By Wolfgang Streit
Sheds new mild on James Joyce's use of sexual motifs as cultural uncooked fabric for Ulysses and different worksJoyce/Foucault: Sexual Confessions examines situations of sexual confession in works of James Joyce, with a unique emphasis on Portrait of the Artist as a tender guy and Ulysses. utilizing Michel Foucault's ancient research of Western sexuality as its theoretical underpinning, the ebook foregrounds the function of the Jesuit order within the unfold of a confessional strength, and reveals this effect inscribed into Joyce's significant texts. Wolfgang Streit is going directly to argue that the strain among the texts' erotic passages and Joyce's feedback of even his personal sexual writing energizes Joyce's narratives-and permits Joyce to improve the unconventional skepticism of energy printed in his work.Wolfgang Streit is Lecturer, Ludwig Maximilians collage, Munich.
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3 Their relationship leads Stephen to associate Cranly's face with "the face of a guilty priest who heard confessions of those whom he had not power to absolve," even if the validity of this image is qualified by the conditional form ("Stephen . would have told himself that it was the face," g. ISS-6 i) and implicitly negated because of Cranly's "womanish" eyes. 2o5gy7-59).
9 Stephen's avoidance of profane confession to the priest indicates his denial of confession's expansion into the interpersonal domain. At this point, it is important not to labor under the illusion that one who main- tains silence has succeeded in finding a position outside the power over life. Be it in puritanical rules of propriety or in censorship, secrecy in the Western world is always transformed into speaking (HS I 8, 100 o-101). Still, a text that questions and criticizes the expansion of power by depict- ing attempts to escape from the obligations of power demonstrates its own search for a position of resistance.
Wondering why he can imagine no part of Cranly's body but his priestlike head (P 5. I42- g), the reply comes from his memory of having profanely con- fessed to Cranly the tumults, the agitations, and the longings of his soul (g. I55 g-g 57y). 3 Their relationship leads Stephen to associate Cranly's face with "the face of a guilty priest who heard confessions of those whom he had not power to absolve," even if the validity of this image is qualified by the conditional form ("Stephen . would have told himself that it was the face," g.