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Реферат: James Joyce (1882-1941) (Иностранные языки)
Aliona Kolesnik
Form 11-C
James Joyce
(1882-1941)
Joyce, James Augustine Aloysius (1882-1941), Irish novelist and poet,
whose psychological perceptions and innovative literary techniques, as
demonstrated in his epic novel Ulysses, make him one of the most
influential writers of the 20th century. Joyce was born in Dublin on
February 2, 1882, the son of a poverty-stricken civil servant. He was
educated at Jesuit schools, including University College, Dublin. Raised
in the Roman Catholic faith, he broke with the church while he was in
college. In 1904 he left Dublin with Nora Barnacle, a chambermaid whom he
eventually married. They and their two children lived in Trieste, Italy, in
Paris, and in Zurich, Switzerland, meagerly supported by Joyce's jobs as a
language instructor and by gifts from patrons. In 1907 Joyce suffered an
attack of iritis, the first of the severe eye troubles that led to near
blindness. After 20 years in Paris, early in World War II, when the Germans
invaded France, Joyce moved to Zurich, where he died on January 13, 1941.
James Joyce was the first who introduce the psychological
discoveries of S. Freud into fiction. He did not write very much, but what
he wrote was revolutionary. After his first books, “The Dubliners” –
brilliant short stories of simple citizens of Dublin – and “A Portrait of
the Artist as a Young Man” – an auto biographical report of his own youth –
he developed the rest of his own life only to two books. The first,
“Ulysses” , takes us through the idle wanderings of a Dublin Jew, Leopold
Bloom, from the beginning to the end of one single day. The fusion of facts
and feelings, of external events and internal reflections is so
disconcerting that you are often puzzled, sometimes bored and sometimes
left like an idiot. But reading on, you are so inevitably forced into the
dark and mysterious atmosphere of the hero’s life and thoughts that you
cannot evade the singular “streams of consciousness” which to bring forth
is the author’s single aim. Even move complicated and difficult to read is
his second book: “Finnegan’s Wake”, which adds to the day-light of
consciousness the confusing night-dreams of the subconscious, a single
stream of incomprehensible mysteries and visions, floating like broken
fragments of the mind in the vast ocean of the human soul”. – In order to
get a first impression of Joyce’s psychological attempts it is better to
begin with his early autobiographical work, in which the often quoted
“Stream of Consciousness” can already be observed.
Early Works
As an undergraduate Joyce published essays on literature. His first
book, Chamber Music (1907), consists of 36 highly finished love poems,
which reflect the influence of the Elizabethan lyricists and the English
lyric poets of the 1890s. In his second work, Dubliners (1914), a
collection of 15 short stories, Joyce dealt with crucial episodes of
childhood and adolescence and of family and public life in Dublin. His
first long work of fiction, A Portrait of the Artist as a Young Man (1916),
is largely autobiographical, re-creating his youth and home life in the
story of its protagonist, Stephen Dedalus. In this work Joyce made
considerable use of the stream-of-consciousness, or interior-monologue,
technique, a literary device that renders all the thoughts, feelings, and
sensations of a character with scrupulous psychological realism. Another
early work was the play Exiles (1918).
Later Works
Joyce attained international fame with the publication (1922) of
Ulysses, a novel, the themes of which are based on Homer's Odyssey.
Primarily concerned with a 24-hour period in the life of an Irish Jew,
Leopold Bloom, Ulysses describes also the same day in the life of Stephen
Dedalus, and the story reaches its climax in the meeting of the two
characters. The main themes are Bloom's symbolic search for a son and
Dedalus's growing sense of dedication as a writer. Joyce further developed
the stream-of-consciousness technique in this work as a remarkable means of
character portrayal, combining it with the use of mimicry of speech and the
parody of literary styles as an overall literary method. Finnegans Wake
(1939), Joyce's last and most complex work, is an attempt to embody in
fiction a cyclical theory of history. The novel is written in the form of
an interrupted series of dreams during one night in the life of the
character Humphrey Chimpden Earwicker. Symbolizing all humanity, Earwicker,
his family, and his acquaintances blend, as characters do in dreams, with
one another and with various historical and mythical figures. Joyce carried
his linguistic experimentation to its furthest point in Finnegans Wake by
writing English as a composite language based on combinations of parts of
words from various languages. His other late publications include two
collections of verse, Pomes Penyeach (1927) and Collected Poems (1936), and
Stephen Hero, which, although not published until 1944, was an early
version of A Portrait. Joyce employed symbols to create what he called an
“epiphany,” the revelation of certain inner qualities. Thus, the earlier
writings reveal individual moods and characters and the plight of Ireland
and the Irish artist in the early 1900s. The two later works reveal his
characters in all their complexity as artists and lovers and in the various
aspects of their family relationships. Using experimental techniques to
convey the essential nature of realistic situations, Joyce merged in his
greatest works the literary traditions of realism, naturalism, and
symbolism.
P o e m s
All day I hear the noise of waters
Making moan,
Sad as the sea-bird is, when going
Forth alone,
He hears the winds call to the waters,
Monotone.
The grey winds the cold winds are blowing
Where I go.
I hear the noise o»many waters
Far below.
All day, all night I hear them flowing
To and fro.
Весь день я слушал звуки вод.
Их нежный стон,
Как альбатроса грустный зов.
Заворожен,
Парил, как ветер я меж вод
И берегов.
Как хладный ветер, бурый ветер
Над землей
Парил, туманами одет,
Окутан мглой.
Весь день, всю ночь шумели воды
Подо мной.
I hear an army charging upon the land,
And the thunder of horses plunging, foam about their knees:
Arrogant, in black armor, behind them stand,
Disdaining the reins, with fluttering whips, the charioteers.
They cry unto the night their battle-name:
I moan in sleep when I hear afar their whirling laughter.
They cleave the gloom of dreams, a blinding flame,
Clanging, clanging upon the heart as upon an anvil.
They come shaking in triumph their long, green hair:
They come out of the sea, run shouting by the shore.
My heart, have you no wisdom thus to despair?
My love, my love, my love, why have you left me alone?
Я слышу как движется войско лавиной огней,
И кони копытами бьют в ожидании сечи:
Надменные, в толстых кольчугах и ратной броне,
Поводья отбросив, кнутами играют возничие.
Клички коней боевые слетают с их губ:
Слыша безрадостный смех, я рыдаю во сне.
И видений обрывки неистовым пламенем жгут,
И по сердцу колотят, как по наковальне.
Предвкушая триумф, надвигается грозная рать,
С криком витязи мчатся вперед по морским берегам.
О глупое сердце, к чему тебе так тосковать?
О любовь, ты опять оставляешь меня одного!
Крутой маршрут Джеймса Джойса
Рукопись "Улисса" впервые выставлена в Ирландии
КУЛЬТОВЫЕ тексты, как известно, живут своей жизнью, независимо от воли
создавшего их автора. А иногда не только тексты, но и рукописи.
Парадоксально сложилась судьба рукописи, наверное, самого парадоксального
произведения мировой литературы - джойсовского "Улисса". Оригинал этого
романа "одного дня и одного города" (16 июня, Дублин) жители ирландской
столицы получили возможность увидеть впервые только сейчас, и то ненадолго.
Выставка, посвященная Джойсу и его роману, открылась в Дублине в преддверии
"Блумова дня" (названного так по имени одного из главных героев "Улисса") и
продлится до 1 октября. Затем рукопись вернется в США. Парадоксы, связанные
с рукописью "Улисса", начинаются уже при его создании. Ни строчки текста
романа, самым доскональным образом передающего топографию Дублина ("Если
город исчезнет с лица земли, его можно будет восстановить по моей книге", -
сказал как-то Джойс), не было написано в Дублине. Джойс писал "Улисса" в
Триесте, Цюрихе и в Париже, а для точности разных деталей дублинской жизни
(дома, лавки и трактиры с их владельцами, общественные здания) использовал
справочник "Весь Дублин за 1904 год". В 1921 году автор, который в ту пору
сильно бедствовал, продал рукопись "Улисса" за 12 тысяч долларов нью-
йоркскому юристу и меценату Джону Куинну, и с тех пор она не покидала
Америку. Несмотря на то, что после публикации первых эпизодов романа в
журнале "Литл Ривью" Нью-Йоркское общество по искоренению порока заявило
судебный протест и с тех пор вплоть до 1933 года роман был в США запрещен,
а на родине автора, в Ирландии, он был разрешен к публикации лишь в 1960-м.
Впоследствии рукопись романа перекупил американский букинист и коллекционер
Абрахам Розенбах, и с 1924 года она находится в Библиотеке Розенбаха в
Филадельфии. "Нынешняя выставка в Дублине как бы знаменует собой
возвращение на родину романа, являющего собой квинтэссенцию Ирландии", -
говорит директор Библиотеки Розенбаха Дерик Дрегер. Хотя в Ирландии и так
об "Улиссе" не забывают - даже те, кто никогда не читал роман. Каждый год
16 июня по улицам Дублина шествует многотысячная пестрая толпа в костюмах
начала века, повторяя извилистые маршруты Леопольда Блума и Стивена Дедала.
Остается добавить, что Джеймс Джойс - автор не одного только "Улисса".
Получена информация о том, что одно из санкт-петербургских издательств
готовит к изданию самую сложную, непереводимую и не читабельную книгу
мировой литературы - "Поминки по Финнегану". Попытки перевести этот
архитрудный роман предпринимались неоднократно, существуют журнальные
публикации отрывков из "Финнегана", переведенных известным авангардистом
Анри Волохонским. И вот теперь, наконец, до русского читателя, кажется,
дойдет последняя книга Джойса, текст, в России вообще неизвестный. А
недавно вышел первый том нового проекта, задуманного автором первого
полного перевода "Улисса" на русский язык Сергеем Хоружим. В первый том
вошел переработанный вариант "Улисса", во второй планируется включить
другие романы и стихи Джойса, а также - впервые в России - достаточно
полную подборку писем, критических статей и эссе. В том числе и знаменитые
эротические письма, которые Джойс посылал своей жене Норе в период
длительной разлуки. "Большое количество текстов нам приходится переводить,
а все остальное - серьезно перерабатывать. Дело в том, что во всех текстах
Джойса много стилистических и смысловых отсылов к его главным
произведениям, много "подземных слоев", поэтому, чтобы правильно передать
их смысл на другом языке, нужно держать в голове весь творческий космос
Джойса", - рассказывает Сергей Хоружий. Существует грустная поговорка: если
бы ирландцы не пили так много, они завоевали бы мир. Похоже, за них это
сделал Джеймс Джойс.
Реферат на тему: Jealousy as the cause of internal self-destruction in "Kreutzer Sonata" by Leo Tolstoy (Ревность как причина внутреннего самоуничтожения в "Крейцеровой сонате" Льва Толстого)
Jealousy as the cause of internal self-destruction
In “Kreutzer Sonata” by Leo Tolstoy
“Jealousy is a fear of someone else’s
superiority.”
Alexander Dumas
The grand collection of the world literature grows faint from the
vast abundance of numerous approaches to the issue of jealousy and adultery
that have been accumulated throughout centuries by different authors. This
particular topic was used in Greek comedies, Roman tragedies, in writings
of later Romanticists and Realists. However, only in the nineteenth
century when psychology, developed within, the subject of jealousy in
literature that exaggerated love tales turned to deep psychological dramas
with characters soul-searching within the meticulous analysis of events.
One of the most prominent giants in literature Leo Tolstoy was famous for
combining detailed physical description with perceptive psychological
insight. He conveys to a reader the bare human intimacy of gestures, deeds
and thoughts of the jealous psychic soul. His story Kreutzer Sonata
examines the basic drives, emotions and motives of ordinary people
searching for answers to the questions of life. One of them is that
jealousy causes internal self-destruction.
Prior to an analysis of the narrative of the story, where a jealous
husband is presented, the nature of jealousy needs to be illuminated for
the audience. After hearing the various theories on love by his fellow
passengers on a train, an insanely jealous man named Pozdnyshev blurts out
that he killed his wife, whom he suspected of carrying on an affair with a
violinist. Then he reveals the story of how he came to such an extreme
action.
What turned his life into a misery full of disappointment, anger and
itchy craving that ruined his life as well as someone else’s life?
Jealousy. This emotion made his gut ache, his blood boil and his logic
disappear along with common sense. Pozdnyshev took jealousy and cast it
into self-doubt, insecurity and desperation. “During the whole of my
married life I never ceased to be tormented by jealousy,” reveals his
confession. (Tolstoy, p.189)
As Webster’s Dictionary defines it, the word jealous means
“suspiciously watchful; distrustful, or faithless; envious; anxiously
solicitous.”(Outcry magazine, “Making the Most of Jealousy”) All of these
qualities drove the main character to the murder and absolute self-
desecration. His life is wretched, he has no motivating objectives left,
no aspirations to follow, no goals to accomplish. His children are taken
away from him by his sister-in-law, and he is abandoned by the entire
world. In essence “The Kreutzer Sonata” presents a distorted view of love,
especially of sexual experience. Pozdnyshev’s nightmarish, feverish
narrative of his marriage in its later stages intensifies in rage and
intelligence vanishes as a ravaging emotion of jealousy captures the utmost
attention.
Beethoven’s “Kreutzer Sonata” thrusts Pozdnyshev into ultimate degree
of jealousy that drives him to imminent self-destruction and to the villain
murder. Music is the most perfect form of art to grasp jealousy over the
mind. It is detached from the hierarchy of all other arts by not dwelling
above them but by creating its own unique world. Music does not reflect
either ugliness of life or sufferings generated by it. Music, through the
fact of its existence drives off everything that is anxious and annoying.
Music is the rhythm of life, a tender, caring rhythm that banishes any
torment. Indeed, it is not overly complicated to draw a parallel between
music and human emotions in general. Yet, music was the catalyst that
accelerated the breakdown of Pozdnyshev’s marriage. The musical
relationship between Trukhachevskiy and Pozdnyshev’s wife is itself a
sensual, sexual one. The intercourse between piano and violin in
Beethoven’s sonata is suggestive of this – and although there is no notion
of any explicitly physical contact between the two, the contact between
violin and piano, as it is described makes Pozdnyshev’s jealousy look well-
founded.
Pozdnyshev claims that it was just one part of Beethoven’s masterpiece
that propels his suspicion to grow into a firm belief in his wife
infidelity. Psychologists suggest that men react to jealousy with anger
towards their sexual partner and the third party and are more miserable by
sexual impropriety than by mental perfidiousness. Sexual jealousy is the
threat or perceived threat to a relationship between two individuals who
are physically or sexually involved. (Final Exam: Sociobiological Aspects
of Sexual Jealousy) Jealousy and murder grow out of and are really at one
with, the sexual attraction, which brought Pozdnyshev and his wife together
in the first place, and which held their marriage together.
Pozdnyshev accentuates that specifically the first presto of the
“Kreutzer Sonata” is the “exquisite voluptuousness of the senses” and “the
link between them.” (Tolstoy, p. 218) He is not particularly impressed
with the “common and unoriginal andante’ and “the very weak finale.”
However, the first allegro turns out to be an allegation of his wife’s
adultery. What animated slide show is running in Pozdnyshev’s inflamed
imagination when he listens to the piece so masterfully performed by his
wife and Trukhachevsky?
“Kreutzer Sonata” is a very solid, yet unobtrusive piece of music. It
is flowing into the mood, brightens it up and softens down. The first
presto is not long, yet it reflects a sinful abundance of passion. Indeed,
the dialogue of the violin and the piano amazes with its vivacity and
glorification of feelings. It overwhelms and subdues emotions from the
very first loud piano’s accords and violin singing its second part to piano
on the contrary in a tender, twittering tone. Then piano is flying into
crescendo and as if waiting for the imminent amalgamation of two hearts
into sweet harmony of an increasing rhythm, it decides to cease to a
voluptuous retreat. But prior to the immediate withdrawal it sends
sensuous hints of the near victory to the violin. And if though the violin
senses this hesitation it falls into flirting, mischievous playfulness.
The next swift turns into calamity, sweet exhaustion of piano and violin,
when a dialogue of two is almost sound. They are questioning, comforting
each other, and perhaps seeking an answer to “maybe not?” But it does not
last long, because the next accords of piano are assertive and irresistibly
inviting. There is a notion of violin speculations and balance upon a thin
line while making the right decision, but the crowning part of the allegro
is the triumph over obstacles, doubts and moral norms. It is a celebration
of feelings, glory of eroticism and delight of lust.
This professedly was the Pozdnyshev’s vision of the Kreutzer Sonata
and his interpretation of the performance. Was it correct? Tolstoy never
gives any explicit and clear depiction of the alleged affair. However,
very animating and present in Pozdnyshev’s mind, this rendition of music
generated into unrestrained beast of jealousy that drove him gradually yet
inevitably to self-destruction and a murder as a consequence of own moral
degradation.
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