不列颠百科条目：J. Joyce 乔伊斯主要作品、人物

1) Dubliners

short-story collection by James Joyce, written in 1904–07, published in 1914. Three stories he had published under the pseudonym Stephen Dedalus served as the basis for Dubliners. Dubliners has a well-defined structure along with interweaving, recurring symbols. The first three stories, narrated in the first person, portray children; the next four deal with young adults, and, like the remaining stories, are told by a third person, whose tone and sensibility shifts to reflect that of the changing protagonists; the following four stories concern mature life from middle age onward; and the next three, the public life of politics, art, and religion. The 15th and final story, The Dead, is considered not only the jewel of the collection but also a world masterpiece. ——The Dead short story by James Joyce, appearing in 1914 in his collection Dubliners. It is considered his best short work and a masterpiece of modern fiction. The story takes place before, during, and after an evening Christmas party attended by Gabriel and Gretta Conroy and their friends and relatives. It leads gradually to Gabriel’s late-night epiphany about his life and marriage when a tender song reminds Gretta of a boy who died of love for her.

2) A Portrait of the Artist as a Young Man

autobiographical novel by James Joyce, published serially in The Egoist in 1914–15 and in book form in 1916; considered by many the greatest bildungsroman in the English language. The novel portrays the early years of Stephen Dedalus, who later reappeared as one of the main characters in Joyce’s Ulysses (1922). Each of the novel’s five sections is written in a third-person voice that reflects the age and emotional state of its protagonist, from the first childhood memories written in simple childlike language to Stephen’s final decision to leave Dublin for Paris to devote his life to art, written in abstruse Latin-sprinkled stream-of-consciousness prose. The novel’s rich symbolic language and brilliant use of stream of consciousness foreshadowed Joyce’s later work. The work is a drastic revision of an earlier version entitled Stephen Hero and is the second part of Joyce’s cycle of works chronicling the spiritual history of humans from Adam’s Fall through the Redemption. The cycle began with the short-story collection Dubliners (1914) and continued with Ulysses and Finnegans Wake (1939).

—— Stephen Dedalus

fictional character, the protagonist of James Joyce’s autobiographical novel A Portrait of the Artist as a Young Man (1916) and a central character in his novel Ulysses (1922). Joyce gave his hero the surname Dedalus after the mythic craftsman Daedalus, who devised the Labyrinth for King Minos of Crete and who created wings of wax and feathers for himself and his son Icarus. In A Portrait of the Artist, set in Dublin in the late 19th century, Dedalus rebels against what he sees as the pervasive repressive influence of the Roman Catholic Church and the parochial and provincial attitudes of his family and of Ireland itself. He leaves Ireland for France in order to fulfill the artistic promise inherent in his name. In Ulysses Dedalus is once more a searcher, this time for meaning in his past and present life. He symbolizes Telemachus, the son of Ulysses (Odysseus)—here embodied in Leopold Bloom, the universal man.

3) Ulysses

novel by James Joyce, first excerpted in The Little Review in 1918–20, at which time further publication of the book was banned. Ulysses was published in book form in 1922 by Sylvia Beach, the proprietor of the Paris bookstore Shakespeare and Co. There have since been other editions published, but scholars cannot agree on the authenticity of any one of them. An edition published in 1984 that supposedly corrected some 5,000 standing errors generated controversy because of the inclusion by its editors of passages not in the original text and because it allegedly introduced hundreds of new errors. The novel is constructed as a modern parallel to Homer’s Odyssey. All of the action of the novel takes place in Dublin on a single day (June 16, 1904). The three central characters—Stephen Dedalus (the hero of Joyce’s earlier Portrait of the Artist as a Young Man), Leopold Bloom, a Jewish advertising canvasser, and his wife, Molly Bloom—are intended to be modern counterparts of Telemachus, Ulysses (Odysseus), and Penelope, and the events of the novel parallel the major events in Odysseus’s journey home after the Trojan War. The main strength of Ulysses lies in its depth of character portrayal and its breadth of humour. Yet the book is most famous for its use of a variant of the interior monologue known as the stream-of-consciousness technique.

—— Leopold Bloom fictional character, the Odysseus figure whose wanderings through Dublin during one 24-hour period on June 16, 1904, form the central action of James Joyce’s Ulysses (1922). Bloom is curious, decent, pacific, and somewhat timid. Though he never leaves the streets of Dublin, Bloom is a wanderer like the Greek mythological hero Ulysses (Odysseus), to whom he is compared throughout the book. In Stephen Dedalus, who represents both Telemachus and Joyce himself, Bloom finds a surrogate son. Through Joyce’s use of stream of consciousness, the reader knows all of Bloom’s thoughts on that June day. After Bloom’s psychological and literary wanderings, he returns home to his unfaithful wife, Molly, who has spent part of the day in bed with her lover, Blazes Boylan.

—— Molly Bloom one of the three central characters in the novel Ulysses (1922) by James Joyce. The unfaithful wife of Leopold Bloom, Molly makes a derisively mocking parallel to Penelope, the faithful wife of Odysseus (Ulysses) in Homer’s Odyssey. In Episode 18, the last section of the book, Molly (in bed with her husband) engages in a celebrated soliloquy, one of the most famous dramatic monologues in literature.

4) Finnegans Wake experimental novel by James Joyce. Extracts of the work appeared as Work in Progress from 1928 to 1937, and it was published in its entirety as Finnegans Wake in 1939. Plot summary Finnegans Wake is a complex novel that blends the reality of life with a dream world. The motive idea of the novel, inspired by the 18th-century Italian philosopher Giambattista Vico, is that history is cyclical. To demonstrate this, the book ends with the first half of the first sentence of the novel. Thus, the last line is actually part of the first line, and the first line a part of the last line. The plot itself is difficult to follow, as the novel explores a number of fractured story lines. The main tension, however, comes from the juxtaposition of reality and dream, which is achieved through changing characters and settings. The beginning of the book introduces the reader to Mr. and Mrs. Porter, who have three children—Kevin and Jerry (twins) and Issy. The Porters live above a pub in Chapelizod (near Dublin). Once Mr. and Mrs. Porter go to sleep, however, their entire world changes. In the dream world, these characters are given different names. Mr. Porter is Humphrey Chimpden Earwicker (HCE), Mrs. Porter is Anna Livia Plurabelle (ALP), and the boys are Shem the Penman and Shaun the Postman, while Issy remains Issy. HCE plays the archetypal father role and is referred to by a number of variations of the acronym HCE throughout the book. While the exact situation is unclear, it is revealed that HCE has behaved inappropriately in the presence of young girls, for which he feels both innocent and guilty. Rumours are spread about this indiscretion for most of the novel. ALP is representative of the archetypal wife and mother, and it is she who attempts to exonerate HCE. The beginning of the novel also introduces Tim Finnegan, the man named in the novel’s title. Finnegan, a construction worker, died in a workplace accident. At his wake, the strangeness of the story continues: Finnegan’s wife attempts to serve her husband’s corpse as a dish. The novel itself ends with a monologue recited by ALP as she attempts to awaken HCE. Language in Finnegans Wake The novel’s plot is not nearly as complex as the linguistic tactics employed by Joyce. He combined a number of languages and utilized complex sonic implications to create an atmosphere of wordplay and hidden meaning throughout the entirety of Finnegans Wake. Particularly notable are his “thunder words,” words comprising approximately one hundred letters that combine numerous languages. As he had in an earlier work, Ulysses (1922), Joyce drew upon an encyclopaedic range of literary works. His polyglot idiom of puns and portmanteau words was intended to convey the relationship between the conscious and the unconscious while interweaving Irish language and mythology with the languages and mythologies of many other cultures. Impact Finnegans Wake is arguably one of the most complex works of 20th-century English-language fiction. Joyce himself acknowledged the intricate and detailed nature of the novel, and he wrote in 1927 about his creation of it that I am really one of the greatest engineers….I am making an engine with only one wheel. No spokes of course. The wheel is a perfect square.…No, it’s a wheel, I tell the world. And it’s all square. He wanted Finnegans Wake to puzzle critics, and it did. When the novel was first published, it was met with mixed reviews. Some critics saw the novel as unreadable, while others praised Joyce for his ingenuity. Since then, numerous editions have incorporated and otherwise acknowledged corrections made by Joyce in notes and drafts. Despite (or perhaps because of) these corrections, which sometimes do little to change the novel’s comprehensibility, some still believe that the novel holds no merit. However, many scholars consider Finnegans Wake a Modernist landmark and have dedicated large portions of their lives to studying it.