قصص دبلنرز لم تكن مجرد قصص تخص بعض المواقف لمجموعة من الشخصيات ولكنها احتوت على مواضيع تخص المجتمع الايرلندي انذاك وهي قد تكون جذرية أي تمس عمق المجتمع رغبة في تحريره أو تغيره


Catholic agenda


Political and social agenda


وكذلك الماضي والحاضر


________

هذه المجموعة القصصية متكونة من مجموعة قصص منفصلة من وجهات نظر مختلفة


وقد اتجه الكاتب لتفصيل اجزاء المدينة (أي شرح تركيباتها) وتخصيصه للمدينة فقط


حتى يقوم بتعميم مواضيعه على الدولة كلها فتأخذ الطابع العام


وذلك من خلال تصويره الحياة بالتدرج في قصصه فبدأ من الطفولة إلى المراهقة حتى النضوج فالحياة العامة.


ومن هنا يظهر لنا بإن المدينة تنمو وتتطور وهذا يتضح من ناحية الاشخاص الذين يرون القصة من ناحية الموضوع والتقنيات المستخدمة كلها استخدمت لتظهرها بهذا الشكل


(((لو نرجع للسياق التاريخي نجد ان دبلن تأخرت كثيرا في نهضتها عن بقية المدن الأوروبية ولم تتطور ولا ننسى ان توجه الكاتب هو انتقاد الاسباب التي عرقلت نمو المدينة)))


ومن هنا نجد ان الكاتب كان ناقدا للاخلاقيات التي كانت بادية له في المدينة من سكان

· Dubliners is made up of separate stories, offering multiple perspectives.
· Joyce's tendency is to anatomise his city rather than to generalise in broad terms.
· Joyce presents [Dublin] to the indifferent public under four of its aspects: childhood, adolescence, maturity and public life. The stories are arranged in this order.
· So Dublin 'grows up' in Dubliners according to Joyce, and everything in each of the stories, from narrator, to subject, to formal technique, is designed to show its place in this order.
***Joyce was intensely critical of what he saw as the narrow morality of many of its inhabitants.



أكتيفيتي 2 في الكتاب مهم :
يوضح كيف استخدم الراوي وصل للقارئ اللون ودرجة الاضاءة الخاصة بدبلن؟

· Specific shades of light and darkoccur regularly through the story; they create the mood, and formsome of the patterned contraststhat are also a notable feature. The reflected half-lightof the opening helps to establish a religious tone and a heavy, near-death atmosphere.

مجموعة معينة من ظلال النور والعتمة تكررت بانتظام خلال القصة. خلقا جو المدينة. وشكلا تناقضا. فنصف الضوء في البداية ساعدت في ترسيخ الانطباع الديني ومحيط عميق لاقتراب الموت.

· But as the narrator walks afterwards down the alliterative, and allusive, 'sunny side of the street', he muses that it is 'strange'that neither he nor the day is in a 'mourning mood' (p. 4). His feelings are not in line with what seems appropriate - narrator has an oblique, even irreverent relationship to the events he recounts.
·

نلاحظ لاحقا أن الراوي وهو يهبط الشارع المشمس (لاحظ الحناس في نكرار الحرف الاول من العبارة) كان يفكر بان هذا غريب كونه هو اليوم (يوم وفات المحترم جميس) في مزاج صباحي. مشاعره لم تكن مناسبة مع ما يجري ويقول. الراوي يعاني انحرافا وعلاقة لا تتسم بالاحترام للاحداث التي يرويها.


· He tells his tale in the first person (using I), the "I" belongs to a child, a boldly questioning, though also fearful character is discernible from the start. Because our narrator is outside the house, rather than inside, we also know we are not in the hands of a centrally placed narrator, but someone more peripheral instead. The effect seems an unusual or destabilising technique.


الرواية يخبرنا القصة باستخدام الضمير أنا أي أنه متحدث أول وأيضا من يروي القصة هو طفل. اذا فأن الشخصية الوقحة المتسائلة والخائفة قد شكلت لنا منذ البداية. استخدام هذه التقنية تأثيره غير اعتيادي وولد نوعا من الزعزعة.





The three words contribute a great deal to Dublin's 'colour and tone'. The narrator draws further attention to them, relating them to one another.
الراوي الطفل ذكر 3 كلمات الاولى تعتبر موضوع القصة والمجموعة كلها الكلمتين الاخرتين ترمزان للدين ولدبلن الاولى هي 'Paralysis' الشلل والشلل هنا كون المحترم جيمس الذي توفي كان مشلولا.
((ولكن الشلل ايضا يرمز لشلل المدينة بسبب تحكم الكنيسة الكاثوليكية ورغبتها في ان يكون مستقبل كل فرد فيها كاهنا أي لا دعم لان يكون الفرد أي شي اخر مما عرقا نموها ونلاحظ لاحقا ان الطفل كان مستغربا بشعوره بالحرية بعد وفاة هذا الرجل على الرغم انه علمه الكثبر)))
'Simony' It both stresses Joyce's interest in religion in the city, specifically in what happens when the material world collides with the spiritual, and is linked to 'paralysis' by our narrator, as is the final word, 'gnomon', which means the pointer on a sundial.
الكلمة الثانية كما وضحنا معناها ديني ولكن الكاتب استخدمها ليوضح ماذا يحدث حينما يتصادم العالم المادي مع العالم الروحي وهو ما له علاقة بالشلل كما وضح الراوي. وبالمثل بالنسبة للكلمة الاخيرة وتعني مؤشر الساعة الشمسية.

· The narrator is a child - who does not know it all. The name of the youthful narrator is unknown, he himself did not know every relevant detail of the story he tells.The narrator is interested, alert and intensely involved in his story — but he is young, and cannot or will not process all that he feels and sees. He lacks a panoramic vision. The first-person point of view limits the matter of the narrative to what the first-person narrator knows, and our narrator might be described as particularly 'limited' in some ways.
وكما هو واضح ان الراوي الطفل لا يعرف كل شيء أي محدود العلم كما أن اسمه غير معروف. وهو مهتم ومتيقظ ومشترك بقصته ولكنه صغير ولا يستطيع البوح بكل ما يشعر به ويراه (تعبيره غير متمكن وادراكه كذلك) عديم الرؤية الشاملة لما حوله. هذا الرواية المتحدث الاول – جعل القصة محدودة بما يعرفه الراوي فقط.




انتهت القصة الاولى

لا تنسو انه ممكن في بقية الجابرتز هناك معلومات اضافية للقصة


يتبع>>>> سيحدّث

Dubliners: modernity and modernism


مفهوم الحداثة مهم ممكن سؤال عن شرح النص كمودرن او ما هي التقنيات التي جعلت منه كذلك؟



· 'Modernism', as a literary term, became current around the time Dubliners was published to describe new and experimental literature, including that written by Joyce.
· Modernism can also be defined as the aesthetic and cultural reaction to and context of modernity. Modernism and urbanism go together.

الحداثة كمصطلح ادبي وقت نشر دبلنرز ارتبط بالاساليب التجريبية (تعتمد على الابتكار \ابتداع كتقنية كتابية اساسية) وهو ما اتصفت به كتابات جيمس جويس. وتعرف (الحداثة) أيضا كردة فعل جمالية وثقافية في السياق الحداثة. وأتت جنبا لجنب مع حركة التمدن


***Georg Simmel regarded the metropolitan city of the early twentieth century as the site of a new kind of urban consciousness.

يصف المدن العاصمية (بانها نوع من انواع الوعي المتحضر)

· Modern cities offered the ideal situation for the linked figure of the flaneur, literally a stroller, a wanderer, but also an observer.
· This figure was key to the literature of the period Dublin's small scale, the open and public intimacy of its streets, provided Joyce with an arena, in which the flaneur was particularly susceptible to all the visual and aural stimuli the developing city could offer.
· The discourse of modernity often focuses on speed and light and travel,on the technological advances of the early twentieth century.

المدن الحديثة وفرت الحالة المثلى لما يسمى بـ flaneur. ادبيا يعرف بـ المتجول \ التائه والملاحظ. هذه الشخصية كانت مفتاح الادب في هذه الفترة من الزمن. ولان دبلن صغيرة المساحة فان الحياة العامة المفتوحة التواصل في شوارعها زودت الكاتب بميدتكون فيه هذه الشخصية متعرضة للمؤثرات السمعية والبصرية التي يوفرها تطور المدينة . وكان التركيز على السرعة والضوء والترحال

· Joyce designed the stories in Dubliners to reflect the city's wide streets as open locations of financial/social exchange as well as their sometimes intimidating possession by individual characters.

صمم جويس القصص لتعكس شوارع المدينة الواسعة كاماكن مفتوحة للتواصل المالي والاجتماعيز


***Joyce's interest in modernity is clearly signalled in Dubliners.
Added to his choice of an urban theme, and use of the short story genre, aspects of his technique are fundamental and features such as: his experimentation with the mix between realism and symbolism, for example, and the challenge of uncertainty posed by all of the stories in their different ways.

اهتمام جويس بالحداثة واضح في مجموعته القصصة دبلنرز. فبالاضافة لاختياره لموضوع التمدن واستخدامه للقصة القصيرة. ايضا جوانبا من تقنيته التجريبية وخصائصها الهامة مثل الجمع بين الواقعية والرمزية في كتاباته, و تحدي الغموض الناجم عن كل قصصه على اختلاف وسائلها.


**The short story was becoming an increasingly popular genre in the period.The tight focus demanded by a short story made it easier to 'anatomise' a city.
القصة القصيرة كانت ذات شعبية كبير في هذا الوقت (عكس ما كان الاهتمام بالروايات في القرنين السابقين) وهذا ساعد في تجزئي المدينة لتسهل دراستها.



يتبع<<<

From childhood to church: 'An Encounter' and 'Eveline'

موضاعات اساسية مثل الدين والجنس والشلل ظهرت في أكثر من قصة

***Central themes (such as religion, sex and paralysis) emerge in more than one story.

ومن الطفولة في القصة السابقة إلى المراهقة في القصة التالية

(((يرجى الانتباه للمقارنات بين القصص لما فيها من تشابه)))

***from childhood to adolescence in his scheme***



'An Encounter'.

عالم ولد المدرسة : هنا مجلات الاولاد وحكايات الغرب المتوحش كانت ضد صفوف تعلم للاتينية. الثقافة الدنيا والثقافة العليا كانا في صراع هنا. الهروب من عالم الراشدين هنا كان من خلال المشاعر البرية والوقت غير المنظم.
لا تنسو حديث المعلم في الفصل ووصفه للمجلات اتمنى تكونون قارين القصص : )

(A schoolboy world): Boys' magazines, and tales of the 'Wild West' are ranged against the classical Latin to be learned in the classroom. 'Low' and 'high' culture are in active conflict. 'Escape' is key here, from all that the adult world represents into 'wild sensations' and 'chronicles of disorder'

الراوي طفل ولكنه على عكس من الراوية في القصة السابقة لم يستخدم الضمير أنا ولكنه استخدم الضمير نحن. الراوي هنا نصف بريء. والقصة تتعلق بالهروب
· The narrator is clearly a child, therefore, but 'we' is more prevalent than 'I' in the telling of his tale.

· the point of view Joyce has used to tell the story: the narrator's half-innocent, half-knowing 'agitation'





· By the end of 'An Encounter' we have learned more about how Dublin might look and feel from a boy's fleeting perspective; school, or school avoidance, friendship, curiosity, and the unsettling feeling of being out of one's depth, have all featured here.
· 'An Encounter' relates ideas of escape very much to childhood.

____________________________

Eveline

 

الهروب ايضا موضوع في قصة ايفيلين. هنا الطفولة تختفي
(كما وضحنا سابقا تسلل المجموعة القصصية من ناحية أنها تبدأ من الطفولة فالمراهقة فالشباب....)

الراوي هنا ليس متحدث أول مثل القصتين السابقتين ولكنه المتحدث الثالث كأن أحدهم يروي علينا قصة ايفلين وليس ايفلين هي التي تروي القصة

****In 'Eveline' escape is also a theme; Joyce's treatment of childhood is over. He conveys this development formally. The first-person narrator he has used in 'An Encounter' and 'The Sisters' is left behind. 'Eveline' is the shortest story in the collection, and is told using a third-person narrator.

'Eveline' is a good example of Joyce's interest in Dubliners in conveying the inner consciousness of his characters. The third-person narrator tells the story almost entirely from Eveline's point of view; it is her thoughts, feelings and perceptions that we are exposed to.

ايفلين مثال جيد لاهتمام الكاتب في تغطية الوعي الداخلي لشخصياته. الراوي متحدث الثالث روى القصة من وجهة نظر ايفلين \ مشاعرها وافكارها
· A moment of vision or realisation for the protagonist, almost never form a satisfying or neat conclusion. ('Epiphanies')

الابفاني تقنية من تقنيات النص الحديث ايضا وتعني لحظات او رؤية و ادراك للبطل
These are the Dublin inhabitants to whom he is giving a voice, and he does so realistically and without nostalgia for childhood

هؤلاء شخصيات جويس الذين اعطاهم صوتا بواقعية دون الحنين الى الطفولة كما في قصة encounter

· The boys' experience of life is related to Eveline's, through powerlessness and the sense of paralysis.

القصتين متعلقتان ببعضهما من ناحية الضعف والشلل

مثال للبرالزز في ايفلين
· Eveline's silent appeal to God 'to show her what was her duty' (p. 33) is apparently met with paralysis, and she is incapable of speech, sight or movement. In one of Joyce's more cruel descriptions, Eveline is rendered inhuman: 'She set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition' (p. 34).


تعتبر قصة ايفلين كحكاية المرأة

Woman's tale

هذا واضح من خلال ان لها اسما . وهنا ركز الكاتب على الضغط المقام على كاهل الفتيات غير متزوجات في تلك الفترة فالتوقع الاجتماعي والديني ان المراة في موضع ايفلين متوقع منها ان تضحي باي فرصة سعادة من اجل منفعة الاخرين.ف من غير المالوف للبنات الصغيرات في العائلة ان تبقى غير متزوجة لتهتم بالاباء الكبار ومن ثم تشيخ و هي وحيدة



· This is signified by the fact she is given a name. Joyce is most concerned in 'Eveline' with examining the tremendous pressures brought to bear upon unmarried women in Ireland in this period. Through a forceful combination of societal expectations and religious obligations, many women were placed in Eveline's position, expected to sacrifice any chance of happiness for the good of others. It was not uncommon for the youngest daughter in the family to remain unmarried, in order to take care of ageing parents, only to spend her own old age alone.



· In this case, Eveline feels herself further bound by a deathbed promise made to her mother, to keep the family together as long as possible.



دور الكنيسة الكاثوليكية هنا في تقييد عيش المراة كما اشارت له القصة كان بوجود رمزين احدهما لقديس هرب من المدينة والاخر لامرأة نبيلة وقرتها الكنيسة لتضحيتها (اصبحت قديسة)
****The role of the Catholic Church in circumscribing women's lives is subtly signalled in the story.As Eveline glances around the room, her eye passes over the photograph of an unnamed priest, and a print of Blessed Margaret Mary Alacoque.


 (Symbols)
- The priest is notable for the fact that he lived in Melbourne, Australia — one peripheral character, then, who managed an escape from the city.
- The woman, by contrast, was a member of the seventeenth-century nobility, venerated by the Catholic Church because of her life of extreme sacrifice.


مفهوم الشلل ارتبط بجميع القصص فالمدينة على ما يبدو تملك قوة معينة تحد من نشاط الافراد
في ايفلين هي الكنيسة ولعائلة
***The theme of paralysis links many of the stories in Dubliners it has different manifestations. The city as Joyce represents it seems to possess a particular power to limit individual action: ( family and Church tradition),

 

______________________________________________________________________

'Freedoms' of the city and epiphany: The Boarding House'

· The family is the way into the tale. But sex is still for sale - in the house, rather than on the streets.

الاشثمزاز والرعب في القصة ان الام هي التي شجعت ابنتها على الزنى فالام تعاني من مشاكل اخلاقية والمكان بدأت سمعته تفوح . والكاتب مهد لذلك بانه ذكر ان وظيفة مسز موني كانت لحامة وكأنها وضعت ابنتها بولي بمستوى اللحم.

· The horror in this tale is that it is her own daughter whom she effectively encourages into prostitution.

- Mrs Mooney 'dealt with moral problems as a cleaver deals with meat' (p. 58), Joyce writes in a devastating simile, evoking Mrs Mooney's earlier career as a butcher, and placing Polly, the 'meat', on the same level as the goods her mother has previously sold.

تقنية جويس في استدعاء افكار الام هو اكثر تقنياته تعبيرا فقد شملت الام كل اشارات الاحترام الخارجية ولكنها ظهرت كمتآمرة وقاسية والتي أوقعا برجل في الفخ حتى يتزوج من ابنتها غيرآبهة بالحب أو حتى ملاءمته لابنتها وبدلا من توفير الحماية لذريتها نجد الام في هذه القصة هي رئيسة لعائلة مختلة جنسيا (تعاني قلة القوة والشخصية الرجولية) يعني بيوت بدون رجل يحكمها

· Joyce's explicit rendering of Mrs Mooney's thoughts is, perhaps, the most expressive of all his techniques in this story. She embraces all the outward signs of respectability, but is shown to be a conniving and ruthless individual, who actively sets out to trap a husband for her daughter, regardless of love or even suitability.

· Rather than offering protection to her offspring, the mother in this story is head of a disturbing and sexually dysfunctional nuclear family - seemingly experiencing the lack of a strong and positive male character.

***Boarding houses were a significant part of Dublin life.

 

هذا النوع من البيوت الذي كان جزء مهم من الحياة في دبلن هو منزل يكون منزل للعائلة ولكنهم يؤجرون فيه بعض الغرف لعدة ليال

The conclusion of the story: How would you describe what happens to Polly's character as the story comes to a close?

نلاحظ هنا ان الشلل لم يكن موجودا فشخصية بولي تغيرت في النص. تحول بولي الصابر ورؤيتها يظهر معرفتها وقبولها للمكان الذي وجدت فيه في المدينة كيف ان الزواج لا علاقة له بالحب ويمكن ان نرى هنا تقنية ابفاني واضحة. ( فبعد بكائها على السرير وسرحانها في عالم اخر نهضت وكان شيئا لم يكن ومسحت دموعها))

· Paralysis is not uniform in Dubliners: some characters - like Polly-are transformed in this text. Polly's patient transformation, and her 'vision', show her knowledge and acceptance of her place in this city world as Joyce depicts it - where marriage has nothing to do with love. She grows into this world before our eyes.

***We might well identify Polly's experience as an example of the prominent Joycean technique noted earlier, the 'epiphany'. Thistechnique was dedicated to producing moments of intensity and revelation in his characters, often towards the close of the narrative

Joyce worked and played in Dubliners at plotting and characterization, description and dialogue, and (especially) point of view (the technical term for who is telling a story, to whom, and with what limitations).

CONTEXT:

The setting of Dubliners is in and around the city of Dublin, Ireland. It was a kind of third-world nation, really, before the term existed. Though Dublin was a genuinely urban locale, with electric lights and streetcars, competing daily newspapers and even a museum, the city remained fairly unsophisticated at the time when Joyce wrote about it.

In Dubliners, Joyce holds the Roman Catholic Church accountable for the failure of the Irish to advance in step with the rest of Europe. He was particularly bitter about the way in which the Church often recruited intellectuals like himself to serve in the priesthood — rather than encouraging them to use their minds in the service of progress, as doctors, scientists, or engineers.

The Irish Revival, a movement begun in the 1880s to foster understanding and respect for Celtic and Gaelic language and culture, is referred to in Dubliners in "The Dead".

The stories of Dubliners are united by the city itself. The other aspect that unites these disparate works of narrative prose is shared themes. All these stories are united by the ideas that the tales dramatize: paralysis, corruption, and death. Finally, Dubliners begins with a death and ends with a death (in a story titled, logically enough, "The Dead"), with numerous deaths either dramatized or referred to in between.

Dubliners contains fifteen portraits of life in Dublin. Joyce focuses on children and adults who skirt the middle class, such as housemaids, office clerks, music teachers, students, shop girls, swindlers, and out-of-luck businessmen.

In most of the stories, Joyce uses a detached but highly perceptive narrative voice that displays these lives to the reader in precise detail. Rather than present intricate dramas with complex plots, these stories sketch daily situations in which not much seems to happen—a boy visits a bazaar, a woman buys sweets for holiday festivities, a man reunites with an old friend over a few drinks. Though these events may not appear profound, the characters’ intensely personal and often tragic revelations certainly are.

The stories in Dubliners peer into the homes, hearts, and minds of people whose lives connect and intermingle through the shared space and spirit of Dublin. A character from one story will mention the name of a character in another story, and stories often have settings that appear in other stories. Such subtle connections create a sense of shared experience and evoke a map of Dublin life that Joyce would return to again and again in his later works.
____________________________


Themes

The Prison of Routine

Restrictive routines and the repetitive, mundane details of everyday life mark the lives of Joyce’s Dubliners and trap them in circles of frustration, restraint, and violence. Routine affects characters who face difficult predicaments, but it also affects characters who have little open conflict in their lives. The young boy of “An Encounter” yearns for a respite from the rather innocent routine of school, only to find himself sitting in a field listening to a man recycle disturbing thoughts.

The most consistent consequences of following mundane routines are loneliness and unrequited love. In “A Painful Case” Mr. Duffy’s obsession with his predictable life costs him a golden chance at love. Eveline, in the story that shares her name, gives up her chance at love by choosing her familiar life over an unknown adventure, even though her familiar routines are tinged with sadness and abuse. The circularity of these Dubliners’ lives effectively traps them, preventing them from being receptive to new experiences and happiness.


The Desire for Escape

The characters in Dubliners may be citizens of the Irish capital, but many of them long for escape and adventure in other countries. Such longings, however, are never actually realized by the stories’ protagonists. The schoolboy yearning for escape and Wild West excitement in “An Encounter” is relegated to the imagination and to the confines of Dublin, while Eveline’s hopes for a new life in Argentina dissolve on the docks of the city’s river. More often than offering a literal escape from a physical place, the stories tell of opportunities to escape from smaller, more personal restraints. Eveline, for example, seeks release from domestic duties through marriage. Mr. Doran wishes to escape marrying Polly in “A Boarding House,” but he knows he must relent. The impulse to escape from unhappy situations defines Joyce’s Dubliners, as does the inability to actually undertake the process.

The Intersection of Life and Death

Dubliners opens with “The Sisters,” which explores death and the process of remembering the dead, and closes with “The Dead,” which invokes the quiet calm of snow that covers both the dead and the living. These stories bookend the collection and emphasize its consistent focus on the meeting point between life and death. Encounters between the newly dead and the living, such as in “The Sisters” and “A Painful Case,” explicitly explore this meeting point, showing what kind of aftershocks a death can have for the living. Mr. Duffy, for example, reevaluates his life after learning about Mrs. Sinico’s death in “A Painful Case,” while the narrator of “The Sisters” doesn’t know what to feel upon the death of the priest. In other stories, including “Eveline,” “Ivy Day in the Committee Room,” and “The Dead,” memories of the dead haunt the living and color every action. In “Ivy Day,” for example, Parnell hovers in the political talk.

The dead cast a shadow on the present, drawing attention to the mistakes and failures that people make generation after generation. Such overlap underscores Joyce’s interest in life cycles and their repetition, and also his concern about those “living dead” figures like Maria in “Clay” who move through life with little excitement or emotion except in reaction to everyday snags and delays. The monotony of Dublin life leads Dubliners to live in a suspended state between life and death, in which each person has a pulse but is incapable of profound, life-sustaining action.


Paralysis

In most of the stories in Dubliners, a character has a desire, faces obstacles to it, then ultimately relents and suddenly stops all action. These moments of paralysis show the characters’ inability to change their lives and reverse the routines that hamper their wishes. Such immobility fixes the Dubliners in cycles of experience. Eveline freezes like an animal, fearing the possible new experience of life away from home. These moments evoke the theme of death in life as they show characters in a state of inaction and numbness. The opening story introduces this motif through the character of Father Flynn, whose literal paralysis traps him in a state suspended between life and death. Throughout the collection, this stifling state appears as part of daily life in Dublin, which all Dubliners ultimately acknowledge and accept.


Epiphany

Characters in Dubliners experience both great and small revelations in their everyday lives, moments that Joyce himself referred to as “epiphanies,” a word with connotations of religious revelation. These epiphanies do not bring new experiences and the possibility of reform, as one might expect such moments to. Rather, these epiphanies allow characters to better understand their particular circumstances, usually rife with sadness and routine, which they then return to with resignation and frustration. Sometimes epiphanies occur only on the narrative level, serving as signposts to the reader that a story’s character has missed a moment of self-reflection. For example, in “Clay,” during the Halloween game when Maria touches the clay, which signifies an early death, she thinks nothing of it, overlooking a moment that could have revealed something about herself or the people around her. “Eveline,” “A Painful Case,” and “The Dead” all conclude with epiphanies that the characters fully register, yet these epiphanies are tinged with frustration, sadness, and regret. At the end of “The Dead,” Gabriel’s revelation clarifies the connection between the dead and the living, an epiphany that resonates throughout Dubliners as a whole. The epiphany motif highlights the repeated routine of hope and passive acceptance that marks each of these portraits, as well as the general human condition.

Betrayal

Deception, deceit, and treachery scar nearly every relationship in the stories in Dubliners, demonstrating the unease with which people attempt to connect with each other, both platonically and romantically. In “The Boarding House,” Mrs. Mooney traps Mr. Doran into marrying her daughter Polly, and Mr. Doran dreads the union but will meet his obligation to pursue it. In “The Dead,” Gabriel feels betrayed by his wife’s emotional outpouring for a former lover. This feeling evokes not only the sense of displacement and humiliation that all of these Dubliners fear but also the tendency for people to categorize many acts as “betrayal” in order to shift blame from themselves onto others.


Religion

References to priests, religious belief, and spiritual experience appear throughout the stories in Dubliners and ultimately paint an unflattering portrait of religion. In the first story, “The Sisters,” Father Flynn cannot keep a strong grip on the chalice and goes mad in a confessional box. This story marks religion’s first appearance as a haunting but incompetent and dangerous component of Dublin life. The strange man of “An Encounter” wears the same clothing as Father Flynn, connecting his lascivious behavior, however remotely, to the Catholic Church. The presence of so many religious references also suggests that religion traps Dubliners into thinking about their lives after death.





Symbols

Windows

Windows in Dubliners consistently evoke the anticipation of events or encounters that are about to happen. For example, the narrator in “The Sisters” looks into a window each night, waiting for signs of Father Flynn’s death. The suspense for these young boys centers in that space separating the interior life from the exterior life. Windows also mark the threshold between domestic space and the outside world, and through them the characters in Dubliners observe their own lives as well as the lives of others. Both Eveline and Gabriel turn to windows when they reflect on their own situations, both of which center on the relationship between the individual and the individual’s place in a larger context.


Dusk and Nighttime

Joyce’s Dublin is perpetually dark. No streams of sunlight or cheery landscapes illuminate these stories. Instead, a spectrum of grey and black underscores their somber tone. Characters walk through Dublin at dusk, an in-between time that hovers between the activity of day and the stillness of night, and live their most profound moments in the darkness of late hours. These dark backdrops evoke the half-life or in-between state the characters in Dubliners occupy, both physically and emotionally, suggesting the intermingling of life and d eath that marks every story. In this state, life can exist and proceed, but the darkness renders Dubliners’ experiences dire and doomed.

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E303B - UNIT 20

Critical discourse analysis (CDA):

· This approach has been developed by linguists with an interest in the rhetorical potential of texts – the potential of texts to influence societal beliefs, values and expectations.

· It is an approach concerned with the ways in which texts may influence public opinion in relation, for example, to politics, international relations, the economy, religion and the environment.

· Moreover, it is an approach concerned with the potential of texts to shape a society’s more basic beliefs and assumptions about the way the world is and the way it ought to be.

· Much of the research within this critical framework has been directed towards those texts which have the most obvious potential for influencing social attitudes – mass media journalism and the speeches and statements of political leaders. (In exploring the persuasive strategies employed in the texts of politicians and political parties, or the role of the mass media in shaping community attitudes and beliefs).

· This is why the critical approach has been applied to texts from a great diversity of fields including expert and popular science, advertising, public administration, history, economics, education policy, and various types of literature including popular children’s fiction.

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CRITICAL LINGUISTIC APPROACH: SOME KEY CLAIMS AND ASSUMPTIONS

**Ideology**

· At the heart of the critical linguistic approach is the notion of ideology. It is generally used to refer to the notion of world view or value system. It refers to the fact that all speakers and writers necessarily operate with assumptions, beliefs and expectations about the way the world is, and the way it ought to be.


(E.g.: The assumptions and beliefs by which the members of any community develop views)

- what is right and wrong or good and bad

- what is normal or natural human behaviour and what is abnormal or aberrant

- what are the appropriate roles for human individuals to perform according to such factors as their age, gender and education

- what it means to be an integral member of that community

- what it means to be an outsider or an alien.


· These sets of socially-based assumptions and beliefs are termed ideologies and, accordingly, all texts can be seen as ideological in that they are shaped by, reflect, and hence potentially perpetuate, such value systems or ways of thinking .

· Much of critical linguistic work is directed towards relating specific lexicogrammatical features to these underlying world views (or ideologies). Each particular view of the world is most firmly based in what is assumed by the people holding that view to be common knowledge or common sense.

· There are some researchers within critical linguists who reserve the terms ‘ideology’ and ‘ideological’ for a particular type of world view or value system which they see as acting to support or perpetuate social inequality, exploitation, discrimination or oppression.

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