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Entre os mortos e os vivos: A identidade irlandesa em "The Dead" de James Joyce
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Resumo(s)
A transição da Irlanda para o século XX ficou marcada pelo revivalismo celta, que procurou por elementos idiossincráticos que afirmassem a identidade irlandesa e justificassem as pretensões independentistas. Apesar de ambicionar uma Irlanda independente, James Joyce não revia o país na cultura celta e, em Dubliners, procurou retratar Dublin como o centro de uma sociedade paralisada no tempo pelo seu atavismo cultural. A presente dissertação tem como principal objectivo explorar as representações da crise identitária irlandesa presentes em “The Dead”, salientar a crítica social perante uma sociedade dividida, que interfere com a auto-imagem do indivíduo, e cujo status quo era dominado pelo poder do patriarcado e pela conivência com a opressão da Igreja Católica Romana e do Império Britânico. Para analisarmos o conto contextualizamos Dubliners como um projecto ambicioso e demarcamos as condições singulares em que “The Dead” foi escrito. Considerámos essencial sublinhar as inovações literárias presentes na obra, mas também as heranças que Joyce recebe da cultura do século XIX, menos estudadas, especialmente do gótico. Neste sentido, destacamos a epifania que encerra a obra e as estratégias que marcam a narração do conto, essenciais para o Modernismo. Por outro lado, identificamos a possível leitura alegórica da narrativa pela sua vertente gótica, não só devido à estética lúgubre do texto, mas especialmente pela presença do duplo e do uncanny de Sigmund Freud. Pelas temáticas que partilham e por Joyce descrever uma sociedade em que os mortos e os vivos são equiparados, em que o passado se imiscui e desestabiliza o presente, estabelecemos um diálogo intertextual entre o conto e o poema de Thomas Moore, “Oh! Ye Dead”, e também com a peça de Ibsen, Quando nós, os mortos, despertamos. Não nos limitamos a propor uma hermenêutica que evidencie a crise identitária irlandesa, destacamos também a forma como o autor explora a condição humana e questiona a distinção entre os vivos e os mortos.
Ireland’s transition into the 20th century was marked by the Celtic revival, which sought idiosyncrasies in the past to assert Irish identity and justify their claims for independence. Despite sharing the ambition of an independent Ireland, Joyce did not see himself or his country in the Celtic culture. In Dubliners, the author intended to portray Dublin as the centre of a society paralysed in time by its cultural atavism. This study aims to explore the representations of the Irish identity crisis in “The Dead”, to highlight the social criticism towards a divided society, that compromised the individual’s self-image. We intend to display how Joyce criticizes the status quo of the time, which was dominated by the power of the patriarchy and by Irish connivance with the Roman Catholic Church and the British Empire’s oppression. In order to analyse the short story, we contextualize Dubliners as an ambitious project and delimit the particular conditions in which “The Dead” was written. It is essential to underline the literary innovations present in Dubliners, and also the less studied inheritances that Joyce receives from 19th century culture, namely from the gothic. Thus, we emphasize the epiphany that closes the tale and the strategies that mark its narration, which would be essential to Modernism. On the other hand, we propose an allegoric reading of the narrative for its gothic aspects, not only due to its lugubrious aesthetic, but especially for the presence of the double and Sigmund Freud’s uncanny. For the thematic they share and because Joyce describes a society in which the dead and the living are matched, we establish an intertextual dialogue between the short story and Thomas Moore’s poem “Oh! Ye Dead”, as well as with Henrik Ibsen’s play When We Dead Awaken. Besides focusing on the Irish identity crisis, we highlight how the author explores the human condition and questions the distinction between the living and the dead.
Ireland’s transition into the 20th century was marked by the Celtic revival, which sought idiosyncrasies in the past to assert Irish identity and justify their claims for independence. Despite sharing the ambition of an independent Ireland, Joyce did not see himself or his country in the Celtic culture. In Dubliners, the author intended to portray Dublin as the centre of a society paralysed in time by its cultural atavism. This study aims to explore the representations of the Irish identity crisis in “The Dead”, to highlight the social criticism towards a divided society, that compromised the individual’s self-image. We intend to display how Joyce criticizes the status quo of the time, which was dominated by the power of the patriarchy and by Irish connivance with the Roman Catholic Church and the British Empire’s oppression. In order to analyse the short story, we contextualize Dubliners as an ambitious project and delimit the particular conditions in which “The Dead” was written. It is essential to underline the literary innovations present in Dubliners, and also the less studied inheritances that Joyce receives from 19th century culture, namely from the gothic. Thus, we emphasize the epiphany that closes the tale and the strategies that mark its narration, which would be essential to Modernism. On the other hand, we propose an allegoric reading of the narrative for its gothic aspects, not only due to its lugubrious aesthetic, but especially for the presence of the double and Sigmund Freud’s uncanny. For the thematic they share and because Joyce describes a society in which the dead and the living are matched, we establish an intertextual dialogue between the short story and Thomas Moore’s poem “Oh! Ye Dead”, as well as with Henrik Ibsen’s play When We Dead Awaken. Besides focusing on the Irish identity crisis, we highlight how the author explores the human condition and questions the distinction between the living and the dead.
Descrição
Palavras-chave
James Joyce "The Dead" Identidade Epifania Identity Paralysis Epiphany Joyce Dubliners The Dead Ibsen Uncanny Paralisia