The Forlorn Loves in Joyce's novel, Ulysses
Greek has words for four kinds of love: agape, or spiritual love; storge, or familial love; the love between friends, or philia; and sexual love, the familiar eros. All four figure in Joyce's novel Ulysses, yet all eventually evade the two male protagonists, Stephen Dedalus and Leopold Bloom: Ulysses proves ultimately to be a love-less work.
Agape -- spiritual love, the charitable love among coreligionists or between Man and God -- seems sure to appear, given Ulysses' protagonists' backgrounds and the host of Christian symbols that flock about them. Yet Stephen Dedalus is torn with doubt in his Catholicism, and we find in the course of the novel that Bloom renounced his Judaism, first to convert to Protestantism with his father and then, conveniently, to convert to Catholicism to marry Molly: both have fallen from their original faith. Within two paragraphs of Ulysses' opening we see a mock Mass -- "Introibo ad altare Dei" (p. 3) -- and hear the lurking Stephen scornfully called a "fearful jesuit" by mocking Mulligan. Stephen is certainly no recipient of agape here! Interestingly, Simon Dedalus identifies Mulligan as Stephen's "fidus Achates" (p. 73), a glancing Virgil image to set Stephen up as "pius Aeneas", "pious Aeneas", Virgil's hero of proper behavior to gods and men. But, as we see, home-stealing, ever-jeering Mulligan is no more "fidus" than whoring, drunken Stephen is "pius".
Stephen Dedalus is a prolix speaker, an engaging theorist and theologian, well versed in ecclesiastical history, particularly in the Church's early heresies. Yet, for all his knowledge and cogent arguments, he shows little inclination for belief. His arguments on ...
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...9), yet that is exactly what Bloom does -- kiss her buttocks, the most anonymous and androgynous part of her body.
In fact, Molly's final thoughts in Ulysses only underscore the lack of eros that has afflicted Bloom throughout the book. She begins to menstruate ("this bloody pest of a thing" (p. 642)) even as she considers trying to re-establish sexual relations, and moves in her thoughts to their tryst on Howth Hill -- the same rendezvous Bloom has recalled so fondly before. Yet, like all too many of the happy occasions in Ulysses, this one is in the past, dead and gone. Indeed, the book ends in Molly's "yes I said yes I will Yes." (p. 644), but the "Yes" is in the past, only another sad comment on Bloom's lack of love. Love is a thing of the past, dreams are sick counterfeits and cheats: agape, storge, philia, eros, the four loves, are forlorn.
...hat take place regarding health policy. Primary care reform is taking place across country. (Krieger, 2013).Canada is working towards integrating nurse practitioners in all provinces which may help lower wait times (Johnson & Stoskopf, 2010).
Ulysses Mcgill has to deal with many different and serious conflicts, both internally and externally.First, Ulysses must decide if he should pull over the car to hear the Sirens, even though he is already on the run and the police must be close. Second, Ulysses’ conflict with society is that, as a married husband on the run from the law, women, no matter how beautiful their voices may be, should not be on his mind. Lastly, Ulysses loses his compadre, Pete, has disappeared without a trace, leaving only a toad and his clothes in his wake. His conflicts within himself are not only affecting him within his own mind, but his behavior toward others are changed as well.
In “What lips my lips have kissed, and where, and why” Millay reminisces back to a time when she had one lover after another. She cries because she lost them all and instead of opening her heart to them and offering her love she remained closed off and simply enjoyed the physical connections. Edna St. Vincent Millay may have imagined a speaker for this poem but she makes it seem as if it is coming from her own personal experiences. Daniel Mark Epstein says that “the truth about her personal affairs was scarcely less fantastic than the rampant speculations; even now, historians find it difficult to separate Millay rumor from Millay fact.” The speaker is obviously at an older age now, and feels as if her youth was wasted. “What lips my lips have kissed, and where, and why, I have forgotten,” is the first line in Millay’s sonnet. This line sets the tone and theme of the poem right away. She has been with many men in her younger years. Night after night, she remembers kissing them and being with them, but she admits to forgetting names, faces, locations, and even reason be...
Gelfant, Blanche H. "The Forgotten Reaping Hook: Sex in My Antonia." Bloom's Modern Critical Views, 103-123.
Francis of Assisi is one of the most influential personalities in the entire world. In the book ‘Francis of Assisi: Performing the Gospel Life,’ Cunningham recounts the life of this humble monk who lived in the medieval times, and shaped the Christian life, which spread in Western culture throughout the rest of history. I believe Cunningham accurately accounts for the life of Francis of Assisi, and in doing so; he provides a trajectory of the Christian faith from its early and historical proponents through its fusion with western culture, and its subsequent spread throughout the world.
Janz, K. N., Majahid, S. M., Hawley, T. S., Griggs, J. J., Hamilton, S. A., Katz, J. S. (2008). Racial/ethnic differences in adequacy of information and support for women with breast cancer. American Cancer Society, 113, 1058-67.
Cold Spring Harbor Laboratory (2005). Genes to Cognition Online: Broca's Area. Retrieved May 23, 2014, from http://www.g2conline.org/2022
Love is often misconstrued as an overwhelming force that characters have very little control over, but only because it is often mistaken for the sum of infatuation and greed. Love and greed tread a blurred line, with grey areas such as lust. In simplest terms, love is selfless and greed is selfish. From the agglomeration of mythological tales, people deduce that love overpowers characters, even that it drives them mad. However, they would be wrong as they would not have analyzed the instances in depth to discern whether or not the said instance revolves around true love. Alone, true love help characters to act with sound reasoning and logic, as shown by the tales of Zeus with his lovers Io and Europa in Edith Hamilton’s Mythology.
Umberson, D., Liu, H., & Powers, D. (2009). Marital Status, Marital Transitions, and Body Weight. Journal of Health and Social Behavior, 50(3), 327-343. Retrieved from http://search.proquest.com/docview/61743878?accountid=9840
Vespucci was “introduced to lively Florentine cultural societies of the renaissance” (Masini, 1998, p. 5)
Search for Meaning in James Joyce's Dubliners Throughout Dubliners James Joyce deliberately effaces the traditional markers of the short story: causality, closure, etc. In doing so, "the novel continually offers up texts which mark their own complexity by highlighting the very thing which traditional realism seeks to conceal: the artifice and insufficiency inherent in a writer's attempt to represent reality.(Seidel 31)" By refusing to take a reductive approach towards the world(s) he presents on the page - to offer up "meaning" or "ending" - Joyce moves the reader into complex and unsettling epistemological and ontological realms. Meaning is no longer unitary and prescriptive, the author will not reveal (read impose) what the story "means" at its close and therefore we can't definitively "know" anything about it. Instead, meaning, like modernism, engenders its own multiplicity in Joyce's works, diffuses into something necessarily plural: meanings. An ontological crisis is inextricable from this crisis of meaning and representation.
The ending of the story is almost as ambiguous as its back-and-forth treatment of religion and romance. It is not clear exactly what he has realized, nor is it clear whether there is a clear distinction between what is religious and what is romantic, between what is sacred and divine and what is worldly and base. But perhaps Joyce, in whom these two elements were equally confused, would have wanted it that way.
...s distributed in Theology 101 at the University of Notre Dame, Fremantle on 22 April 2008.
In that moment, James Joyce wrote this story in relation to his life. For example, James was married to Nora Barnacle, but had an affair with Kitty O’Shea. Much like in the story, Gabriel was married to Gretta but sent out flirtatious remarks to Lily. He might have felt disconnected with Nora, in which he thought to make Gabriel and Gretta disconnected too, considering her heart belonged to someone else. It was no secret that Gretta and Gabriel were just not in love, totally isolated from one another.
To me, Ulysses was a necessary evil, in that I thought that I would not be able to call myself a literature student unless I had read the entire novel. While my journey through Ulysses was laden with moments of bewilderment, exasperation, and self-pity, I was able to power my way through the novel with a deeper appreciation for the way James Joyce was able to create a linear story told through a series of non-linear writing styles. In retrospect, the grueling challenge of reading Ulysses made me a better student, in that I was able to grow as a reader by adjusting myself to Joyce’s train-of-thought writing style, and that I could add Ulysses to my personal canon of academic literature.