aesthetics: artifact emotion in 153–6; attachment involvement in 153–6, 228; of Dedalus 24; “Eumaeus” and democratized 184–92; language or speech and democratized 190–2, 220–1; narration, character psychology, and 8; prototype approximation and non-anomalous surprise in 153–4, 155, 188, 220; real world analysis compared to 4; verbal style and 154–6, 220
affective approach and theory: aversive emotion and 69–70; Joyce’s contribution to 6–7; to narratology 5; Ulysses treatment with 3–4
agents, simulation of 78
anarchism 3
anticolonialism: national shame and 29, 73; in Ulysses 2, 27–8, 125–7, 129
antinationalism 2, 27–8, 127–9
anti-Semitism: national identity and 31–2, 73, 129–31; national shame, scapegoating, and 19–20, 31–2, 122, 213; shame resulting from 33, 34; Ulysses critiquing 2, 24, 126, 167–8; see also Hebraism, or revealed religion
approbation and colonial shame 29–30
arbitrary discourse segmentation 99–100
art and artist 24, 25, 142; see also Irish art and artist
artifact emotion 152, 153–6, 220–1
attachment: aesthetic pleasure involving 153–6, 228; emotion 72, 153–6, 159, 161, 179, 201–3, 207, 212; grief and attribution in loss of 74; guilt over severed 207–8, 212; individual identity and figures of 47–8, 69, 211; isolation and 11–12, 204–5; “Ithaca” and issues of 201–3; loss 74, 202; relational narration and 11–12; sexual act and 207
attribution of identity categories 43, 209
audience: interior monologue directed at 11, 184, 192–6, 217, 229; Mulligan and 15; simulation 64, 65–6, 76
author: cognitive poetics and simulation by 5; emplotment and verbalization from implied 87; “Lotus Eaters” and productive simulation of 58–60; simulated reader for implied 63, 116; simulation components and process of 8, 58–60, 61–2, 75–6, 215, 217, 225, 230
autonomy: of construal 157; of embedded character 161–2, 163; of narrational patterns 86, 89, 96–8, 100, 147–9, 161–2; in plot 86; of style 10, 83–4, 89, 91–2, 94–100, 143, 144, 147–9, 161–2, 218–19; of verbalization or textualization 96–7, 146, 157
avoidance, goals of 71–2, 73, 75, 171–2, 211–12
Bakhtin, Mikhail 229
beauty see aesthetics
Bhabha, Homi 37
biography and biographical knowledge 64–6, 142–3
Bloom, Leopold: attachment emotion and grief of 154–6, 159, 161, 179, 201–3; categorial and practical identity of 37; Dedalus relation to 201–2; departure fantasy of 203; goals and concerns of 71, 72, 93–4; identity and social context of 33–4; individual identity of 47–8, 49–52; interests and orientation of 73–4; mental processing and 163–5; metaphorical identification and 157–60; mood congruent processing and repair in 70–1, 95, 116, 200–1, 226; narrator topicalization of 92–3; parallel and serial thought of 105, 110–14; psychology of 94–6; sexual desire and shame of 178–81, 206; sexuality of 175–7; Shakespeare connection with 65, 139–40; shame and Jewish identity of 34–5, 44–5, 73, 74; simulation by 53–7
Bloom, Molly: guilt and 207–8; isolation and loneliness of 203–5; sexual shame and 206–7; stream of consciousness and interior monologue for 205
bound story and plot levels 83–4, 86, 218–19
broad schemas 78
catechism and catechetical interrogation 197–8
categorial identity: behavior and 38; emotion and shifting 45; gender application 210–11; as group identity 35–7, 38, 41–3, 209, 210; in- and out-group definition from 38–9, 209–10; interrelations 41–3; in Irish nationalism 41, 42; in politics 37; practical distinguished from 35–7, 210–11; pride and shame in 43; social setting 43; variables affecting individual’s hierarchies of 39–41, 210
Catholic Church and Catholicism: in categorial identity interrelations 42–3; as colonial target 19; Dedalus thoughts compared to changes in 13; Dedalus treatment of 21–2, 28, 171–2; misogynistic doctrine and 28; sexual shame and 19, 72, 137–8
character: autonomy of embedded 161–2, 163; categorial and practical identity of 37, 42–3; flat and round 68–9; goals, concerns, and interests of 68, 71–3, 93–4; grief 73–5; individual identity 24–5, 47–8, 49–52, 225; isolation and loneliness 203–5; Jew and Greek distinctions of 77; language and narrator access to 89; narration, aesthetics, and psychology of 8; narrator and focalization of 88, 94–6, 195–6, 199, 218; narrator and topicalization of 87, 88, 92–3, 195–6, 199; personality 68–71; simulation 8, 53, 68–9, 162–3; in story world 66–8
“Circe”: anti-Semitism critique in 167–8; autonomy of verbal construal in 157; critical, communicative, and dialectical realism in 165–72; fantasy, dreams, and hallucinations in 163–4, 165; figurative narration in 157–65, 166, 177; gender in 167, 172–8, 228; literary works critiqued in 171, 228; mental processing in 163–5; metaphorical identification 157–60, 161; narrational shifts in 160; psychological realism in 165; realism and criticism of 165–6; sexual desire and shame in 167, 178–83; surface and inferred story world in 157
circumstances, simulation of 78
the Citizen 19–20, 127, 128–9, 130–1
cognition and cognitive approach: defined 223; group identity and 38–43, 45; identity and socially distributed 36–7; Joyce contribution to theory of 6–7; parallel compared to serial accounts 9, 103–5, 213; to poetics 4–6; psychological versus social 104; schema, prototype, and instance as structures of 78; selection, organization, and construal as operations of 97; simulation in 78; social or socially distributed 36, 104; Ulysses treatment from 3–4, 5
colonialism: anti- 2, 27–8, 29, 73, 125–7, 129; Caliban and 24–5; Catholic Church as target in 19; dialectical realist critique of 168–9; history and shame over 19–21; identity styling and 40; intermediate group in 31–2; Irish art and 25–6; literature imparted through 30–1; moral ideology and shame over 122, 212–13; nationalism compared to 169; national shame, identity, and 7, 19–20, 29, 44, 73; political parody of 125–7, 129; poverty and 14; psychological impact of 20, 29; reactionary traditionalism and 40, 212–13; religion role in 31–2; speech, accent, and status in 14, 169–71; theme of 14; women blamed for 31–2
communicative realism: in “Circe” 165–72; critical realism as form of 222; definition and nature of 119; representational compared to 116–17, 221–2; truths of 119–20; in Ulysses 118–19, 165–72; see also critical realism and critical psychological realism
complementary practical identity 36, 210
consciousness 105–6, 165, 204, 212, 225; see also stream of consciousness
constraint see narration and narrative; specific topics
construal 86, 97, 143, 157, 226
continuity and identity 47, 69, 211
cooperative narration 11, 195–201
coprophilia 182
Coupland, Nikolas 15
critical realism and critical psychological realism: anti-Semitism addressed by 167–8; in “Circe” 165–72; coherence and 115–16, 227; in “Cyclops” and “Nausicaa” 9–10, 26, 125–38; definition and nature of 120, 123; dialectical realism and 172, 222; Flaubert and 27, 63, 171, 182–3; as form of communicative realism 222; gender stereotypes critiqued in 172–3, 174–8; group identity and sexuality/shame in 9; from Joyce 6–7, 26–7, 63, 115; literary works targeted in 171–2, 228; on presupposed world compared to real world 63; romanticization and 120–3; sexuality, sexual desire, and sexual shame in 178–83; shame ideologies targeted in 120–1; style and 123–4; targets of 9, 120–1, 169–72
cross-dressing 174–5, 177–8, 228
“Cyclops”: critical realism in 9–10, 26, 125–31; nationalist distortion of history in 116; parallel narration in 123, 124, 125, 160, 227; political parody in 125–9; romanticization critiqued in 125–31
Dedalus, Stephen 223; aesthetics of 24; as artist and Irish artist 24, 142; Bloom relation to 201–2; categorial identity interrelations for 41, 42; Catholicism and changes in thoughts of 13; Catholicism treatment by 21–2, 28, 171–2; goals of 71–2; guilt and shame in 22; history for 20–1; homosexuality and 17–18, 139–43; identity styling and 21; individual identity of 24–5, 47–8, 49–52, 225; integrity of 21–2, 23; interests and orientation of 73–4; interiority of 197; Joyce connection with 23, 64–6, 141–2; mirror and identity for 24–6; mood congruent processing and repair 70–1, 116; Mulligan contrasted with 13; nationalism and 49; self-mockery of 21; Shakespeare connection with 65, 139–40; shame, Mulligan, and 22; shame, national identity, and anticolonial struggle of 29, 73; shame rejection by 171–2; speech style and training of 22–3; usurped by Mulligan 23; verbal style and shame of 22–3
denigration and categorial identity 19, 170, 212–13, 220
departure, fantasy 203
desire 16–18; see also sexuality and sexual desire
dialectical realism: in “Circe” 165–72; critical realism developed through 172, 222; critique of colonialism in 168–9; definition and nature of 166; English dialect and 169–71; sexual desire and shame treatment in 180
dialogue narration 198–9, 217; see also language; speech or voice
discourse and discourse simulation 80; in ancient stories 82; direct versus indirect 107–8, 124, 131, 146, 155, 193–5; emotions 151–2; in narrative theory 83; nonliterary 26; plot, narration, and style in 8, 10, 83–4, 143, 216
disdain see disgust and disdain
disgust and disdain 31, 43–4, 120–2
disruption, subjective realism 117–18
diversity, individual identity 69, 211
division or multiplicity in identity 38–9, 40–1, 49–51, 69, 209–10, 211
ellipses in emplotment 80, 85–6, 97, 195, 199
emotion and emotional components: affective theory on aversive 69–70; artifact 152–6, 220–1; attachment 72, 153–6, 159, 161, 179, 201–3, 207, 212; categorial identity shifting with 45; character and enduring 68, 71–3; discourse 151–2; empathetic versus complementary 220; enduring 72–3, 211–12; ethics integrated with 2; “Eumaeus” language with excessive intensity of 186, 187–90; group identity and 43–5; identity through 33–5; mental processing and 5; narration 152, 220; narrator limitations in 87–8; plot 151–2; sexual desire as 72; shame and dominant group 44–5; sharing 210, 212; simulation and aversive 55, 69–70; story 150–1, 220; story world 149–50, 220; style and 149; see also attachment
emplotment see plot or emplotment
“Eumaeus”: aesthetics democratized in 184–92; audience-directed interior monologue in 184, 192–6; interior monologue and speech equivocation in 193–5, 229; ironic aggrandizement in language of 188–90; language chosen in 184–90, 228; language of excessive emotional intensity in 186, 187–90; music relation to language of 188; redundancy in style of 185, 187–8
extrinsic norms see intrinsic and extrinsic norms
Fanon, Frantz 20
fantasy 10; definition and nature of 162; departure 203; dreams, hallucinations, and 163–4, 165; figurative narration and 161–2, 180–1; metaphorical identification through 157–60; sexual desire and shame 179–81; simulation and 55, 162, 214; spontaneous 162
feminism 11–12; see also misogyny
figurative narration: ambiguity of 160–1; in “Circe” 157–65, 166, 177; defined 10, 218; fantasy and 161–2, 180–1; focalizer in 160–1; psychological realism and 10, 165; representation in 161–2
Flaubert, Gustave 25–7, 63, 171, 182–3, 224
focalization and focalizer 88, 94–6, 160–1, 195–6, 199, 218
food poisoning 164
Freud, Sigmund 72
Gazzaniga, Michael 51, 224, 225, 230
gender and gender norms: categorial and practical identity applied to 210–11; as “Circe” theme 167, 172–8, 228; critical realist critique of 172–3, 174–8; cross-dressing 174–5, 177–8, 228; in marriage 178; of sexuality and sexual desire 175–7; social construction of 173–4; spirituality and 175; women as “lifegiver” or mediator in 172–3; women harmed by hierarchies of 178; see also feminism; men; misogyny; women
genre 61, 77–81, 143, 146–7, 215–16
geography see physical location and space
Gerrig, Richard 54
Gerty: categorial identity and 43; gender identity and sexual shame of 35, 49, 133–6; parallel narration involving 131–2; sexual romanticization by 132–6; sexual shame, religion, and 137–8
goals and concerns 68, 71–3, 75, 93–4, 211–12
Goethe, Johann Wolfgang von 171
Goldman, Emma 3
Greek 77
Green, Melanie 225
group or group identity: behavior norms in 41; categorial 35–7, 38, 41–3, 209, 210; cognition and 38–43, 45; denigration 34, 40, 121–2, 176, 212–13; disgust, social hierarchy, and 43–4, 121–2; division creation 40–1; emotion and 43–5; inclusion principle or criteria for 39–42, 209; individual compared to 35–6, 209–10; in-group/out-group divisions and 38–9, 209–10; nationalist activists and 40–1; practical identity differing within 45–6; pragmatic identification markers for 39–40, 209–10; psychology of 7; shame in dominant 44–5; summary of 209
Haines: categorial and practical identity of 37; colonial shame of 19–20, 44; homosexuality of 17–18, 140–1; identity of 41; speech of 14, 169, 170
hallucinations 160, 163–4, 165
Hamlet (Shakespeare) 25
Hebraism, or revealed religion 24
Hellenism, or empirical study 24
hermeneutics 26
Higgins, Zoe 157–60, 161, 169–71
history: colonial shame repudiated through 19–21; for Dedalus 20–1; nationalist ideology distorting 116; parameterization of styles for periods of 146–7; reality obscured by appeals to 30; shame of 19–21
homosexuality: critical response to 224; of Dedalus 17–18, 139–43; homophobia linked to shame of 17, 142–3; of Mulligan and Haines 17–18, 140–1; in “Oxen of the Sun” 139–43
idealization 19, 25, 27, 81, 103, 107, 133; decorous 212; of motherhood 28–9
identity 4; basic principles of 35–8; behavior relation to 37–8; of Dedalus and Haines 41, 42; definition 41–2; emotion and 33–5; imitation and styling of 40; language, voice, or speech defining 170; of men in relation to women 159–60; minimal and negative definition of 41, 42, 210; mirror and 24–6; national shame, colonialism, and 7, 19–20, 29, 44, 73; practical 36–7, 38; shame over Jewish 34–5, 44–5, 73, 74; social context for 33–4; socially distributed cognition and 36–7; in social psychology 209–10; styling or self-styling 15–19, 21, 40, 46, 219–20; women, sexual shame, and 35, 49, 133–6, 178–9, 227; see also categorial identity; group or group identity; individual and individual identity; nationalism and national identity; practical identity
ideology see critical realism and critical psychological realism; specific topics
idiolectal principles 45
imagination 55, 162, 171–2, 214, 225; see also fantasy; simulation
imitation see mimicry
inclusion principle or criteria 39–42, 209
individual and individual identity 7; body, mind, and soul in 47–9; character 24–5, 47–8, 49–52, 225; continuity and change for 47–8, 49–50, 211; diversity within and continuity across 69, 211; division or multiplicity in 49–51, 211; ethics, action, and psychology of 3, 211–14; grief and attachment figures in 47–8, 69, 211; group compared to 35–6, 209–10; narrative of 48; neuroscience and psychology on 51; parallel and serial accounts for cognition of 9, 103–5, 213; practical identity and 36, 47–8; in “Proteus” 49–52, 225; sexual shame and 50–1, 213; shame and 34–5, 50–1, 213
inferential and emotional components in cognition 5
in-group and out-group: divisions 38–9, 209–10; reference 210
interest or orientation 68, 73–4, 87, 88, 92–3, 106–7
interior monologue and interiority: audience-directed 11, 184, 192–6, 217, 229; of Bloom, Molly 205; canonical 205, 218; through cognitive and affective narratology 5; of Dedalus 197; difficulty understanding 103; “Eumaeus” equivocation between speech and 193–5, 229; as intrinsic norm 90–1; isolation and 205; Mulligan lacking 15; neuroscience impact from literary 102–3; in “Penelope” 11–12; pronoun use in 95; in psychological realist fiction 107–8; as solipsistic 217–18; stream of consciousness distinguished from 107–8, 217, 218; subvocalization of 107–8, 110–12, 160, 205
intrinsic and extrinsic norms: innovation and violation of 89–90, 94; internal narration and 90–1; in narration patterns 84, 89, 90–1; parameterization of 146; psychological realism and 90–1; stylistic features and deviation from 84–5, 89–90, 92, 144–5, 219; Ulysses use of 91–2
Irish art and artist 224; colonialism, reflection, and 25–6; Dedalus as 24, 142; parody of 128–9; symbols of 24–8; Ulysses as national epic of 23, 24, 65
Irish nationalism: categorial identity in 41, 42; epic of 23, 24, 65; and old woman as nation 52, 128; Palestine tied to 52; political parody of 127–9; Yeats allegory of 27
irony see humor and irony
Iser, Wolfgang 115–16, 226, 227
isolation and loneliness 202; attachment and 11–12, 204–5; character 203–5; existential 204, 212; feminism addressing 11–12; interior monologue and 205; psychology of 184, 203–5; self-expression relation to 51–2; shamelessness and 206
James Joyce Literary Supplement 1
Jew: character types regarding Greek and 24, 77; national identity for 31–2, 73, 129–31; shame over identity as 34–5, 44–5, 73, 74; see also anti-Semitism
Joyce, James 1, 14, 21, 72, 133, 223; anarchist political views of 3, 224; contribution to psychology and politics of 6–7; critical psychological realism of 6–7, 26–7, 63, 115; Dedalus connection with 23, 64–6, 141–2; default narrational form of 94; masturbation treatment by 2–3, 179; psychological interests related to ethics and politics of 4; psychological interests related to literary technique for 4; real world relevance of themes from 6; subvocalization representation by 192; Ulysses interwoven with social and political views of 2; see also author; Ulysses; specific topics
knowledge 64–6, 87–8, 142–3, 197, 216, 229
Lacan, Jacques 3
language: aesthetic democratization of 190–2, 220–1; dialectical criticism treating English 169–71; in “Eumaeus” 184–90, 228; excessive emotional intensity of 186, 187–90; identity defined by 170; irony in aggrandizing 188–90; literary tradition compared to marketplace 186–7, 191; narrational constraint of 143–4; narrator’s access to character interiority and 89; national identity and 27–8; parallel processing in 106; in practical identity 36; see also speech or voice
Lawrence, Karen 8, 10–11, 90, 97, 125, 226, 227, 228
Lehrer, Jonah 3
literature and literary work: colonialism and 30–1; criteria for evaluating 1, 219–20; critical realism targeting 171–2, 228; direct thought presented in 107–8; ethical focus on 1–2; everyday simulation and 8; intuitive simulation in 75–6; marketplace language and 186–7, 191; mimicry relation to 27; parody of style of 148; “principle of minimal departure” applying to 62–3; realism and romanticism in 25, 26, 27; real world in relation to 1, 25; simulation in 60–2, 75–6; social and political relations in 1, 2; transportation through 55–6; Ulysses and role of 26, 27; Ulysses as twentieth century’s greatest 1
loneliness see isolation and loneliness
Madame Bovary (Flaubert) 25, 27, 63
marriage 178
masturbation 2–3, 18, 120, 135–6, 179, 206, 229
mentalistic narration 91, 101–3, 184, 217–18, 226, 229; see also interior monologue and interiority; stream of consciousness
mental processing 5, 117, 163–5, 227
metaphor and metaphorical identification 157–60, 161
mimesis, narrational 124, 131–2, 146, 147, 185, 187, 190, 218, 227
mimicry 44; identity styling and 40; literature relation to 27; Mulligan 15, 19, 24
mind 47–8, 101–3, 104–5, 113; see also neuroscience and neuroscientific approach
misogyny: nationalism tied to 130; national shame and 31–2, 213; sexual shame relation to 138; shame relation to 28, 31–2, 33, 138; women deified as corollary of 173
money 14
mood congruent processing and repair 69–71, 95, 116, 200–1, 212–13, 226
Mulligan, Buck: audience for 15; Dedalus contrasted with 13; homosexuality of 17–18, 140–1; identity styling by 15–17, 18–19, 40; interiority lacking for 15; mimicry by 15, 19, 24; mockery and obscenity of 16, 19, 21; as plump and wellfed 13, 23; sexual myth involving 16, 18; shame of Dedalus and 22; on stage 15–16; as usurper for Dedalus 23; as Wilde imitator 16–17
multiplicity see division or multiplicity
Nandy, Ashis 20
narration and narrative: character psychology, aesthetics, and 8; “Circe” and 160; constraint loosening in 109; cooperative 11, 195–201; creation of 60–1, 214–15; critics on format of 226; in “Cyclops” 123, 124, 125; default 89–96, 219; dialogue 198–9, 217; as discourse component 8, 143, 216; emotion 152, 220; emplotment and 85–9; external 94; of individual identity 48; innovation 198–9; internal 90–1, 92, 93, 94; intrinsic and extrinsic norm patterns in 84, 89, 90–1; Joyce’s psychological interests and 4; language as constraint in 143–4; literal construal in 160; mentalistic 91, 101–3, 184, 217–18, 226, 229; mimesis 124, 131–2, 146, 147, 185, 187, 190, 218, 227; narrator, plot, and verbalization in 83; in “Nausicaa” 124, 131–2, 160; parallel 9–10, 11, 123–4, 125, 131–2, 160, 214, 216–17, 227; parameterization 146, 219; psychological realism and mentalistic 101; relational 11–12; segmentation and 97; simulation of voice in 60, 83; story frame simulation in 82–3, 214–17; story with embedded 80, 87, 152; structural tendencies of 89, 91, 96; stylistic autonomy and 86, 89, 96–8, 100, 147–9, 161–2; time and space in 92, 216; see also autonomy; figurative narration; intrinsic and extrinsic norms
narratology and narratological approach 4–5
narrator: binding of plot and verbalization to 86; character focalization and 88, 94–6, 195–6, 199, 218; character topicalization by 87, 88, 92–3, 195–6, 199; emotional engagement 87–8; interest and orientation 87, 88, 92–3; knowledge 87–8, 216; language and character access 89; in narrative theory 83; personification and constraint for 108–9; personified and non-personified 86–7, 88, 91, 108–9, 123–4, 126–7, 216–17; in story and story frame 61–2, 86–7, 143–4; temporal indexing of 109; in time and space 92; transcendental 216
nationalism and national identity: anti- 2, 27–8, 127–9; anti-Semitism and 31–2, 73, 129–31; colonialism compared to 169; Dedalus engagement with 49; group identity and activists for 40–1; history ameliorates shame over 19–21; history distorted by ideology of 116; language and 27–8; mirror and 25–6; misogyny tied to 130; political parody of 127; religion tied to 52; shame and 18–19, 22, 29–31; Ulysses treatment of 27–8, 29–31; see also Irish nationalism
national shame: anti-Semitism and scapegoating for 19–20, 31–2, 122, 213; approbation, sexuality, and 29–30; identity, colonialism, and 7, 19–20, 29, 44, 73; misogyny and scapegoating for 31–2, 213; self-aggrandizement in 25, 26
“Nausicaa”: critical realism in 9–10, 26, 131–8; parallel narration in 124, 131–2, 160; romanticized sexual ideology and 116, 131, 132–3
neuroscience and neuroscientific approach 225, 228; individual identity and 51; interior monologue affect on 102–3; to mind 102; psychological realist fiction and 101–2; sexual shame and 183; Ulysses treatment from 3–4
nonliterary discourse 26
non-personified narrator 86–7, 88, 91, 108–9, 126–7
Nussbaum, Martha 2, 72, 132–3, 136
Oatley, Keith 225
obscenity 16
optical or sensory point of view 88
ordinariness 2–3, 72, 120, 181–2
organization: as cognitive operation 97; emotional responses to 151–2; of plot and story information 85–7, 97, 115, 200; Ulysses and Aristotelian 5–6, 79–80
orientation see interest or orientation
“Oxen of the Sun” 139–43, 146–56
parallelism and parallel processing: Bloom’s serial and 105, 110–14; in brain and mind 104–5, 113; in consciousness and memory 105–6, 112–13; definition and nature of 104, 105; in language and verbal processing 106; in narration 9–10, 11, 123–4, 125, 131–2, 160, 214, 216–17, 227; as not self-conscious 104; processing orientation impacting 106–7; scope of 105–7; semantic 111, 227; serial versus 9, 103–5, 110–14, 213; simultaneity and spatial 9, 109–10; in “Sirens” 110–14; social and psychological cognition with 104; space/time variation and social 109–10
parameters and parameterization 69–70, 109, 145–7, 219
particular instances 78
personal identity see individual and individual identity
personified narrator 86–7, 88, 123–4, 216–17
physical location and space 66–7, 225–6
plot or emplotment: bound or autonomous 86; as discourse component 8, 83–4, 143, 216; ellipses and purpose in 80, 85–6, 195, 199; emotion 151–2; implied author in 87; narration and 85–9; in narrative theory 83–4; “principle of minimal departure” applied to 85; from story and story frame 61–2, 86–7, 143–4; story information selected, organized, and construed in 85–7, 97, 115, 200; timing in 85–6
politics and political views 2; “Aeolus,” “Sirens,” and “Cyclops” parody of 125–9; categorial identity in 37; of colonialism and nationalism parodied 125–9; Joyce’s anarchist 3, 224; Joyce’s psychological interest in 4; mental processing components in 5; pragmatic identification markers and 40; style and 10–11; theoretical value of Joyce’s 6–7
popular romance 116
A Portrait of the Artist as a Young Man (Joyce) 14, 21, 72, 133
post-colonial studies 1
poverty 14
practical identity: behavior and 38; categorial distinguished from 35–7, 210–11; complementary 36, 210; diversity within identity groups for 45–6; gender and 210–11; idiolectal principles in 45; individual identity and 36, 47–8; language as 36; social trends and differing 46
pragmatic identification markers 39–40, 209–10
presupposed world 63
“principle of minimal departure” 62–3, 85
pronoun, in interior monologue 95
prototype or prototypical case 78, 153–4, 155, 220, 228
Proust Was a Neuroscientist (Lehrer) 3
psychological (versus social) cognition 104
psychological realism and realist fiction: figurative narration as mode of 10, 165; interior monologue and stream of consciousness in 107–8; intrinsic/extrinsic norms and 90–1; mentalistic narration in 101; neuroscience and 101–2
psychology and psychological process: of Bloom 94–6; colonialism and 20, 29; ethics and 3, 4; of group identity 7; imagination within 171–2; individual identity and 51; of isolation and loneliness 184, 203–5; Joyce narrative and style relation to 4; Joyce’s contribution to 6–7; narration and 8; realism judged through 6, 117–18; real world and social/individual 209–14; sexuality in 176, 181–2; simulation as 8; social and individual 3, 51, 209–14; see also critical realism and critical psychological realism
race 39
Rader, Ralph 1
reactionary traditionalism 40, 212–13
reader: implied author’s simulation of 63, 116; simulation 57–8, 59–60, 64–5; “Telemachus” and orientation of 13; transportation 57
realism and reality: arbitrary discourse segmentation and 99–100; “Circe” critics claim break with 165–6; defined 6, 7; dialectical 165–72, 180, 222; disruption subjective 117–18; formal 118–19, 166, 221; historical claims obscuring 30; literature, romanticizing, and 25, 26, 27; objective compared to subjective 117, 221–2, 227; psychological processing in judging 6, 117–18; representational or depictive 116–17, 166, 221–2; simulation and subjective 117, 221; symbolism relation to 27; varieties of 116–20; see also communicative realism; critical realism and critical psychological realism
real world: aesthetic or stylistic analysis and 4; critical realism, presupposed world, and 63; Joyce’s themes and 6; literature in relation to 1, 25; sexuality and psychological understanding of 181–2; simulation 82, 83; social and individual psychology in 209–14
religion 148–9; categorial identities and 41–2; colonialism and 31–2; Hebraism, or revealed 24; nationalism tied to 52; sexual shame relation to 19, 72, 134, 137–8; see also Catholic Church and Catholicism
Retzinger, Suzanne 72
reward system 54–6, 153, 214, 215, 220
Richardson, Brian 9
Ricoeur, Paul 26
romanticization: aggrandizing 121, 212; critical realism and 120–3; “Cyclops” critique of 125–31; realism versus literary 25, 26, 27; sentimental 121, 212; sexual 116, 131, 132–6, 212; shame-concealing ideologies as forms of 121; style in highlighting and criticizing 147–8; see also popular romance
Romeo and Juliet (Shakespeare) 79
sanctification 206
scarcity, money 14
Schacter, Daniel 66
segmentation 97–8, 99–100, 216, 226
selection 85–7, 97, 115, 200, 216
sentimentalization 25, 26, 121, 212
serial accounts or processing 9, 103–5, 110–14, 213
sexuality and sexual desire 113; attachment bonding and 207; in “Circe” 167, 178–83; critical realist treatment of 178–83; current social views of 3; dialectical realist treatment of 180; as emotion 72; fantasy and 179–81; gender norms for 175–7; liberation of 2–3, 18; masochism and coprophilia within 181–3, 228; Mulligan myth of 16, 18; national shame and 30; “Nausicaa” and romaticization of 116, 131, 132–3; ordinariness and 2–3, 72, 120, 181–2; in psychology 176, 181–2; romanticization of 116, 131, 132–6, 212; sanctification of 206; see also homosexuality
sexual shame 7, 16, 28, 30; Molly Bloom, free of 206–7; in “Circe” 167, 178–83; critical realist treatment of 178–83; dialectical realist treatment of 180; fantasy involving 179–81; individual identity and 50–1, 213; misogyny and 138; neurological nature of 183; religion and 19, 72, 134, 137–8; sentimentalization and 25, 26; social views and 17; women, identity, and 35, 49, 133–6, 178–9, 227
Shakespeare, William 64–6, 79, 139–40
shame 223; anti-Semitism and 33, 34; avoidance and rejection of 73, 122–3, 171–2; Caliban rejecting 25; in categorial identity 43; critical realism targeting ideologies of 120–1; Dedalus and Mulligan juxtaposed 22; desire and 16–18; disgust and disdain as triggers for 31, 43–4, 120–1; dominant group identity and 44–5; guilt and style as responses to 21–4, 74; and history 19–21; homophobia connection to homosexual 17, 142–3; individual identity and 34–5, 50–1, 213; isolation fostering absence of 206; misogyny relation to 28, 31–2, 33, 138; mockery or obscenity motivated by 16, 19; moral ideologies for mitigating colonial 122, 212–13; national identity and 18–19, 22, 29–31; nature of 21, 24; over Jewish identity 34–5, 44–5, 73, 74; “Penelope” and absence of 206–8; pragmatic identification markers association with 40, 209–10; romanticization and ideologies of 121; social 19, 33, 121; spontaneous impulse impacted by 19; summary of 212; verbal style and 22–3; see also national shame
simulation 229; argumentational 214; audience 64, 65–6, 76; authorial 8, 58–60, 61–2, 75–6, 215, 217, 225, 230; aversive emotion and 55, 69–70; behavior impact of 55; Bloom’s 53–7; character 8, 53, 68–9, 162–3; of circumstances and agents 78; cognitive structures for 78; definition and features of 7–8, 54–5, 78; fantasy and 55, 162, 214; implied author and reader 63, 116; intuitive compared to theory-guided 75–7; literary 60–2, 75–6; in literature and everyday life 8; “Lotus Eaters” and authorial productive 58–60; memory and 66; of narration 82–3, 214–17; narrative voice and 60, 83; outline and summary of 143, 214; pragmatic or exploratory 56–7, 214; in production of Ulysses 8; productive compared to receptive 57–8, 214; reader 57–8, 59–60, 64–5; real world 82, 83; reward system and 55; space in 67; spontaneous 162; of story world 62–4, 66–75, 77–8, 143–4, 214–15; subjective realism and 117; task free and task constrained 56, 214; Theory of Mind and 76–7; transportation and 53–8, 213–14; see also discourse and discourse simulation
“Sirens” 105, 109, 110–14, 125
sleep 163
social or socially distributed cognition 36, 104
social relations 66
society and social views: categorial identity defined by 43; gender construction in 173–4; group identity, disgust, and 43–4, 121–2; identity within 33–4; in-group/out-group treatment in 39; mental processing components and 5; money scarcity in 14; narration and parallelism in 109–10; parallel and serial accounts for cognition of 9, 103–5, 213; politics and interrelations in 3; practical trends and diversity in 46; pragmatic identification markers in hierarchies of 40; sexuality and current 3; sexual shame and 17; shame in 19, 33, 121; Ulysses relation to 1, 2
soul 47
The Sound and the Fury (Faulkner) 88, 89
space 66, 88, 92, 109–10, 216, 225–6; story geography versus local scene 67, 215
speech or voice: aesthetic democratization of 190–2, 220–1; colonial status and 14, 169–71; dialectical criticism treating English 169–71; direct versus indirect 107, 155; English 169–71; “Eumaeus” equivocation between interior monologue and 193–5, 229; of Haines 14, 169, 170; identity signaled by 170; internal and external 158; resolving shame of 22–3; simulation in narrative 60, 83; style and 22–3; wellfed 13, 14
spirituality 175
spontaneity or spontaneous impulse 19, 162
story and story frame: defaults in 144, 145; defined 79; discourse simulation in ancient 82; embedded narration in 80, 87, 152; emotions 150–1, 220; genre and 77–81; narrative simulation 82–3, 214–17; narrator and plot in 61–2, 86–7, 143–4; plot selecting, organizing, and construing information of 85–7, 97, 115, 200; “principle of minimal departure” applied to 85; story world simulation for 77–8, 143–4; style, historical period, and 148–9; stylistic binding, stylistic autonomy, and 83–4, 86, 218–19; Ulysses, fragmented genres, and 79–81
story world: definition and nature of 60, 62–3, 78, 214–15; emotions 149–50, 220; genre and 61, 78, 79, 143, 215–16; “principle of minimal departure” for 62–3; simulation of 62–4, 66–75, 77–8, 143–4, 214–15; situation and character in 66–8; space 66, 67; style, historical period, and 148–9; surface compared to inferred 157; of Ulysses 60–1
stream of consciousness 53, 160; canonical 108; through cognitive and affective narratology 5; interior monologue distinguished from 107–8, 217, 218; as intrinsic norm 90–1; for Molly 205; in psychological realist fiction 107–8; in “Sirens” 110–14; transportation and 53–4
structural tendencies 89, 91, 96
style 185; artifact emotion and verbal 154–6, 220; autonomy of 10, 83–4, 89, 91–2, 94–100, 143, 144, 147–9, 161–2, 218–19; bound and autonomous 83–4, 86, 218–19; critical realism and 123–4; Dedalus shame resolved through verbal 22–3; definition and nature of 46, 143–7, 218–19; as discourse component 8, 10, 83–4; emotion produced through 149; intrinsic/extrinsic norms and deviations of 84–5, 89–90, 92, 144–5, 219; Joyce’s psychological interests and 4; level and scope of 84; narration and autonomous patterns of 86, 89, 96–8, 100, 147–9, 161–2; newspaper pattern of 97–8, 99; “Oxen of the Sun” and changes in 139, 142; parameters and parameterization in 145–6, 147, 219; parody of literary 148; politicizing of 10–11; purposes of 147–56; real world analysis versus analysis of 4; redundancy in 185, 187–8; romanticization highlighted and criticized through 147–8; scope and substrate for 144–5, 218, 219; shame and 21–4, 74; story, story world, and 148–9; textualization and 98; theme and 147–8; training of speech and 22–3; verbalization 22–3, 143, 144, 154–6, 220–1
styling or self-styling 15–19, 21, 40, 46, 219–20
subvocalization 107–8, 110–12, 147, 160, 192, 205; see also interior monologue and interiority
Tan, Ed 151
task free and task constrained simulation 56, 214
temporal indexing, narrator 109
The Temptation of St. Anthony (Flaubert) 171, 182–3, 228
theme: artifact wonder and 153, 220–1; colonialism 14; real world relevance of Joyce 6; of sexuality and gender 167, 172–83; style and 147–8
thought 96, 113–14, 226; direct versus indirect 107–8, 194
time and timing 85–6, 88, 92, 109–10, 216
topicalization 87, 88, 92–3, 195–6, 199
transportation, mental 53–8, 213–14
Turner, Mark 78
Ulysses (Joyce): as anticolonialist and antinationalist 2, 27–8, 125–9; anti-Semitism critiqued in 2, 24, 126, 167–8; biographical knowledge importance for 64–6, 142–3; categorial and practical identity in 37; cognitive, affective, and neuroscientific treatment for 3–4, 5; coherence and critical realism in 115–16, 227; communicative realism in 118–19, 165–72; critical response to 224, 225, 226; default narrational form of 91, 94–6; ethics and morality implicit in 2; genre fragments in 79–81; as greatest literary work of twentieth century 1; on individual freedom 2–3; intrinsic and extrinsic norms in 91–2; as Irish national or international epic 23, 24, 65; Joyce’s social and political views in 1, 2; literary works in 26, 27; narrational constraints loosened in 109; narrative structure and 5–6, 79–80; national identity and 27–8, 29–31; ordinariness of sexuality in 2–3, 72, 120, 181–2; in post-colonial studies 1; simulation in and of 8; story world of 60–1; see also specific topics
Upheavals of Thought: The Intelligence of Emotions (Nussbaum) 2
usurper 23
value see reward system
verbalization or verbal processing: artifact emotion and 154–6, 220; autonomy of 96–7, 146, 157; bound 86; construal and 86, 143; implied author and 87; internal 95–6; parallel processing in 106; style 22–3, 143, 144, 154–6, 220–1; textualization and 217
violation: of extrinsic norms 90, 144, 219; of intrinsic norms 20, 92, 94, 144, 219
voice see speech or voice
Walpole, Horace 192
“Who Goes with Fergus?” (Yeats) 23
women 159–60; colonialism blamed on 31–2; gender hierarchies and 178; identity and sexual shame for 35, 49, 133–6, 178–9, 227; Irish nationalism allegorized in 52, 128; as “lifegiver” and mediator 172–3; masturbation by 206, 229; misogyny and corollary of deification 173; see also misogyny
world see real world