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A level Literature- Dubliners CAIE > Critics > Flashcards

Critics Flashcards

1
Q

Mr Casey

A Portrait of the Artist as a Young Man- James Joyce

A

‘No God for Ireland!…We have had too much God in Ireland. Away with God!’

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2
Q

Trevor L. Williams

A

‘there is not a single priest who is not somehow morally and intellectually compromised’

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3
Q

Trevor L. Williams

Joyce’s exile

A

‘Joyce’s self-imposed exile from Dublin was precisely a flight from the ‘net’ of church-state ideology’

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4
Q

Trevor L. Williams

essay intro/conclusion

A

‘Dubliners is a gallery of human wrecks’

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5
Q

Professor Walz

A

‘At the end [of The Dead], Joyce suggests, as he had done in all the stories of public life, that people who live meaningless lives of inactivity are the real dead’

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6
Q

Trevor L. Williams

A

‘Above all, there is paralysis: linguistic, sexual, alcoholic, marital, financial; even history itself seems to have stopped’

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7
Q

Lyons

A

‘The most prevalent disease in Dubliners is alcoholism’

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8
Q

Kane

Grace, Ivy Day, counterparts

A

Gratification from alcohol is ‘illusory, temporary and destructive’

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9
Q

David Lloyd

A

Links the alcoholic excess of Counterparts to the despair of a conquered land – ‘bitterly diagnostic of the paralysis of Irish men in colonial Ireland…which is counterpointed by drinking’

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10
Q

Richard Ellman

on epiphanies

A

‘Joyce’s discovery…was that the ordinary is the extraordinary’

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11
Q

Declan Kiberd

on Araby epiphany

A

“sight has been replaced by insight or inner vision”

    • because the ‘light was out’ when the boy has his moment of realisation (inversion of traditional light symbolism)
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12
Q

Garry Leonard

A

Joyce ‘privileges the notion of an “epiphany” as the primary aesthetic building block of his stories’

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13
Q

Garry Leonard

A

‘The Joycean epiphany does not so much confirm a truth as disrupt what one had grown comfortable accepting as true’

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14
Q

M. Pilar Sanchez Calle

A

‘Although the portrayal of women is complex, a masculine point of view prevails throughout this work’

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15
Q

Suzette Henke

on Mrs Kearney’s victimisation

A

She is a ‘victim of her greed and frustration’ but also of a ‘male dominated power structure of bourgeoisie impresarios who control Dublin culture’

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16
Q

Erica Gregory

gender

A

‘Joyce strives to provide a female perspective of marriage that is often lacking in the male-dominated Ireland’

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17
Q

Trevor L. Williams

joyces delay of marriage

A

Marriage was a ‘legal apparatus embodying for him both state power and religious oppression’ - refused to marry Nora for 27 years

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18
Q

Shelia C. Conboy

A

‘Dubliners shows the female body objectified and mystified by the male gaze’

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19
Q

Sheila C. Conboy

The Dead

A

‘When Gabriel’s desire for his wife is interrupted by her memories of a dead lover, his objectification of her is shattered’

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20
Q

Trevor L. Williams

A

In Dubliners, marriage is seen as a ‘much more elevated state of ownership’

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21
Q

Jeri Johnson

on Eveline

A

‘a nuanced depiction of one steeped in competing codes of femininity…dutiful daughter, battered woman, (failed) romantic heroine’

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22
Q

Margaret Church

A

The failure of Dubliners ‘lies in the inability of modern man to assume fatherhood, either in image or in person’

23
Q

Theo Q. Dombroski

A

‘the nature of a character’s relationship with his family often reflects the nature of his spiritual failure’

24
Q

Seamus Deane

on james joyce

A

‘Wherever he looked, in Irish political or literary history, he found there the master-theme was betrayal’

25
Q

Seamus Deane

on Joyce’s relationship with Ireland

A

Joyce was ‘formed by the Ireland he repudiated’

26
Q

Katherine Mullin

on Eveline and anti-emigration propaganda

A

Eveline ‘masquerades as a simple anti-emigration propagandist fiction’, like much of what was published in The Irish Homestead in which Eveline was first published, but it actually ‘interrogates the terms and functions of the nationalist propaganda it supposedly embodies’

27
Q

Garry Leonard

on anti-emigration stories

A

Joyce ‘works within the formula of the anti-emigration story and uses it to show that people stay where they are in Dublin not because they discover the wisdom of doing so but because they are trapped’

28
Q

Stephen Hero

incomplete james joyce novel

A

Literature should be free from ‘missionary intention’ - links to Gabriel’s idea that ‘Literature was above politics’ and to the idea that Joyce leaves gaps in his stories perhaps for the reader to draw their own conclusions, rather than Joyce giving them all the answers

29
Q

Frank O’Connor

on the ordering of the stories

A

First few stories are ‘sketches’
Middle = ‘very harsh naturalistic stories about Dublin middle class life’
Final stories are stylistic and symbolic representations of a complex reality

30
Q

Peter Costello

on the ordering of the stories

A

Argued that the stories were arranged to represent the passage into experience and maturity

31
Q

Colin MacCabe

on the ordering of the stories

A

Argued that there was no overriding order to the stories in Dubliners from which meaning could be derived – instead he saw them as hybrid narratives

32
Q

William V. Davis

on the changes in narrative perspective

A

Argues that the more expansive and less singular points of view in the later stories reflect the reduction of paralysis

33
Q

Garry Leonard

on structure of the stories

A

‘they begin in the middle of something and stop unexpectedly with what may or may not be a new beginning’

‘they stop without appearing to have ended’

34
Q

Garry Leonard

on Joyce’s detail/realism/naturalism

A

‘never before has a writer used so much detail to explain so little’

‘the ordinary is elevated to the level of the epic’

35
Q

Garry Leonard

on Joyce’s choice of narrative perspective

A

‘Joyce refuses to be an omniscient narrator because the twentieth century is anything but an Age of Faith’

36
Q

Garry Leonard

on Joyce’s perspective in Clay

A

‘by constricting the scope of the narrative in exactly the same way Maria constricts her point of view, we are able to sympathise with Maria in this moment’

‘every person in the room…works to preserve her delusions’

37
Q

Garry Leonard

on the silences of The Sisters

A

‘it seemed more gaps than substance’

38
Q

Garry Leonard

on how the stories communicate significance

A

‘the stories communicate significance through what the characters know or wish to know, but also what they are unable to see or are afraid to feel’

39
Q

Garry Leonard

on Little Chandler’s use of fantasy (a little cloud)

A

‘Like the narrator of Araby or Maria in Clay, Little Chandler uses almost constant fantasy to insulate himself from the reality of his life as he is living it’

40
Q

Joyce

A

wanted to hold up a ‘nicely polished looking glass’ to the people in Dublin

41
Q

Joyce

on the title and paralysis

A

‘I call the series Dubliners to betray the soul of that hemiplegia or paralysis which many consider a city’

42
Q

One of Joyce’s aims

A

‘to write a chapter of the moral history of my country’

43
Q

Joyce

disgust at the over-romanticising of Ireland/religion

A

‘I am nauseated by their lying drivel about pure men and pure women and spiritual love forever: blatant lying in the face of truth’

44
Q

Wallace Gray

existentialism

A

“we live in a world that offers no meaning or purpose to existence, one in which we feel alienated from the self and others, in which there are no clear moral standards”

45
Q

Wallace Gray

free indirect discourse

A

“the character “infects” the prose style of the writer”

46
Q

Wallace Gray

effects of chiasmus

A

“Joyce achieves a number of effects through the extensive chiasmus … he provided the incantatory effect of the kind of intonations of chants one would hear in Church. The effect is also numbing”

47
Q

Wallace Gray

chiasmus/repetition to show paralysis

A

“the sense of a lack of forward movement, of a passage turning in on itself in repetitive images, the essence of paralysis”

48
Q

Herring

triteness

A

“Questing characters in Dubliners are frequently assaulted by something I call a “tyranny of triteness,”

49
Q

Herring

A

“the author need not fear censorship because libelous thoughts are in the reader’s mind, not in the text”

50
Q

Herring

paralysis

A

“centuries of political and religious oppression had caused a general paralysis of mind and will”

51
Q

Riquelme

A

“Joyce can include the psychological within a physical description”

52
Q

Norris

on Clay’s Maria

A

“the “old maid”: a figure who seems to lack everything and therefore embodies total desire”

53
Q

Homi Bhabha

araby

A

“orientalism is…the site of dreams, images, fantasies, myths”

54
Q

Vincent J Cheng

araby

A

The adolescent male desire for a feminine Other

A level Literature- Dubliners CAIE (1 decks)

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