Ulysses and the Politics of Embodied Space
|Keywords:||喬伊斯;尤利西斯;體感;空間;陽具理體中心主義;異質空間;現代性;日常生活;性感特質;自我;James Joyce;Ulysses;embodiment;space;phallogocentrism;heterotopia;modernity;the everyday;erotogenicity;the ego||Issue Date:||2006||Abstract:||null
This dissertation proposes to read James Joyce’s Ulysses from the perspective of embodied space. Departing from the traditional spatial analysis in Joyce Studies that tends to treat space as a static entity (a building, a street, an area, or a city), this study insists that space should be regarded as production, a conception that highlights the embodied rather than the disembodied aspect of space. This model of disembodied space, which can be traced to the Cartesian dualism of mind/body, can be observed in Ulysses mainly from three aspects: the phallogocentrism of the Martello Tower in “Telemachus”; the alienated modern space of Dublin in “Aeolus”; and the disembodied bodyspace of Gerty MacDowell in “Nausicaa.” In order to subvert these incarnations of disembodied space, Joyce adopts a politics of embodied space in each of the episodes: the inscription of the word “omphalos” in “Telemachus” functions as an embodied spot that undercuts the phallogocentric spatial disposition of the Martello Tower; the embodied practices of everyday life in “Aeolus” deviate from the designated functions of the alienated modern space and open up the possibilities for the urban dwellers to embody modern space otherwise; the eroticisation of Gerty’s body surface through self-commodification in “Nausicaa” perverts the desexualized and disembodied body imaginary of Virgin Mary and the idealized femininity promoted by popular culture. In this way, Ulysses can be regarded as a work of art that defies the Cartesian model of abstract space via a celebration of the material, the everyday, and the bodily.
|Appears in Collections:||外國語文學系|
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