HJS
volume 4, issue 2, 2003-4
NOTES

1. "In Ulysses, if you strip away the technical complexities that envelop it, the surprises of style and the unconventional attitudes that prevail in it, the figures underneath are of a remarkable simplicity, and of the most orthodox comic outline. Indeed it is not so much to say that they are, most of them, walking clichés." This argument is triumphantly shattered when applied to Ulysses. The characters appear as deeper and rounder than in any realistic depiction of character. They are seen from all sides, from their reaction on the surface level, until the deepest level of dream or fantasy. Joyce depicts what lies behind every costume and posture. Despite some basic outlines of their form and individuality, the characters change: they contradict themselves; they fall into discontinuities; they cannot finally be pinned down because they are more complex than appearance may reveal. They appear along with the depth and the complexity of their psychic lives, which presupposes a continual development.

2. Lewis, 6-7. Speaking about self and identity, Lewis recognises that this notion implies on the one hand a fixation upon "something fundamental, quite underneath the flux," but he also adds that "this will in no way prevent my vitality from taking at one time one form, at another another, provided, in spite of these occupations, on the surface, of different units of experience, the range of my sensibility observe the first law of being, namely to maintain its identity." And further on he adds that this "natural matching of opposites within saves a person so constituted from dogmatism and conceit." 


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ALEXANDRA ANYFANTI TIME, SPACE, AND CONSCIOUSNESS IN JAMES JOYCE'S ULYSSES
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