Ulysses: Philosophy or Literature? Interrogating the text through the lens of philosophical nostalgia to identify the Derridian positionality of Joyce’s oeuvre.
| Název práce v češtině: | Ulysses: Filozofie, nebo literatura? Zkoumání textu optikou filozofické nostalgie s cílem identifikovat derridovskou pozici Joyceova díla. |
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| Název v anglickém jazyce: | Ulysses: Philosophy or Literature? Interrogating the text through the lens of philosophical nostalgia to identify the Derridian positionality of Joyce’s oeuvre. |
| Klíčová slova anglicky: | Ulysses, Joyce, Derrida, Hypermnesis, Philosophical nostalgia, philo-literary |
| Akademický rok vypsání: | 2023/2024 |
| Typ práce: | bakalářská práce |
| Jazyk práce: | angličtina |
| Ústav: | Katedra filosofie (24-KF) |
| Vedoucí / školitel: | Mgr. Jakub Marek, Ph.D. |
| Řešitel: | skrytý - zadáno a potvrzeno stud. odd. |
| Datum přihlášení: | 20.03.2024 |
| Datum zadání: | 20.03.2024 |
| Datum potvrzení stud. oddělením: | 24.03.2024 |
| Datum odevzdání elektronické podoby: | 26.04.2024 |
| Oponenti: | Conan Turlough Doyle, M.A., Ph.D. |
| Zásady pro vypracování |
| In Derrida’s 1992 essay ‘Ulysses Gramophone’, Derrida declared that Joyce’s Ulysses can be understood as a Babelian ‘hypermnesic machine’; a text that constitutes not only itself but incorporates predictively all of the ensuing academic discourse that would flow therefrom. As Vichnar (2008) phrases it: “In approaching Joyce’s text… the reader finds it always already supplemented by some “and”… every critical work that unproblematically operates within the syntactic construction of “Joyce and …” re-enacts a gesture already performed by Joyce’s text about which it purports to be” (emphasis added). In this way, Ulysses becomes a text that contains all of thought – past, present and future; each word layered with meaning, double meaning, contrary meaning, prediction, reflection and negation.
If this proposition holds true, then in theory it is possible to interrogate the text using any lens of investigation, chosen at random (in other words, to fill in the blank after ‘Joyce and ____’ in a metaphorical search bar of Joycean scholarship) and successfully identify both Joycean source material and subsequent academic discourse thereon. This dissertation does exactly this, adopting an ‘experimental methodology’ by using a randomly selected (but subsequently justified) ‘variable’ – in this case, the notion of philosophical nostalgia – to ‘fill in the blank’ and thus to test the Derridean proposition of Ulysses’ hypermnesic quality and Vichnar’s assertion of Ulysses as an ‘all-encompassing’ text that anticipates its own interrogation – in all forms – and thus becomes “the sum of all sums” (Derrida, 1992). The choice of philosophical nostalgia in part is selected as the variable of interrogation because it contains within it a multitude of expressions, conceptions and constructions, providing yet richer ground for experimental interrogation. As such, the dissertation explores a varied range of constructions of ‘philosophical nostalgia’ within Joyce’s oeuvre (though primarily Ulysses); including those of Chrostowska, Shultz, Kierkegaard, Jung, Heidegger, Hegel and Camus, as well as exploring notions of linguistic materiality in relation to nostalgia and experiential self. In doing so, the work inevitably encounters questions pertaining to the nature of ‘philosophy’ and ‘literature’ and the legitimacy of distinctions between the two. The dissertation finds that Joyce’s work cannot be considered a work of philosophy merely by virtue of its (exhaustive) detailing of philosophical concepts: to do so would render it merely encyclopaedic in nature. Instead, it is the experimentality of Joyce’s work (particularly linguistic, but also the experiment itself of producing a hypermnesic encyclopaedia of all-encompassment) that allow it to transcend the stricter definitions of either field and become a work that should rightly be consider ‘philo-literary’. |
| Seznam odborné literatury |
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