Nous devons ces résumés et ressources à l'amabilité sans bornes de divers collègues de France et de ci-mer. - Jean-S. Sahaï, webmaster, PLP HC au Lycée Caraïbes, Guadeloupe. Mail: > Un peu de solidarité dans ce concours de "dingues", c'est vraiment bienvenu... Tous dans la même barge, n'est-ce pas ? J'ai rencontré ce petit site sur Dubliners de James Joyce ( voir plus bas 1) , et cet autre sur le film (2)... Maintenant que me voici vétéran de l'agreg externe, je crois plus en ce partage... Bonne chance à tous ! ÖF. CONCEPT OF PARALYSIS The central facet of Joyce‰s view of Dublin as a city is narrated from the perspective of a child, and dwells on the formative experience of childhood, a theme which is continued in the three stories following The Sisters. First setting of the theme of death. Ambiguities also suggest multiple perspectives in that the priest means different things to different characters. To the church, Flynn might be a failure, but to the boy he represents a world of knowledge and authority. The priest‰s character and history are revealed through various perspectives Ö from the boy, from his uncle and Cotter in conversation, from dreams, from the death notice, and from Eliza and the boy‰s aunt. ‹Every night as I gazed up at the window I said softly to myself the world paralysis. [á] It sounded to me like the name of some maleficent and sinful being.þ ‹I felt even annoyed at discovering in myself a sensation of freedom as if I had been freed from something by his death.þ ESCAPE THEME Escape and Alcoholism in James Joyce's Dubliners, A Review of Modern Literature, English 389 : "Escape is the major theme the students of English 389 found in James Joyce's Dubliners. Escape takes forms ranging from physical flight to spiritual transcendence. This issue will particularly examine flight through alcohol among the Irish citizens. The students examine the incidents of escape but also the mental and emotional framework which drives the need for physical or spiritual exile..." (1) Jorge Carrasco's research paper - desde Valencia, España ¡ sabrosissime ! "I will try to study the book Dubliners. My interest in the book consists in the narrative structure of the shorts stories and in the predominant marks or themes such as: alcohol, close society, religion... "I would like tambien to explore the beginnings of the stream of consciousness, that later was developed in A Portrait of the Artist as a Young Man or in Ulysses. It is also interesting to study the strange endings of the stories, in which we can find an Epiphany. "Finalmente I will talk about the relation between the tale The Dead and the film directed by John Huston, based on the story of James Joyce... (...) EPIPHANY THEME from THIS GOOD SITE Joyce made epiphanies popular with Dubliners. The characters of Dubliners are exposed to great moments of self-awareness or awareness of the environment which surrounds them. Joyce adapted the word "epiphany" from the religious term referring to the revelation of the infant Jesus to Magi. Joyce definition of the term is thus: "an epiphany... meant a sudden spiritual manifestation, whether in the vulgar speech or of gesture or in a memorable phrase of the mind itself". Joyce used epiphanies symbolically to reveal the paralysis the city holds upon its inhabitants.Ê Epiphanies are also used to reveal of shortcoming of these inhabitants. You really can't blame all your faults on something else, can you? AMBITION THEME The Sisters Father Flynn had hopes for the boy : "they said he had a great wish for him" An Encounter Mrs Dillon goes to mass at the Jesuit's church socially ambitious (intellectual order) Boys go to Belvedere College (Jesuit day school , not National School) Æ unsuitable for the middle class. After the Race Jimmy's father sends him to England to get a good education. Clay Song sung by Maria "I dreamt that I dwelt" Æ nobly born heroine kidnapped by gypsies, dreams of luxury, to which she is restored in the end. A Mother "had been educated in a high-class convent where she had learned French and music" in order to obtain a "good" husband. Finds them too ordinary therefore opts for petit(bourgeois security. The mother has ambitions for her daughter. Uses the Irish Revival, takes advantage of her daughter's name (Kathleen traditional figure in Ireland)

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The Sisters The first half of this story is set in the home of the boy-narrator, who lives with his aunt and uncle. The story begins with the boy pondering the impending death of the priest. When he arrives home, he is told that the priest has died. This conversation contains some veiled criticisms and suspicions of the priest, and of his influence on the boy. Old Cotter : ‹I wouldn‰t like children of mine á to have much to say to a man like that.þ The second half of the story is set in the home of Flynn‰s two sisters. Eliza is portrayed in a somewhat comic role. Her language is often made up of malapropism and puns. It could be argued that her role in the story is the most important since it allows us to see the story parodying religious attitudes and beliefs. The sisters - a class presentation : "The Sisters" raises the issue of the (un)reliablity of language in its attempt to order the world... Sisters : listen to a recording of Frank McCourt reading the complete story at Salon Audio. An Encounter In the first part, the boy-narrator and his friends are excited by stories of the Wild West and are inspired to play out and dream of their own adventures. The second part of the story follows the adventure of the narrator and Mahony, who meet on a bridge over the Royal Canal in the north of the city. The third part of the story takes place in the field when a man approaches them. The narrator suspects the man, of being strange, for the man talks of ‹how all girls were not so good as they seemed to be if only one knewþ. The man does something at the end of the field. The narrator will not look at what he is doing, even though Mahony expresses surprise and calls the old man ‹a queer old josserþ. He is presumably masturbating, although we have no way of knowing. On the one hand, the language used by the narrator adopts the slang and the vocabulary of an adolescent boy, but there are occasional suggestions that the story might be narrated by an older man reflecting on his boyhood. The old man ‹wore what we used to call a jerry hatþ. An Encounter deals with the passage from childhood to adulthood, from innocence to experience. The narrator and Mahony are on the brink of the adult world, evident in the way that they maintain a form of polite adult conversation with the old man. Religious significance : suggestion in the word josser that the old man is also a priest. ‹Real adventures, I reflected, do not happen to people who remain at home : they must be sought abroadþ. Araby The narrator of the story is a boy infatuated with the sister of a friend, Mangan. One day, she asks him if he is going to the Araby bazaar, and explains that she cannot go as she is obliged to go to a retreat run by her convent. The narrator promises to go and bring her something as a gift from the bazaar. Language of adoration and romance : ‹sensationþ, ‹my heartþ, ‹my bosomþ, and allusions to the romanticism of Arabia. It is contrasted with the language of materialism and money : ‹marketingþ, ‹bargainingþ and ‹shop-boysþ. In the bazaar, he finds a world of trade, commerce and vulgarity, devoid of romance; rather than a celebration of everything exotic, sensuous and romantic which he expects to find. In Araby, the narrator finds that the pursuit of the ideal of love is nothing but vanity. The narrator realises that desire can be illusory, and that not everything that looks or sounds exotic and romantic proves to be the real thing. ‹My body was like a harp and her words and gestures were like fingers running upon the wiresþ ‹Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.þ Eveline It deals with a young woman caught between the obligation to look after her father and the chance to escape to a new life with her boyfriend, the sailor, Frank. At home she faces the prospect of her father‰s violence. There is the suggestion that this might involve sexual abuse, as a distinction is made between the way her father ‹used to go for Harry and Ernestþ, her brothers, and how he threatens to go for her ‹because she was a girlþ. She remains trapped in her old life, caught in the paralysis of the city. Eveline desires escape from the oppressive, paralysed atmosphere of Dublin. Eveline is presented with the opportunity to realise the dream which the boy in The Sisters has of Persia, the boy in An Encounter has of the Wild West, and the boy in Araby has of the Orient. Joyce focuses more attention in this story on social environment and economic conditions. Her environment has sapped her strength, her fortitude, and turns her into the ‹helpless animalþ which we see at the end of the story. In the dichotomy between the known, parochial world of Dublin and the unknown exotic world of Buenos Aires, Eveline makes a choice to stay with the community which she knows. ‹Her distress awoke a nausea in her body and she kept moving her lips in silent fervent prayer.þ Une traduction de Eveline en ligne THE PARALYZING DUST OF A YOUNG WOMAN "Eveline has become my favorite story from Dubliners due to the numbing fear Eveline has incurred. Her city has suffocated her into her own paralysis, keeping her locked up in dust."... Au c¹ur, au sein de la femme in... EVELINE DE JOYCE, Elizabeth Reegan de John McGahern dans The Barrack...   par Alain Blayac  (Université Paul Valéry-Montpellier 3) Texte complet Dans "Eveline", comme dons The Barracks, tous les détails du texte ramènent à la famine Ö ou, plus exactement, à son centre, le coeur (qui, par un effet d'ironie tragique propre à la partie contemporaine du roman, devient le sein d'Elizabeth). Dans le paragraphe qui ouvre la nouvelle, Eveline contemple de sa fenêtre la tombée de la nuit, alors qu'Elizabeth, concentrée sur ses travaux de ravaudage, n'a pas conscience de l'obscurité qui envahit la pièce. Dans les deux cas l'affaiblissement de la lumière deviendra symbole de la condition des deux femmes. Mais en cet instant toutes deux rêvent de leur vie passée. Eveline évoque des visages depuis longtemps disparus (les Devines, les Waters, les Dunns, et little Keogh the cripple), Elizabeth associe subconsciemment ses illusions de jeunesse à la réalité du temps présent où elle n'est rien d'autre qu'une "mère de substitut" et ne représente rien pour les enfants. Des détails importants et communs aux deux histoires apparaissent dès la première page à propos de l'aménagement intérieur des modestes maisons où elles vivent, pour Eveline "a coloured print of the promises made to Blessed Margaret Mary Alacoque" et pour Elizabeth "the Sacred Heart lamp that burned before the small wickerwork crib of Bethlehem on the mantelpiece". Qu'est-ce donc que ce mythe du Sacré Coeur retrouvé à un demi-siècle d'intervalle dons deux oeuvres irlandaises? Quelles sont ces promesses que Joyce juge bon de faire figurer dons sa nouvelle? Voici ce que l'on lit sur la gravure (que l'on peut facilement se procurer à Dublin ou en Irlande). Les promesses faites à la Bienheureuse Margaret Mary, à tous ceux qui croient en elle ou en l'ordre auquel elle appartient, sont disposées en gloire autour d'une représentation traditionnelle du Christ debout, bras écartés, paumes offertes. À ses pieds est ménagé un espace réservé à la signature du père, de la mère, des Infants et du prêtre officiant sous la légende "Consécration de la Famine au Sacré C¹ur." Les promesses I      Je leur donnerai toutes les grâces nécessaires à la conduite de leur vie. II    J'établirai la paix dans leur famille. III   Je les consolerai dons leurs difficultés. IV  Je serai leur refuge assuré dans la vie et plus particulièrement dons la mort. V   Je bénirai abondamment toutes leurs entreprises. VI  Les pécheurs trouveront en mon C¹ur un océan illimité de mercis. VII Les âmes tièdes se rempliront de ferveur. VIII  Les âmes pleines de ferveur progresseront rapidement jusqu'à une grande perfection. IX   Je bénirai les maisons où sera exposée et honorée l'image de mon C¹ur. X     Je donnerai aux prêtres le pouvoir de toucher les c¹urs les plus endurcis. XI   Ceux qui propagent cette dévotion auront leur nom gravé dans mon C¹ur, d'où il ne sera jamais effacé. XII  Je promets que ceux qui reçoivent la Communion le premier Vendredi de neuf mois consécutifs ne mourront pas sous mon déplaisir. Sous les pieds du Christ, inscrits dans un arceau surmontant calice, glaive, fouet, clous et épines, se trouvent deux versets tirés des évangiles "Venez à moi, vous tous qui peinez et ployez sous le fardeau, et moi je vous soulagerai" et "Je suis le Chemin, la Vérité et la Vie". voir le texte d'Alain Blayac Eveline Quotes "She sat at the window watching the evening invade the avenue. Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne. She was tired" (Joyce 329). "Her time was running out but she continued to sit by the window, leaning her head against the curtain, inhaling the odour of dusty cretonneá She knew the air" (330). "Home! She looked round the room, reviewing all its familiar objects which she had dusted once a week for so many years, wondering where on earth all the dust came from. Perhaps she would never see again those familiar objects from which she had never dreamed of being divided" (329). "Her father was becoming old lately, she noticed; he would miss her. Sometimes he could be very nice. Not long beforeáhe had read her out a ghost story and made toast for her at the fire" (330). "ábut the trouble was to get any money from her father. He said she used to squander the money, that she had no head, that he wasn‰t going to give her his hard-earned money to throw about the streets, and much more, for he was usually fairly bad of a Saturday night" (330). "Then she had to rush out as quickly as she could and do her marketing, holding her black leather purse tightly in her handá" (330). "Strange that it should come that very night to remind her of the promise to her mother, her promise to keep the home together as long as she could" (330-331). The key words to the promise are "as long as she could". "Of course she had to work hard both in the house and at business" (329). "It was hard work-a hard life-but now that she was about to leave it she did not find to a wholly undesirable life" (330). "As she mused the pitiful vision of her mother‰s life laid its spell on the very quick of her being-that life commonplace sacrifices closing in final craziness. She trembled as she heard again her mother‰s voice saying constantly with foolish insistence: -Derevaun Seraun! Derevaun Seraun!" (331). "What would they say of her in the Stores when they found out that she had run away with a fellow? Say she was a foolá" (330). "But in her new home, in a distant unknown country, it would not be like that. Then she would be married-she, Eveline. People would treat her with respect then. She would not be treated as her mother had been" (330). "She had consented to go away, to leave her home. Was that wise? She tried to weigh each side of the question" (329). "She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save her. He would give her life, perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness. Frank would take her in his arms, fold her in his arms. He would save her" (331). "She set her white face to him, passive like a helpless animal" (331). Would et used to dans «Eveline» 1. used to : il y a 11 occurrences lignes : 9 ( 2 ), 13, 17, 18, 38, 61, 72, 93, 97, 103 expression du contraste avec le présent d‰énonciation ; autrefois, jadis. Evelin est assise à la fenêtre qui lui renvoie le film de sa vie qui se déroule sur un écran = miroir. La plupart des occurrences se situent au début de la nouvelle, rappellent son enfance, donc chronologiquement le commencement de sa vie dont elle se souvient. Une certaine mélancolie. Used to exprimant par sa nature une idée de rupture avec le moment d‰énonciation, on pourrait envisager un changement et une progression de sa vie. Mais en fait sa position de passivité « she sat by the window » ancre ce 'used to' dans un véritable retour sur sa vie ( comme les personnes âgées ), un effet de bilan. Le nouveau départ serait-il marqué dans l‰écriture par les 17 occurrences de would ? 2. would : il y a 17 occurrences : lignes 30, 45, 47, 48, 53, 55 ( 2 ), 56, 57, 64, 76, 123 , 151 ( 2 ), 154, 155, 167, 176 Would = will + ED : a) expression de la volonté du Sujet b) propriété inhérente au S ; typique, congruence c) translation style indirect ED souvent employé pour atténuer l‰idée de volonté, c‰est le cas de la ligne 64 où les menaces du père sont atténuées parce qu‰il s‰agit d‰un ivrogne, parce que plus tôt dans le texte (l. 61) nous avons appris qu‰il n‰était jamais passé aux actes. Toutes les autres occurrences traduisent bien une propriété inhérente au S, donc aucune action, aucune progression. Ils ont tous non épistémiques. Nous nous trouvons dans une logique de paralysie. En effet aucune occurrence de would ne correspond à will = expression de la volonté. Seul cas intéressant : l. 57 où on peut s‰interroger: a) expression de la volonté d‰E. de ne pas entrer dans le cercle vicieux : homme alcoolique, dominateur --- femme soumise et esclave. Mêm si tel est le cas : will + ED = atténuation de la volonté, pas marque du passé. b) s‰agit-il d‰une propriété inhérente au S actant de « treat » ? c‰est beaucoup plus probable. On pourrait gloser : F would not treat her as her father used to treat her mother. Quelle que soit l‰interprétation retenue, nous avons toujours une impression de non action, de passivité. De plus, la fin de la nouvelle nous renseigne sur le choix à faire quant à l‰interprétation de la ligne 57 : en effet E. accepte de rester et d‰entrer dans le cercle vicieux : alcool Ö soumission de l‰autre / dominateur Ö victime, ce qui nie toute expression de la volonté du S La glose de l‰interprétation (b) résume la problématique de used to et would. Le passé est mort, mais l‰avenir est non réel et contre factuel. A aucun moment Ev. n‰exprime une volonté quelconque de s‰en sortir, de quitter ce passé auquel elle appartient et qu‰elle évoque, malgré tout, avec une certaine mélancolie. La dichotomie « être » - « non être », «désir» - «appartenance » s‰exprime au travers de ce jeu entre les renvois de used to et le rêve de would. La paralysie de la nouvelle est donc inscrite dans la linguistique et par la linguistique. After the Race Although not all of the men are rich, their exuberance, humour, and the fact that they are travelling in a car is contrasted with the gratefully oppressed Dubliners whom they pass. They live a life of affluence and excess, driving in cars, eating in expensive hotels, and gambling on cards. Like Dublin, struggling against colonial domination to be a capital city, Doyle is too keen to get on with rich friends. The story ends with Doyle‰s dawning realisation that he cannot keep up with the fast living and rich excesses of his wealthy friends. Joyce repeatedly inflates and then deflates the mood of the story by using words like ‹happyþ, ‹cheerþ, ‹humourþ, ‹richþ and ‹excitedþ in close proximity, and then deflating the mood by introducing contrasting phrases : ‹unfortunatelyþ, very poorþ, ‹a curious feeling of disappointmentþ, ‹the heaviest losersþ. Daybreak, with its grey light, is a warning for Doyle that everything he has aspired towards is flimsy and superficial. The story sets up allegories between individuals and nations (with Doyle representing Ireland, Ségouin France, Routh England and so on á). The story seems to cast some criticism on Ireland‰s rich for throwing their money at continental pretensions and being complicit in the oppression of Ireland‰s poor. The end of the story implies that Doyle and Ireland are being manipulated and duped in their race to conform to European expectations and capitalist ideals. ‹Rapid motion through space elates one; so does notoriety; so does the possession of moneyþ. Two Gallants Corley is depicted as a libertine or seducer, full of talk about his exploits with women, and Lenehan is the leech who hangs on his every word and replies with flattering remarks. Corley then shows Lenehan a gold sovereign, but the story does not explain or even suggest how Corley earned the money, or why the girl gave it to him. Although the characters are in their early thirties, this story belongs to the adolescent stories of Dubliners, because the characters refuse to grow old, trapped in the same paralysis which Joyce saw as central to Dublin. The Two Gallants are depicted as parasites. Allegorical tale : a beautiful woman turned half-prostitute, representing Ireland‰s depraved condition under colonial rule. Idea of Ireland prostituted by her English conquerors. ‹He plucked at the wires heedlessly, glancing quickly from time to time at the face of each new-comer and from time to time, wearily also, at the skyþ. The Boarding House Mrs Mooney sets up a boarding house in north-east Dublin, taking in working-class tourists and low class entertainers. Mrs Mooney‰s daughter, Polly, flirts with the young men who are lodgers at the boarding house. There is a suggestion that the boarding house acquires a reputation as a brothel (the landlady is called The Madam). Polly does have a relationship with one of the young men, Mr Doran, and it is implied that she is pregnant. The story concludes with the fact that Mr Doran has spoken to Mrs Mooney and now wants to speak to Polly. This probably suggests a proposal of marriage, and the trap is hinted in the final line : ‹ Then she remembered what she had been waiting forþ. The implied marriage of Polly and Mr Doran is conceived from the beginning as a commercial transaction. Marriage is the price which Doran must pay in order to keep his job, since ‹Dublin is such a small city : everyone knows everyone else‰s businessþ ‹All the resident young men spoke of her as The Madamþ. ‹a little perverse Madonnaþ (Polly) A Little Cloud (The little cloud signified the return of rain to the Israelites when they had renewed their faith in God. Possible allusion to the Biblical tale of Elijah and the prophets of baal.) Little Chandler meets up with an old friend, Ignatius Gallaher, who has become a successful figure in London newspapers. Gallaher has seen the world, and has led a life more liberated culturally and sexually than Chandler. Chandler feels that his wife and child have kept him a prisoner from the outside world. Joyce contrasts two worlds in this story, the world of domestic, insular and paralysed Dublin and the world of fast-moving, energetic and cosmopolitan London and Europe._ antithesis. The language used at the beginning of the story, told from his point of view, indicates his attitude to his fellow Dubliners. They are described as ‹minute vermin-like knifeþ, and the poor children he meets on his walk are described as ‹grimyþ and as having ‹crawled upþ and ‹squatted like miceþ. Chandler aspires to be a poet, loved by discerning English readership. The little cloud of hope which Gallaher represents in Chandler‰s life is also the little cloud of unhappiness which Gallaher casts as a free, fun-loving bachelor. Theme of entrapment and of the temptation to freedom and passion. Chandler is tempted by the same exoticism (‹dark Oriental eyesþ) as it is in Araby. ‹There was no doubt about it : if you wanted to succeed you had to go away. You could nothing in Dublin.þ ‹Ah, there‰s no city like Paris for gaiety, movement, excitement áþ (Gallaher) Counterparts Farrington, the main character, is a clerk in the offices of solicitors Crosbie and Alleyne. Farrington is driven hard by Mr Alleyne to copy out legal reports, and the offices are depicted as oppressive, demoralising surroundings. Farrington spends the evening with his friends in a series of pubs. Farrington takes out his anger from being trapped in a demoralising job in a narrow, provincial world on his home life. Antithesis allows Joyce to show the antagonism between two different worlds. Joyce shows a cycle of violence, passed from authoritarian boss on to the worker who takes it home to his son. The city itself seems to breed and thrive on the violence, envy and bitterness which grows from its paralysed condition. Clay Clay begins in the Dublin by Lamplight Institution, in which Maria, the main character, works in the scullery. It is her evening off, and after she has served tea to the women inmates she makes her way across the city from the south-east to the Donnelly family. Maria is a shy, diminutive person. Joyce also repeats a series of synonyms for smallness, including ‹littleþ, ‹tinyþ, ‹smallþ, ‹diminutiveþ. She hardly has a line of dialogue until near the end when she sings. Maria is blindfolded and made to feel around for objects and guess what they are. She feels ‹a soft wet substance with her fingersþ, the clay of the title, and it becomes clear that the children have played a joke of which the adults don‰t approve. The clay might represent death, the return of the body to soil, and so the joke has reminded Maria of her mortality. The story ends with Maria singing a song from an opera called The Bohemian Girl. The omission of the second stanza of the song may indicate the tragedy of Maria‰s situation. What she neglects to sing is the following : ‹And I dreamt that one of this noble host Came foth my hand to claim;þ Then, Maria denies the suggestion of love. Clay might be seen as the first story in Dubliners about the sterility of Dublin life. In the night on which people celebrate the feast of the waking of the dead (Halloween), Maria marked by the sign of death, the clay. A Painful Case James Duffy is a man of routine, who lives like a hermit in his room in Chapelizod, to the west of Dublin. The room is sparse and well ordered, ‹uncarpetedþ and ‹free from picturesþ, and reflects Mr Duffy‰s desire to be self-sufficient. A number of words in the first few lines set up the atmosphere of his environment : ‹disusedþ, ‹sombreþ, ‹shallowþ. His routine is disrupted, however, when he meets a married woman, Mrs Sinico, at a concert, and begins to form a friendship with her. ‹He had dismissed his wife so sincerely from his gallery of pleasures that he did not suspect anyone else would take an interest in her.þ Joyce portrays Duffy as a fastidious, hermitic man, frightened of intimacy. He realises that in abandoning her, he left her and himself to a life of loneliness. There is much emphasis in this story on the role of narrative. Mr Duffy thinks of the lives of both Mrs Sinico and himself as narratives. The narrative of her death from a newspaper report is quoted at length in the story. His life seems to be measured by the sentences which he writes on his sheets of paper. Mr Duffy reads Wordsworth, a poet noted for his musings on solitariness and loneliness, and he reflects on the philosophy of Nietzsche, noted for his thinking on the self-sufficiency, order and ideal discipline of the super-man. ‹He had an odd autobiographical habit which led him to compose in his mind from time to time a short sentence about himself containing a subject in the third person and a predicate in the past tense.þ The story is told in relatively short sentences, in the third person and with the predicate in the past tense. Duffy seems incapable of genuine feeling and emotion, and Dublin seems to be in part to blame for his painful insularity. Chapelizod : the name derives from French ‹Chapel d‰Iseultþ, referring to the mythical lovers Tristan and Iseult. Gifford suggests that the Phoenix Park, to which Duffy retreats towards the end of the story, is the Forest of Tristan, to which Tristan goes in despair having realised the impossibility of his love for Iseult. ‹He lived his spiritual life without any communion with others, visiting his relatives at Christmas and escorting them to the cemetery when they diedþ. ‹Love between man and man is impossible because there must not be sexual intercourse and friendship between man and woman is impossible because there must be sexual intercourseþ. Ivy Day in the Committee Room (Nationalists wore a leaf of dark green ivy to symbolise the rebirth of home rule ideals. Parnell had led the attempts to win a limited form of legislative independence for Ireland from the British Parliament) Conversation between Dubliners who are engaged in organising and canvassing for an election for the city council. The characters represent a wide range of political opinions, from Hynes the nationalist to Crofton the conservative. Many of the men present have lost interest in politics in the aftermath of Parnell‰s death. The stagnancy of Irish politics, as represented in this story, is another dimension of the paralysis of Dublin life. The language used by the men is non-committal and mild. A Mother A Mother is about the arrangement between Mrs Kearney and Mr Holohan to have her daughter play the piano in accompaniment at Mr Holohan‰s concerts. The language of the story at this point indicates the crude ambitions and materialist interests of the bourgeois (for example : ‹She sat amid the chilly circle of her accomplishments, waiting for some suitor to brave it and offer her a brilliant lifeþ) The concerts prove to be unsuccessful with the first two nights badly attended by people of the wrong class for Mrs Kearney. Mrs Kearney‰s ego is evidently her own main concern : ‹They thought they had only a girl to deal withþ. Another form of paralysis is exhibited in this story. Mrs Kearney is trapped into a dull marriage and un unrewarding life. She lives out her lost hopes and dreams through her daughter. The attitude of the bourgeois class to art and music is satirised in this story. The Dublin middle classes are presented here as shallow, narrow-minded, without any real feeling for any form of culture or belief, and trapped in a provincial materialist mentality. Grace (Grace in the Catholic faith is the state of virtue given to us by God. Supernatural gift freely given by God to rational creatures to enable them to obtain eternal life.) Grace is the story of Mr Kernan, who is found lying unconscious in the underground lavatory of a public house, and who is gradually persuaded by friends and acquaintances to take up religion rather than drink. Kernan has ‹fallen from graceþ and therefore the title of the story gives us the ideal that Kernan must reach, the return to grace. Kernan has ceased to be the focus of the story, and attention is now given to the priest‰s sermon to the congregation on how they are to be redeemed. In religious terms, the fall from grace is then the fall of Man. Kernan represents the descent of man into sin. Mr Power (a selfless angel) rescues Kernan from this place. Imperial Pathologies Medical Discourse and Drink in Dubliners' "Grace": It is the drunken body that acts as a primary emblem of paralysis in Dubliners... Joyce actually uses specific medical terms to deliver a stark diagnosis. In both quotations, the author uses physical pathologies to evaluate a spiritual condition: he is the Aquinian doctor who records the case history of a colonial patient lying prostrate on his table. The stories of Dubliners depict this "hemiplegia or paralysis" through a variety of spiritual maladies that includes insanity, pedophilia, and sexual repression, as well as physical illnesses... Father Purdon's homily - Text, Context, and Pretext. In the third part of "Grace" the textual problems and context of the Bible passage, and Father Purdon's pretext in his application of the passage. The Dead The Dead is the story of Gabriel Conroy who attends the Christmas dinner party of his aunts, the Morkans, accompanied by his wife Gretta. He is embarrassed by Lily who tells him ‹the men that is now is only all palaverþ, a premonition of the conclusion in which Gabriel realises that he is a shadow of the man who died for his wife. Joyce sets up an antithesis between pro-British and pro-Irish. This prepares us for the final tragic scene in which it is revealed to Gabriel that he is not the ideal love of Gretta‰s life, and he becomes aware of himself as a pathetic shadow of what he should be. The Dead evokes dead lovers, dead memories. They come back to haunt him and create the symbolic atmosphere of the story. The story contains the two most powerful angels in Christian mythology, Gabriel (Conroy) and Michael (Furey). The story also shows us the downfall of an angel, Gabriel falls to earth when he sees his shadow in the mirror and when he sees himself compared to Michael, who has braved death for the love of Gretta. It is also possible to interpret this story as a passage through the hell of the Morkan‰s household, to the purgatory of the coach ride, to the final vision of moving across white fields towards paradise in the conclusion. Joyce uses the antithesis of the West of Ireland against the West Briton, in order to create the tension we see in Gabriel Conroy. Conroy resolves this antithesis by choosing one side : ‹The time had come for him to set out on his journey westward.þ This passage suggests the possibility of a turn to the West of Ireland as a source of inspiration to break out of the paralysis of the city. ‹- And why do you go to France and Belgium, said Miss Ivors, instead of visiting your own land ?þ ‹- O, to tell you the truth, retorted Gabriel suddenly,I‰m sick of my own country,sick of it!þ ‹I think it‰s not at all honourable for the pope to turn out the women out of the choirs.þ(Aunt Kate) ‹Our country has no tradition which does it so much honour and which it should guard so jealously as that of its hospitality.þ ‹á the tradition of genuine warm-hearted courteous Irish hospitality áþ ‹His soul had approached that region where dwell the vast hosts of the dead.þ Le film : 1904 , à Dublin. Chez deux vieilles dames se déroule le traditionnel repas de nouvel an. Ce fut le dernier film réalisé par John HUSTON ... peu avant sa mort , deux ans après le jubilatoire L'HONNEUR DES PRIZZI. Le titre original est The Dead (Les Morts) , ne le perdons pas de vue. Ce drame débute dans un registre feutré, faussement banal , ritualisé , entre rires , chants et soupirs d'ennui ... Disons , pour schématiser, que John HUSTON filme à la manière d'OZU (en plans fluides et discrets) un univers à la James IVORY. Au moment où l'on s'apprête à juger cette oeuvre d'un ennui distingué , HUSTON nous transperce d'émotion ... lors d'un final extraordinaire(ment long). Jusqu'à ce virage dramatique bouleversant , HUSTON avait porté toute son attention à des gestes infimes , des échanges de regards , des mots légers , parfois graves... Soudain , une femme (Angelica HUSTON , magnifique) ouvre son coeur à son mari (Donald McCANN) et lui confesse un secret pénible. Le mari , secoué d'émotion , prend soudain conscience du temps qui passe , de la proximité de la mort . Il s'approche de la fenêtre de sa chambre. Au dehors "il neigeait sur l'Irlande" . S'ensuit un admirable monologue... prononcé par John HUSTON lui-même ! Hors de toutes modes , John HUSTON a pu, dans cette oeuvre testamentaire, adapter James Joyce, "l'écrivain que j'ai le plus senti dans ma vie" ... Le finale sublime évoquant la "mort au travail" (de COCTEAU) efface les longueurs des préliminaires. C'est un superbe point final dans l'oeuvre , inégale mais colossale , de John HUSTON. Jean-Francois HOUBEN, reproduit ici avec son aimable permission. Octobre 1997, Droits réservés. From an article in The Ethical Spectacle: The Dead is supreme proof of James Joyce's mastery of the nineteenth century style. With a sure touch, beautiful language and the omniscient and impersonal narrator favored in the last century, The Dead is the equivalent of an entire Flaubert or Balzac novel encapsulated in a short story. It shares with novels of hundreds of pages the capture of an entire social world... The Dead, Joyce's story - a lecture from Oregon : in a sense, because he is so firmly embedded in this tradition, struggling against it, Joyce seems both hopeless and... The Dead, fichier pdf (ENS Paris)

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RECAP James Joyce, Dubliners. 1. The Sisters (p. 1- 10) ëparalysis‰, ‰gnomon‰, ësimony‰. Old Cotter, my aunt, my uncle (Jack), Father Flynn (Rev. James Flynn), Nannie, Miss Eliza Flynn, Father O‰Rourke, poor James (x3) Links: Two Sisters/The Dead. Dubious relationship between the priest and the boy. Money: ? 2. An Encounter (p. 11 š 20) Joyce‰s personal experience. Joe Dillon, fat Leo Dillon (Leo the idler), Father Butler, (clumsy Leo Dillon), Mahony, (Fatty), Mr. Ryan, Norwegian sailor, ëa man‰ (ëa queer old josser‰), (Murphy and Smith) Links: Children playing and mitching in a way the former protagonist never did. Older man having dubious conversations with young school boys. Money: sixpence each for the day‰s mitching. 3. Araby (p. 21 š 28) added in October 1905, eleventh in order of composition. The world of the charity bazaar which the boy finally reaches is a representation of his muted passion for Mangan‰s sister. Behind both the passion and the bazaar looms desolation. In relation to the preceding stories, it is an initiation rite into disappointment, with a consequent bearing on Dublin‰s ëparalysis‰. Maybe it is more a cult than a bazaar. The language is strict in its economy and liberal in its allusiveness. A dead priest, Mangan‰s sister, her brother, (her brother) and two other boys, my aunt, my master, my uncle, Mrs; Mercer, a pawnbroker‰s widow, a young lady, two young gentlemen. Links: A dead priest. Infatuation with a girl making the protagonist neglect his studies. Retreat. Money: a florin to go to the Bazaar. Can‰t find 6 pence entrance. 4. Eveline (p. 29 š 34) She, the man out of the last house, a man from Belfast, ëthe children of the avenue: the Devines, the Waters, the Dunns, little Keogh the cripple, she and her brothers and sisters‰, her father, her mother, Tizzie Dunn, Blessed Margaret Mary Alacoque, Miss Gavan in the Stores, (Miss Hill), ëshe, Eveline‰, Harry and Ernest, ëthe two young children that had been left to her charge‰, ëFrank. Frank‰, ëhis wife‰, (Poppens), ëEveline! Evvy!‰ Links: Children playing. Taking a boat abroad. Damned Italians ! Failing to leave at the North Wall. Money : ëthe invariable squabble for money on Saturday nights‰ 5. After the Race (p. 35 š 42) ëCharles Ségouin, the owner of the car; André Rivière, a young electrician of Canadian birth; a huge Hungarian named Villona and a neatly groomed young man named Doyle.‰ His father, (Jimmy), the two cousins, his Hungarian friend, the Frenchmen, these Continentals, his parents, ëhis son‰, ëa young Englishman named Routh‰, the young men, the people, ëa short, fat maná Farley‰, ëdevils of fellows‰ ëdaybreak, gentlemen!‰ Links: ëThe Continent sped its wealth and industry‰ ëThe Belle of Newport‰ a yacht that goes nowhere. Card game. Money : ëfather paid his bills‰, ëelates oneáthe possession of money‰ ëhe really had a great sum under his control‰ ëhe knew well with what difficulty it had been got together‰, ëinvesting in the motor business‰, losing at cards. 6. Two Gallants ( p. 43 š 55) ëTwo young men‰, ëoneáthe other‰, his companion, ëmost people considered Lenehan a leech‰, Corley, her, ëa fine tart‰, ë a slavey‰, ëCorleyá his friend‰ ëgirls off the South Circularáone‰ ëthe two young men‰, ëa young woman‰ , two work girls and a mechanic, a slatternly girl, ë if he could only come across some good simple-minded girl with a little of the ready‰, his friends‰, Mac, Holohan, ëLenehanáhis friend‰, ëCorleyáhis disciple‰ Links: A yachting cap, a white sailor hat, cigars, a mechanic, ëwould he never have a home of his own?‰ Money: a small gold coin stolen by the slavey. 7. The Boarding House (p. 56 š 64) ëMrs. Mooney was a butcher‰s daughteráa determined woman‰, her father‰s foreman, his father-in-law, Mr. Mooney, his wife, a neighbour‰s house, the priest, the children, The Madam, Mrs. Mooney‰s young men, Jack Mooney, the Madam‰s son, Sheridan, Polly Mooney, the Madam‰s daughter, Polly, his daughter, her daughter, one of the young men, the pair, the servant Mary, Mr. Doran, an outraged mother, a man of honour, the man, the girl, some mothers, ëMr. Sheridan or Mr. Meade or Mr. Bantam Lyons‰, ëall the lodgers‰, old Mr. Leonard, ëher disreputable father and then her mother‰s boarding house‰, ëhis friends‰ (Bob! Bob!), ëthe missus‰, ëhis sister‰, ëPolly! Polly! -Yes, mamma?‰ Links: Going to Mass. Artistes. She counted all her cards again,á she felt sure she would win.‰ ëhe heard in his excited imaginationá‰Send Mr. Doran here, please‰.ë His instinct urged him to remain free, not to marry.‰ ëThe instinct of the celibate warned him to hold back. But the sin was there.‰ Money : 15 shillings a week. Money was no reparation, only marriage. 8. A Little Cloud (p. 65 š 81) ëHeáhis friend‰ Gallaher, Little Chandler, heáheá ëLittle Chandler gave them no thought‰, Ignatius Gallaher (x 4), Gallaher, ëMr. Chandler‰, ëThomas Malone Chandler, or better still, T. Malone Chandler‰, Tommy, Tommy, O‰Hara, Hogan, his friend, ëone child, a little boy,ámy wife‰ ëa child‰ ëAnnie‰s younger sister Monica‰ ëAnnie‰ , ëthe child‰, ëdon‰t waken him‰, ëhim‰, ëmy little manámannieálove, lambabaun, Mamma‰s little lamb of the world‰, the child. Number of occurrences in the whole story: Little Chandler x 33 (x5 in the last part), Ignatius Gallaher x 36, Gallaher: x16 (x2 in the last part), Tommy x8 (Annie x5 only in the last part) Links: Returning to the North Wall, books of poetry, cigars, ëconnubial bliss‰, a card party. Money: ëI mean to marry money‰ 9. Counterparts (p. 82 š 94) The end comes from Stanislaus‰ diaries and conversation. Miss Parker, ëFarrington‰, a man, Mr. Alleyne, the man, ëFarrington‰, Bodley and Kirwan, Mr. Shelley, Mr. Crosbie, Bernard Bodley, the chief clerk, Pat (the curate), Miss Delacour, ëLeonard and O‰Halloran and Nosey Flynn‰, ëthe author of the witticism‰, the clerks, the cashier, the chief clerk, little Peake, his own nephew, Higgins, the clerk in Terry Kelly‰s, office girls, Farrington ( in Davy Byrne‰s) x 7 and the rest of the night x16, a very sullen-faced man, he , Ada, his wife, her husband, five children, a little boy, me, paáno, Tom, your mother, the other children, the man, the little boy, the boy. Links: ëSend Farrington here‰. Hats. Manikin. Artistes. London accent. Mother a t the chapel. Fire gone out. Hail Mary. Money: getting an advance, finding a loan, pawning his watch. 10. Clay (p. 95 š 102) The matron, her, Maria (x 6 on 1st page), the cook, the sub-matron and two of the Board ladies, Ginger Mooney, the dummy, the women, Joe, he and Alphy, Joe‰s wife, ëthe stylish young lady behind the counter‰, ënone of the young men‰, an elderly gentleman, all the children, two big girls in from next door, ëthe eldest boy, Alphy‰, Mrs. Donnelly, papa and mamma. Links: Nice bright fire, all ready for tea. Maria. ëThe next morning was a mass morning‰. Money: Purse: ëtwo half crowns and some coppers. She would have five shillings clear‰ ëhow much better it was to be independent and to have your own money in your pocket.‰ 12 penny cakes, 2 and 4 of plum cake. ëhe had to ask his wife to tell him where the corkscrew was‰. 11. A Painful Case (p. 103 š 114) Stanislaus = Mr. Duffy. Mr. James Duffy, two ladies, Mrs. Sinico, her husband, ëthey had one child‰. Captain Sinico. Deputy Coroner. Mrs. Emily Sinico (death notice). James Lennon, driver, P. Dunne, railway porter, Police Sergeant Croly, constable 57E, Dr. Halpin, Dr. H. P. Patterson Finlay. Miss Mary Sinico. Links: The difficulty of singing to empty benches in the Rotunda. Money: ? 12. Ivy Day in the Committee Room (p. 115 š 133) Brings together Joyce‰s personal sense of betrayal and the national sense of betrayal and outrage when Parnell was forsaken by a majority of the IPP after his liaison with Kitty O‰Shea was made public. Based on Stanislaus‰ experience as canvasser along with his father in 1902. Old Jack, Mr. O‰ Connor, Mr. Tierney, ëMr. Richard J. Tierney, P.L.G. , Jack, the old caretaker, Hynes, Mat (O‰Connor), Colgan, Edward Rex, Tricky Dicky Tierney, Joe (Hynes), Mr. Henchy, Grimes, Father Burke, Mr. Fanning, King Eddie, Larry Hynes, Father Keon, Alderman Cowley, old Keegan, the porter, (Pat), the boy from the Black Eagle, John (Henchy), Drofton, Lyons, the Chief. Mr. Joe Hynes recites. Links: No corkscrew, borrowed then find another solution. Money: not being paid, main motivation for canvassing. 13. A Mother (p. 134 š 149) ) Joyce‰s personal experience. Mr. Holohan, assistant secretary of the Eire Abu Society, (Hoppy Holohan), Mrs. Kearney (Miss Devlin), Mr. Kearneyábootmaker on Ormond quay. Kathleen and her sister. Miss Kathleen Kearney. Secretary, Mr. Fitzpatrick. Her husband. Miss Beirne. Mr; Meade, Mr. Duggan, Mr. Bell, Miss Healy, Madame Glynn, the Freeman man (Mr. Hendrick), Mr. O‰Madden Burke Links: ëhe went to the altar every first Friday‰.‰she was a good wife to himáhe was a model father‰ ëa believer in the language movement‰. Artistes. The journalist not being able to wait for the concert. Money: 8 guinea contract, paid 4 shillings short. 14. Grace (p. 149 š 174). Set in 1901 š 02. Tom Kernan, commercial traveller falls down the stairs to the toilets in a bar. He had taken a rum with two gentlemen (Harford and ?). A tall, agile gentleman of fair complexion, Mr. Jack Power takes him home to Glasnevin where his social decline is evident. ëWe‰ll make him turn over a new leaf‰. Two nights later, Mr. Martin Cunningham, Mr. M‰Coy and Mr. Power come to see him. Mr. Kernan converted to Catholicism at his marriage. ëMr. Cunningham was the very man for such a caseá he had married an unpresentable woman who was an incurable drunkard.‰ Mrs. Kernan : ëReligion for her was a habit and she suspected that a man of her husband‰s age would not change greatly before death. ëWe‰re going to make a retreat.‰ Father Purdon (pardon / Purdon Street of brothels). Father Tom Burke, Dominican priest who was sometimes considered unorthodox. Jesuits and Dominicans differed on theological interpretations of the relationship between grace and liberty. Mr. Fogarty the grocer arrives. Debates on Catholicism. Mr. Kernan agrees: ëI‰ll do the retreat business and confession, andáall that business. Butá no candles. ëWith God‰s graceá I will set right my accounts.‰ Two gentlemen, him, he, his hat, one of the curates, a ring of men, the manager, the gentleman, the ring of onlookers, a policeman, a young man in a cycling suit, a tall, agile gentleman of f air complexion, wearing a long, yellow ulster. Tom. Mr. Power, the injured maná Kernan. Mr. Kernan, the children š two girls and a boy, Mrs. Kernan, Fogarty‰s, Martin. His friends, Mr. Cunningham, Mr. M‰Coy. Martin Cunningham, Mr. Harford, Mr. Goldberg, Jack (Power), Mrs. M‰Coy, Tom (Kernan), Father Purdon, Father Tom Burke, Crofton, Mr. Fogarty, Dolling or Dowling, John Mac Hale (John of Tuam), Mr. Harford, Mr. Fanning, old Michael Grimes, Dan Hogan‰s nephew, Mr. Hendrick, poor O‰Carroll,. Links: Blessed heart. Retreat Money: ëemptied her husband‰s pockets‰, slate in Fogarty‰s, Mammon, ëtheir spiritual accountantá I will set right my accounts.‰ 15. The Dead (p. 175 š 225) The Misses Morkans = undoubtedly his own great-aunts who had a kind of finishing school for young ladies at Usher‰s Island where the story is set. Nora Barnacle‰s Galway background. Ibsen‰s ‹When We Dead Awakenþ, a play reviewed by Joyce who appreciated the ‹defiant realismþ of his vision. Lesson ‹out of the dreary sameness of existence, a measure of dramatic life may be drawn.þ Lily, the caretaker‰s daughter, Miss Kate and Miss Julia, the Misses Morkan‰s Julia, Kate, Mary Jane, their brother Pat, Mr. Fulham, the cornfactor, Gabriel and his wife, Freddy Malins, Mr. Conroy, my wife here, his wife, Mrs. Conroy, Gabriel‰s wife, Aunt Kate, the girl, his hearers, his aunts and his wife, their favourite nephew, Gretta, Aunt Julia, Miss Daly, Miss Power, Mr. Brown, Miss Furlong, Miss Morkan, Mr. Bergin, Mr. Kerrigan, Mr. Bartell D‰Arcy, Freddy, Teddy, his mother, Constantin,, her sons, Miss. Ivors, G.C.? Mr. Clancy, Mr. Kilkelly and Kathleen Kearney, Freddy Malins‰ mother, Molly Ivors, that Mr. D‰Arcy, Mrs. Malins, Father Healy, Miss Higgins, Bartell D‰Arcy and Miss O‰Callaghan, Patrick Morkan and Johnny, Michael Furey. Links: The 4 young men who go away to the refreshment-room during Mary-Jane‰s piece. Two Sisters/The Dead Money: a coin for Lily. ¶ Voir la Page de Notes prises par une collègue à la Conférence sur Dubliners et The Dead à Tours les 17-18 Nov. 00. ¶ PAGE SUR DUBLINERS POUR L'AGREGATION

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OBJECTIFS-- DE LA PAGE PROGRAMMES AGREG 2001 PREPARER L'AGREG RAPPORTS---- DE JURY - DIDACTIQUE, ECRIT & ORAL: EPREUVES CONSEILS BIBLIOGRAPHIE ABORDER--- LES EPREUVES WIRED---- DIDACTIQUE BRANCHEE FACE AU JURY DISSERTATION LINGUISTIQUE TRADUCTOLOGIE	2002 TOPICS Joyce's Dubliners Antony & Cleopatra ACCUEIL Poverty in Britain Wharton Crime John Donne Traductologie Gulliver's Travels Women In Love			ACCUEIL DAILY --CARTOON YOUR COMMENTS
	ANGLAIS AU PRIMAIRE--- COLLEGE ------ & LYCEE TEACHING KIDS WEB USE------ PLANS DE COURS--------- INTER- DISCIPLINARITE	MUSIC ------- & SONG BACKGROUND MUSIC IN CLASS SHAKESPEARE-- EN MUSIQUE SHAKESPEARE AU LYCEE?	GRAMMAR & SPELLING GRAMMAIRE DE L'ENONCIATION ---PHONOLOGIE & PHONETIQUE	VOYAGES LINGUISTIQUES ECHANGES SCOLAIRES ELECTRONIQUES ASSISTANTS & LOCUTEURS NATIFS
	GIVING STUDENTS CONTROL	LISTENING ACTIVITIES	-TEACHERS AND TECHNOLOGIES	LA PRESSE EN CLASSE D'ANGLAIS
	HEURISTIQUE & CONSTRUCTIVISTE ERE NUMERIQUE LANGUES ET TECHNOLOGIE	TEACHING READING LIRE DU TEXTE AUTHENTIQUE ENGLISH CRAZY- LANGUAGE!	INTELLIGENCE & APPRENTISSAGE THEORIE & PRATIQUE SYSTEME ET EVOLUTION	LE MULTIMEDIA LE RETRO- PROJECTEUR LA VIDEO
	ESPACES LANGUES CROSS- CURRICULAR, LES TPE	Hate is too great a burden to share. We must meet hate with creative love. -M.L.King. A.Word.A.Day	PARENTS, TEACHERS, DISCIPLINE DISCIPLINE CAHIER MAGIQUE	LE CINEMA ANGLAIS TECHNIQUE ET DES AFFAIRES
USEFUL -- LINKS	THE MARGINAL AND THE NEEDY			SPECIAL -THANKS