The Memory of Text - the Text of Memory: A Study of Selected Works by James Joyce Lukas David Fredrik Becker Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English May 2007 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl,uk BEST COpy AVAILABLE. POOR PRINT QUALITY - 11 - Acknowledgements I wish to thank my supervisor, Dr Richard Brown, for sharing his extensive knowledge, his time, and for providing invaluable advice. I must also express my gratitude to the School of English for granting me a Full Fee Scholarship from 2003 until 2006. A special note of thanks goes to Professor Hans Walter Gabler, who, in the early stages of my work, kindly agreed to read some drafts, and whose encouragement and expertise has always been much appreciated. I am particularly grateful to my colleagues at the Brotherton Library who have all played a part in keeping me sane and fed, especially to Bill, Les, and Mick, for putting up with me during the more difficult times. I am indebted to my parents and to my mother-in-law for their constant support and their willingness to listen. And of course lowe a special debt of gratitude to my wife Elaine. She has always supported me with immense patience, persistence, and serenity. This thesis is dedicated to her. To E-C- .-/ ~ I { - 111 - Abstract This study focuses on the development of memory with regard to the textual evolution of Joyce's works from Dubliners to Ulysses. My hypothesis is centered on the idea that in the Joycean narrative, structures of memory are fabricated as much through aspects relating to textual organisation as to the narrative representation of character consciousness. The basis of my analysis is formed by close readings of a selection of Joyce's works. A critical framework against which to read Joyce's engagement with the "textualisation" of memory processes is provided by some key works associated with the "cultural climate" within which Joyce worked, such as texts by Freud and Bergson. In reviewing the recent critical debate, this study sets out to establish the theoretical setting of the topic and relates it to the practice of textual analysis. My approach throughout chapters two to seven delineates a conceptual framework which differentiates between character memory and textual memory. I consider Joyce's works in tenns of various paradigms of remembering and forgetting through a series of critical readings. The objective is to trace the poetics of memory in Joyce, and to show how processes of recollection and forgetting can be read in terms of writing and of textual production. - IV- Contents Acknowledgements .................................................................................................... ii Abstract ..................................................................................................................... iii Contents .................................................................................................................... iv Abbreviations ........................................................................................................... vi Publications from this thesis .................................................................................. vii Preface ..................................................................................................................... viii Part I: Dubliners, Stephen Hero, and A Portrait ofthe Artist as a Young Man .................................................................................................................... 1 Chapter 1: Modes of memory and narratability .................................................... 1 1.1. The critical context ..................................................................................... 1 1.2. Keywords, patterns, and textual structure: The example of Stephen Dedalus ...................................................................................................... 9 Chapter 2: Memory and crises of the self in Dubliners ....................................... 18 2.1. "Eveline": two versions ofthe self........................................................... 21 2.2. "We cannot give ourselves ... ": Memory and selfhood in "A Painful Case" ....................................................................................................... 30 2.3. "The Boarding House": Confession as a mode of memory ...................... 39 2.4. Memory, gender, and authority in "The Dead" ........................................ 47 Chapter 3: Stephen Hero ........................................................................................ 60 3.1. Instances of recollection: Passivity, fear, and shame ............................... 63 3.2. Habit, nature, and desire ........................................................................... 74 3.3. The epiphanies ......................................................................................... 81 Chapter 4: A Portrait ofthe Artist as a Young Man .............................................. 94 4.1. Repetition and Stephen's memory ............................................................ 94 4.2. The concept of textual memory .............................................................. 110 4.3. Memory as narrative construction: Joyce and Freud .............................. 123 -v- Part II: Ulysses ....................................................................................................... 143 Chapter 5: Stephen, memory, and identity ......................................................... 152 5.1. Memory and Protean selfbood ............................................................... 152 5.2. Memory, haunting, "Nothung!" .............................................................. 170 Chapter 6: Bloom and the model of acoustic memory ....................................... 187 6.1. Bloom and the poetics of sound and memory in "Sirens" ...................... 188 6.2. "Acoustic promnesia" ............................................................................. 196 6.3. The "Sirens" gramophone ...................................................................... 208 Chapter 7: "Penelope" and the writing of memory ........................................... 221 7.1. Textltextum as artefact ........................................................................... 222 7.2. Writing, the histos and memory ............................................................. 232 7.3. The (r)evolving text. ............................................................................... 246 Conclusion .............................................................................................................. 256 N otes ....................................................................................................................... 263 To Chapter 1 ................................................................................................... 263 To Chapter 2................................................................................................... 265 To Chapter 3 ................................................................................................... 272 To Chapter 4 ................................................................................................... 275 To Part IT ........................................................................................................ 279 To Chapter 5 ................................................................................................... 280 To Chapter 6 ................................................................................................... 283 To Chapter 7 ................................................................................................... 288 Bibliography .......................................................................................................... 294 - VI - Abbreviations The following abbreviations, editions, and methods of reference have been used: D Joyce, James, Dubliners, ed. by Hans Walter Gabler with Walter Hettche (New York: Garland, 1993). References to page numbers. SH Joyce, James, Stephen Hero, ed. by John J. Slocum and Herbert Cahoon (Norfolk, Conn.: New Directions, 1963). References to page numbers. Chapter numbers bascd on this edition are given in Roman numerals. P Joyce, James, A Portrait o/the Artist as a Young Man, ed. by Hans Walter Gabler with Walter Hettche (New York: Vintage Books, 1993). References in the form chapter.line number (e.g. P III.135 for Chapter Three, line number 135). U Joyce, James, Ulysses, ed. by Hans Walter Gabler with Wolthard Steppe and Claus Melchior (New York: Vintage Books, 1986). References in the form episode.line number (e.g. U 3.315 for episode three, line number 315). JJA The James Joyce Archive, 63 Vols., ed. by Michael Groden and others (New York and London: Garland Publishing, 1977-1979). Volume numbers, as providcd by Michael Groden in James Joyce's Manuscripts: An Index (New York: Garland, 1980), are given in square brackets. For full publication details, see Bibliography. - Vll- Publications from this thesis An edited extract from Section 4.3. was published in ecloga,