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Dynamic Dialetheia in the "Ithaca" Episode of James Joyce's Ulysses

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Dynamic Dialetheia in the THE RELEVANCE OF ERROR: DYNAMIC DIALETHEIA IN THE "ITHACA" EPISODE OF JAMES JOYCE'S ULYSSES A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts In English University of Regina By Myron Soloduk Regina, Saskatchewan July, 2011 Copyright 2011: Myron Soloduk Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-88531-4 Our file Notre reference ISBN: 978-0-494-88531-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Canada UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Myron Anthony Soloduk, candidate for the degree of Master of Arts in English, has presented a thesis titled, The Relevance of Error: Dynamic Dialetheia in the "Ithaca" Episode of James Joyce's Ulysses, in an oral examination held on June 29, 2011. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: Dr. Bela Szabados, Department of Philosophy & Classics Supervisor: Dr. Marcel DeCoste, Department of English Committee Member: Dr. Noel Chevalier, Luther College Committee Member: Dr. Christian Riegel, Campion College Chair of Defense: Dr. Philip Charrier, Department of History *Not present at defense i ABSTRACT The fundamental observation in this thesis is that error - both on an abstract discursive level, and on an interpersonal level - conveys more information, more directly than a factual exegesis. I contend that we learn more about Bloom by paying attention to how he deviates from proper discursive reasoning, and that the particularity of these deviations reveal the unique personality of Bloom. Further, that there are errors in the application of discourses that stem directly from inconsistencies within the discourses themselves, and that paying attention to these errors reflects a broader sociological point about Dublin life specifically, and the modernizing effects of urban life generally. The notion of parallax, as developed by Hugh Kenner, combined with the philosophical work of Graham Priest on dialetheism provides a conceptual hinge that reconciles conflicting points of view and introduces the term 'dynamic dialetheism' to describe the threefold dynamic between competing ideological discourses and an individual human consciousness. In this schema, error is relevant in that it signals the presence of contradictions in the application of ideological discourses and reveals the unique subjective consciousness of Bloom. This reading embraces the inconsistencies of the text as an expression of the uncertainty the average citizen faces in his phenomenological existence and provides the groundwork for a reimagining of Ulysses as a creative project in its own right, where the novel is an exploration of ways of moving beyond subjective phenomenalism toward public consciousness. ii ACKNOWLEDGEMENTS My achievement with the completion of this study, small as it may be, has come with a greater investment of faith from those around me than is likely deserved. Such gestures can never be well enough articulated. Nonetheless, I here attempt a worthy failure. Preparatory to any thing else I would like to sincerely and wholeheartedly thank Dr. Marcel DeCoste for his patience in what must have, admittedly, at times seemed an exercise in futility. His willingness to supervise my project and endurance in that endeavor is a testament to the depth of his insight and fine skill as a mentor. Though more than a few hairs on my head owe their demise to the most offhanded of his editorial comments, I remain confident I am better without them. As well, more people than can be thanked here have coerced my development. In particular, I would also like to thank my supervisory committee, Dr. Noel Chevalier and Dr. Chris Riegel, for their provocative questions throughout. As well, I would like to thank Dr. Lynn Wells for encouraging me into Graduate School. Without her extending an olive branch in my direction, kind prodding during the admission procedure and helpful advice throughout, I would not have lasted as long as I did. To William Soloduk, Danielle Jeancart, and Mark: without you nothing would be possible. William, your steadfastness and shining exuberance in the face of adversity has provided me with a lasting awe that has informed my work more than I can describe. Danielle, your encouragement throughout the writing process, much needed comic relief, and dozens of small acts of kindness mean more to me than anything. I have cherished all we have shared, and hope for many more evenings in the sun. And Mark, for always being there in a pinch. Thank-you. TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS ii TABLE OF CONTENTS ii INTRODUCTION: ELUSIVE REALITY CHAPTER 1: FROM THE KNOWN TO THE UNKNOWN H 1.1: Encountering Error I. 1.2: In Bloom - Dynamic Dialetheia 21 CHAPTER 2: CONFLICT AND COMPARISON 3 2.1: Formal Dialogue 3! 2.2: Fixiri A Hole 4! 2.3: Right in Two 6 CHAPTER 3: A TANGLE OF HIERARCHIES 6 3.1: This is the End 61 3.2: The World at Large 8 CONCLUSION: RATIONALIZING ERROR 9 WORKS CITED INTRODUCTION ELUSIVE REALITY: Joyce's Realism and the Importance of Error Avoid this error: that so many chances die when the one choice is made: to be! Silk thread, you were drawn into the fabric. Whatever single image you made yourself part of (be it even a moment from a life of torment), feel how the whole carpet is meant, its glorious weave. - Rainer Maria Rilke, Sonnets to Orpheus. Pt II, No. 21 The opposite of every truth is just as true! You see: A truth can be uttered and clad in words only if it is one-sided. One-sided is everything that can be thought with thoughts and said in words - everything one-sided, everything half, everything is devoid of wholeness, of roundness, of oneness. - Hermann Hesse, Siddhartha Searching for unity in Ulysses, critics have tended to view its vast stylistic inventiveness as either an anticipation of post-modern tenets or a critique of "styles and values that Joyce does not sanction - in fact, that he wishes to expose as insufficient or distorting" (Thornton 94). That is, as playful stylistic manipulation without purpose or as a nearly nihilistic effacing of societal norms and values. However, I maintain that Joyce's aesthetic engages many conflicting points of view in an effort to convey a broader, more general sense of reality. The mediating force in this endeavour is error. This is particularly emblematic of the penultimate "Ithaca" episode, where the discourses of theology and science/mathematics are subject to some of Joyce's most radical stylistic constructions. "Ithaca" holds a constant tension between discourses with no promise of reconciliation. Yet, it is precisely in this lack of reconciliation where Joyce's aesthetic technique is at its finest. The juxtaposition of antithetical discourses is exemplary of what Hugh Kenner calls Joyce's charactersitic parallax view that is the presenting of "two different versions ... [that] render one another substantial" (Kenner 75). Each discourse is 2 kept in constant counterpoint to the other and substantiates the errors of the other. By foregrounding this dynamic, the oscillation between perspectives that is the under- remarked heart of "Ithaca"'s technique comes into focus. With the aid of Graham Priest's notion of dialetheism, for which true contradictions are not only possible but are, in certain circumstances, rationally valid, the unresolved tension in "Ithaca" is seen as integral to Joyce's realistic aesthetic in writing Ulysses. Indeed, "Ithaca" reveals Joyce's use of error in fostering a parallax view, pitting form versus content, and characters against the ideologies that influence their lives. This delays the possibility of privileging one over another and suspends judgment so as to make both perspectives integral to each other. To understand "Ithaca", and Ulysses as a whole, is to view the text as an exercise in theoretical pluralism; to do so requires the approach of dynamic dialetheism. This thesis will argue that error is the primary mediating force in "Ithaca" that captures the pluralistic reality of the Dublin metropolis.
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