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Copyright by Jasmine Tiffany Mulliken 2011 Copyright by Jasmine Tiffany Mulliken 2011 The Dissertation Committee for Jasmine Tiffany Mulliken certifies that this is the approved version of the following dissertation: From “Disentangling the Subtle Soul” to “Ineluctable Modality”: James Joyce’s Transmodal Techniques Committee: ____________________________________ Alan W. Friedman, Supervisor ____________________________________ Brian A. Bremen ____________________________________ Justin D. Hodgson ____________________________________ Thomas F. Staley ____________________________________ Elliott M. Antokoletz From “Disentangling the Subtle Soul” to “Ineluctable Modality:” James Joyce’s Transmodal Techniques by Jasmine Tiffany Mulliken, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 From “Disentangling the Subtle Soul” to “Ineluctable Modality”: James Joyce’s Transmodal Techniques Jasmine Tiffany Mulliken, Ph.D. The University of Texas at Austin, 2011 Supervisor: Alan W. Friedman This study of James Joyce’s transmodal techniques explores, first, Joyce’s implementation of non-language based media into his works and, second, how digital technologies might assist in identifying and studying these implementations. The first chapter introduces the technique of re-rendering, the artistic practice of drawing out certain characteristics of one medium and, by then depicting those characteristics in a new medium, calling attention to both media and their limitations and potentials. Re-rendering can be content-based or form-based. Joyce employs content- based re-rendering when he alludes to a piece of art in another medium and form-based re-rendering when he superimposes the form of another medium onto his text. The second chapter explores Dubliners as a panoramic catalog of the various aspects involved in re-rendering media. The collection of stories, or the fragmented iv novel, shows synaesthetic characters, characters engaged in repetition and revision, and characters translating art across media by superimposing the forms, materials, and conventions of one medium onto another. Dubliners culminates in the use of coda, a musical structure that commonly finalizes a multi-movement work. The third chapter analyzes of A Portrait of the Artist As a Yong Man, focusing on its protagonist who exhibits synaesthetic qualities and a penchant for repeating phrases. With each repetition he also revises, a practice that foreshadows the form-based re- rendering Joyce employs in Ulysses and Finnegans Wake. The fourth chapter explores the “Sirens” episode of Ulysses. In this episode, Joyce isolates the structure of the musical medium and transfers it to a literary medium. This technique shows his advanced exploration of the effects of one artistic medium on another and exemplifies his innovative technique of re-rendering art forms. Finally, the fifth chapter explores how we might use digital technologies to visualize Joyce’s techniques of re-rendering. Based on these visualizations, we might identify further connections Joyce makes across his works. v Table of Contents List of Figures………………………………………………………………….……….vii Chapter One: Re-rendering: An Introduction to a Theoretical Framework……………………………………………….………1 Chapter Two: “Over and Over” and “Round and Round”: Re-rendering in Dubliners……………………………………………………..…29 Chapter Three: “Re-embodying” the “Subtle Soul”: Revision and Synaesthesia in Stephen Hero and A Portrait of the Artist As a Young Man…………………………………….58 Chapter Four: “Embedded Ore:” “Sirens” As Re-rendering of All Musical Forms……………………………...…83 Chapter Five: Joyce’s Network…………………………………………………………107 Appendices……………………………………………………………………………...127 Appendix A: Mapping Dubliners………………………………………………127 Appendix B: Examples of Distribution and Analysis of Text……………….…128 Appendix C: Musical Allusions in “Sirens”……………………………………129 Appendix D: Character Voices and Musical Notations in “Sirens”……….…..130 Appendix E: “Sirens” and Its Overture……………………………………...….131 References………………………………………………………………………………132 vi List of Figures 1.1: Key signature indicating the key of E flat, in which any B, E, or A note should be played a half step lower than the natural, i.e., B flat, E flat, and A flat……………………………………………………………….…..8 1.2: Time signature of ¾. In a measure in which a quarter note is the standard unit, each measure will contain the rhythmic equivalent of 3 quarter notes……………………………………………………………….....9 1.3: Ulysses 17.808-845, pgs. 566-567…………………………………………………..23 1.4: Finnegans Wake 1.2.44……………………………………………………………...23 1.5: Finnegans Wake 2.2.272…………………………………………………………….24 3.1: A re-alignment of a passage of text, showing overlap of word usage………………80 4.1: A measure, in 4/4, containing four sets of triplets. Each note corresponds to a syllable………………………………………………………………………92 4.2: Three voices simultaneously singing “Simon,” “Lionel,” and “Leopold.”………………………………………………………………………..99 4.3: “Simon,” “Lionel,” and “Leopold” overlaid…….…………………………………..99 4.4: A musical score, representing ten voices, in ¾ time. Tonal designation is arbitrary………………………………………………………………………102 5.1: Distribution of story title references within the text of Dubliners. See digital appendix for color and key……………………………………………………..112 5.2: Route of the narrator in “An Encounter.”………………………………………….115 5.3: Approximate map of the paths walked by Lenehan and Corley and Lenehan alone…………………………………………………………………………….116 5.4: The distribution across Portrait of descriptions of the square ditch, Eileen’s hands, and E.C.’s shawl…………………………………………….…118 5.5: A sample of a spreadsheet depicting the occurrence of “Sirens” overture language in the body of the episode. …………………………………………...123 vii Chapter One Re-rendering: An Introduction to a Theoretical Framework In their introduction to Joyce’s Critical Writings, Ellsworth Mason and Richard Ellmann note that, according to his brother, James Joyce contemplated acting as a career under the stage name Gordon Brown. The name was a tribute to Giordano Bruno, the sixteenth-century philosopher who was burned at the stake for heresy. In a 1903 review of Giordano Bruno, a new biography and explication of his philosophy by J. Lewis McIntyre, Joyce describes Bruno as “[a] Dominican monk, a gipsy professor, a commentator of old philosophies and a deviser of new ones, a playwright, a polemist, a counsel of his own defense, and, finally a martyr burned at the stake” (CW 133). As a multitalented artist himself, Joyce admired Bruno, and, while he apparently never acted as Gordon Brown, he paid tribute to Bruno in his written works. For instance, Joyce makes “gnomon,” one of Bruno’s mathematical interests, a signifier of paramount importance to the young boy in “The Sisters” and, according to David Weir, uses a gnomonic model throughout Dubliners.1 According to Bruno’s theory and definition in his De Triplici Minimo, and as cited in Weir’s article, “[t]he gnomon is that which, added or subtracted, enlarges or diminishes a figure without changing its form” (348), and, Weir argues, Joyce employs characteristics of the gnomonic enlargement and diminution in his 1 See David Weir’s “Gnomon is an Island: Euclid and Bruno in Joyce’s Narrative Practice.” Weir argues that Joyce’s omitting of certain narrative passages creates a kind of structural gnomon. By leaving out Eveline’s actions and thoughts between the apartment and the Wall in “Eveline,” Joyce creates a narrative void that parallels the void in the geometrical gnomon. 1 narrative patterns. Weir thus maintains that Joyce uses “gnomon” not just as an allusion but also as a structural model for his stories. Bruno also appears in both A Portrait of the Artist As a Young Man and Finnegans Wake. In the 24 March diary entry at the end of Portrait, Stephen is at college arguing with Ghezzi: “This time about Bruno the Nolan. Began in Italian and ended in pidgin English. He said Bruno was a terrible heretic. I said he was terribly burned. He agreed to this with some sorrow” (249). In Finnegans Wake, as Mason and Ellmann note, Bruno appears in the name of the booksellers Browne and Nolan.2 A trace of Bruno the Nolan may also appear in Ulysses’s “Brunny Lynam,” the name of the young Belvedere boy whom Father Conmee asks to post his letter. Though not a perfect anagram, the name suggests a mixture of anagrammatic and mathematical processes. For instance, if y=o, “Brunny Lynam” becomes “Brunno Lonam.” Next, in subtracting the shape of “n” from each word, “Brunno Lonam” may become “Bruno Lonan.” If lon=nol (in algebra, the result of values multiplied is the same regardless of their order), then “Bruno Lonan” becomes “Bruno Nolan.” Finally, since “the” is an article denoting a singular noun, we may treat it as a “1,” a number which, when multiplied by any value, equals the multiplier. We may then insert a “the” theoretically without changing the original value, thus “Bruno Nolan” becomes “Bruno the Nolan.” While lacking any concrete scientific proof, this process nevertheless exhibits a unique synthesis of literal and thematic allusion: not only does Joyce invoke the name of the mathematician; he does so through a 2 In the 1591 Latin publication, Bruno identifies himself Iordoni Brvni Nolani. The variation of alphabetic symbols and spelling in translation adds to the malleability of the name as a reference to the person or ideas. 2 mathematical-verbal process that blends literary (via anagram) and mathematical (via
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