not only simple but archetypal.
Its structure, determined by character and theme, as we have noticed, is also determined by the cooperation of Homer. That there are correspondences with the Homeric epic of Odysseus is, of course not a controversial, since Joyce made this clear from the start. He chose Odysseus as the archetype of his hero, because he too is a kind of everyman. Thus The Odyssey provides a classical model for a writer attempting a modern writer by reason of its form.
Joyce's uniqueness and complexity lie not in his themes or characters, nor in his basic methods of developing them but in his accepting the challenge of an olympian use of chosen methods.