James Augustine Aloysius Joyce


Fundamental theory of literary texts studies text modeling and shifts in the anthropoconceptual space of fictional discourse with regard to language and discursive personality of authors, readers, and texts. It explores the ecology of creative personality and specifics of individual-authorial conception. It examines universality of reading of the mind and considers conceptual systems in literary discourse across literary epochs with a view to identifying their similarities and differences. It studies holistic linguistic-typological features of literary texts from the perspective of language consciousness and creativity of languages and cultures within a unified developmental process.

The language and discursive personality of James Joyce has had great influences on drastic changes in text modeling by breaking the hierarchical narrative macrostructure and making it implicit, by developing continual space of networked conceptualizations rooted in cultural constants, and reemphasizing the role of an interpretive channel that is built into the text model by shrinking the presence of unfolded narrative categories.

Joyce's epiphanic model is integrated into today's literary discourse by epiphanic revelations whose self-similar meaning is multiple and dynamic due to the universal vision of togetherness as a direction of personal growth and change through active networked reading. The harmony of awakening by the triad of the author, the reader, and the text is reached by language consciousness rather than narration. Joyce's view of the evolution of literary language in endless deviations at all linguistic levels makes his language creativity different from other writers of his epoch. His individual-authorial conception is grounded on the matrix of such universal meanings as ACTION, NON-ACTION, UNITY, and NON-UNITY whose vector of togetherness has influences on the direction of their correlations. Joyce overcomes fragmentation by integrating the reader into text comprehension as an active producer of interpreted (inferred) meaning. Joyce's reader participates in the open exchange of experience in literary discourse. The farther the reader is from the moment of text production, the broader is the context of cognitive author-reader-text dialogue. Joyce's language creativity is of the hypertextual nature, since his texts can be read and understood interdynamically, via retrospective and prospective rethinking of his texts that build a rare gem of unified consistent thought and awakened soul. The reader is engaged in breaking the gaps and discontinuities by developing a new practice of revelated reading. The reader is encouraged to bring together the individual-authorial conceptions related to Joyce, including those that he borrowed to support the living and flexible texture of his fictional world (William Shakespeare, Dante, Thomas Moore, and many others), as well as to extend Joyce's innovative language consciousness to the idiostyles that share his priority of language in literary discourse.

The remarkable internal integrity of Joyce's literary discourse is the result of his openness to the world literary discourse. Simultaneity of multidirectional meaning enhances the depths of his fictional world whose deviative forces are capable of invading literary discourse by competing with the world's recognized masterpieces.

Joyce's language creativity is networked at all linguistic levels including a hypertextual one. Joyce creates new intratextual and intertextual meanings by deviations from any norms available to his epoch. His strength lies in his bold preparedness for moving beyond any limits of his epoch's text production, cognition, and interpretation. Joyce's idiostyle is firmly grounded on the best achievements of literary discourse across ages and unique sensitivity to language forms that possess flexible and changing meanings. Joyce's texts are built on gnomon-like and rhizomatic structures that are complicated with each of his new texts.

Joyce has developed a new vision of literary discourse and the role of a leading, epochal writer within its developmental framework. He assumed that leading role and allowed nobody to doubt it by leaving the enigma of «Finnegans Wake», which is still not solved. He considers himself to be a Dedalus of a new fictional world whose ultimate goal is a panepiphanal fictional world rather than conventional narrativity.

Joyce's innovative language creativity deals with: (1) interactive powers of different fictional texts within literary discourse, regardless of the epoch; (2) endless dialogue between writers across cultures and languages in the process of developing fictional discourse through the efforts of change; (3) specifics of literary language that is unlimited and dependent on the will of the writer; (4) the potential of literary language to create shifts in language consciousness based on simultaneity of meaning in new forms, new relationships within individual texts, within the idiostyle beyond individual texts, beyond individual idiostyles in one flow of togetherness experienced by the reader who is built into literary discourse and whose voice can support Joyce's findings by drawing parallels within the framework of experienced literary discourse.

Joyce's language creativity has changed attitudes to literary discourse by calling for a non-linear view of its depths, by enhancing a synthesis of arts, and by exploring the potential of rhizomatic structures grounded on universal human values, thoughts, and beliefs. Joyce's fictional world is integrated into world culture as a powerful source of change that remains to be understood to the full as soon as his «Finnegans Wake» is decoded and the readers undergo their personal change as consumers of epiphanic openness to the world of art which Joyce has so artfully stimulated. For this, Joyce is still waiting.

The present book has shown that everything linked to Joyce's language consciousness and creativity is holistic. For the first time in literary art Joyce has presented his language laboratory and thinking processes to the reader. He is brave to say: take it or leave it! He has shown that there is no straightforwardness in art, for it is continual, flexible, and multiple by nature. It is our spiritual world that we enrich through the revelations of reading.

With Joyce, you never know his limits, as well as those of yourself as a thoughtful and grateful reader. His idea of overall togetherness forms a solid base for our forthgoing movement into the mystery of the language of «Finnegans Wake», which crowns up Joyce's chaosmos in his powerful continuity of an epiphanic pattern.

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