Radically modern writing in the novel of james joyce content Introduction

Chapter II. The stylistic originality of the novel.
And yet the main theme is Bloom and Fate. Joyce reveals this theme not only by plot collisions, symbolic overtones, but also by the stylistic diversity of each part, each chapter of the novel. The first question that such a feature raises is the question of motivation: for what purpose is this being done? The main plot feature of the novel also passes to the features of the form, the odyssey must also take place with the form. Each episode should become an episode, a link also in this odyssey, should contain some kind of adventure of form. In addition, the diversity of life that Joyce tries to recreate in the novel cannot be conveyed by the monotony of traditional forms. This is how the modernist innovation of the style of this novel is born. What is it?
Each chapter is written in a different style, or rather with a different style predominating. There is no particular reason why this should be so—why one chapter should state the content directly, another through the prism of parody, and a third murmur with a stream of consciousness. There is no particular reason, but one can say that this constant change of point of view diversifies knowledge and allows you to look at the subject with a fresh look from different angles. Try to bend down and look back between your knees from below - you will see the world in a completely different light. Do it on the beach: it's very funny to see people walking upside down. It seems that with every step they release their legs from the glue of gravity, without losing dignity. This trick of changing eyes, changing angles and points of view can be compared to Joyce's new literary technique, with a new twist that makes you see the grass brighter and the world new.[9]
In general, there are three main styles in the novel. This is the "original Joyce": simple, transparent, logical and unhurried. This is the basis of chapter 1 of the first part and chapters 1 and 3 of the second part; transparent, logical, slow passages are found in other chapters. The second style can be called an incomplete, fast, abrupt form of expression, conveying the so -called stream of consciousness or, rather, jumps of consciousness. Examples of this technique can be found throughout most of the chapters, although it is usually only associated with the main characters. It should be noted that it is Joyce who is credited with the artistic development of this technique, which will become popular among other writers of the twentieth century. A kind of third style are parodies of various non-novel forms: newspaper headlines (Part II, Chapter 4), operettas (Part II, Chapter 8), mysteries and farces (Part II, Chapter 12), examination questions and answers on the model of the catechism (Part III, chapter 2). As well as parodies of literary styles and authors: the burlesque narrator of part II, chapter 9, the type of ladies' magazine author in part II, chapter 10, a number of specific authors and literary eras in part II, chapter 11, and the elegantly executed newspaper in part III, chapter 1 .
Let us turn to the origins of the emergence of the stream of consciousness method in the novel. In the "era of classical modernism" time was rethought in literature. Time, ceasing to be historical, became psychological, it began to be conceived as an internal flow. There was a break in the traditional space-time relations in literature and art. Reality itself, having lost its logic and sequence of development, fell apart into fragments, arbitrarily and mosaically matched with each other. These fragments in literary works were ordered only by the consciousness of the character. Traditional classical literature, based on clear cause-and-effect relationships, also created images of logically thinking heroes. But is this how thoughts are born and formed in a person's head? Psychological and physiological discoveries of the 19th-20th centuries showed the associativity, fragmentation and mosaic nature of human thinking. It is this feature, in our opinion, that underlies the “stream of consciousness”. Let's take as an example the "stream of consciousness" or Molly Bloom's internal monologue: "Yes, because it was never like this with him to demand breakfast in bed say a couple of eggs from the hotel itself. to intrigue this old ruin, Mrs. Riordan imagined that it was a matter of a hat with her, and she did not even think of refusing us a penny all for prayers alone for her darling, miser, what world has not seen, pressed herself to spend four pence on methylated spirits, all ears buzzed me about her sores and yes, this eternal chatter about politics and earthquakes and the end of the world, no, first let us have a little fun, God forbid, if all women were like her fought against necklines and swimsuits, which, by the way, no one asked her to wear, I’m sure she has all the piety because. .."[ten]
The stamp of montage is quite evident on Joyce's stream of consciousness. Looking mentally at his own inner speech, each of us admits that, compared with ordinary “external speech” (literary, scientific or any other), this is a more “rarefied” element: it is more scattered and chaotic, and its information content, saturation meaning, coherent ideas - below. On the contrary, if we compare the stream of consciousness with Joyce's "external speech", we will see that it is by no means rarer, but much denser than it, although it imitates the structure of internal speech. Any randomly selected fragment of the “flow” upon closer examination is not striking in any way with chaos, but with a strict, thoroughly thought-out organization. Here, literally every word is strictly subordinated to a complex system of goals: features are revealed, the personal style of the character - the owner of the flow, the main and other themes of this episode are supported, pickups and roll calls are arranged with many near and far places of the novel ... As you can see, this is indeed a flow thoughts, which the author does not share with any punctuation marks, just as he does not share in the head of the heroine. One thought gives birth to the next, one association, one memory clings to another. No grammatical and syntactic alignment.
The principle of "Odyssey" explains the need for a constant change of techniques. Joyce and his critics call this a "scorched earth tactic": with the end of each episode, the author moves away from his technique and never returns to it. Such is the law of the odyssey: its adventures are not repeated, and for Joyce to write two episodes at one reception is exactly the same as for Homer to repeat one song twice. Each new technique exactly corresponds to its episode.
In the episode "Wandering Rocks" there is almost no action, the author makes a "cut" of the cosmos of "Ulysses", showing its inhabitants in different places, but at the same time. For the first time, traditional writing is not enough for Joyce. Mosaics from different places and different characters require special inserts. This is how the leading technique of this episode is born - mimetic, i.e. imitative, real.
In the next episode of Sirens, the main character finds himself in a restaurant where they play music and sing.