Dubliner’s Paralysis Underlined: Becoming Adults in “An Encounter” and “Araby”

These words echo the same fate that befell Prometheus after his betrayal of Zeus. At the end of the novel, when Stephen declines priesthood and repudiates the Church of Ireland, the incarnation becomes complete. Born to a poor family in , he lived and studied in the French school of Tlemcen, a relatively urban town in Western Algeria.

By virtue of his education, he became among the first Algerian elite formed in the colonial school. But as soon as he achieved his intellectual maturity, Dib turned to militant journalism in Alger Republicain newspaper, and joined the Communist Party. By the time he published La grande maison, he had already versed in the nationalist claim and embarked on a long struggle against the colonial presence in Algeria. In , when Joyce completed Dubliners, Ireland was still an English colony, and in spite of all the nationalist agitation of the previous decades, it was not granted the Home Rule status.

After the fall of Parnell, the Irish unity shattered and the power of the Church grew increasingly political. Taking profit out of the disintegration of the political parties, the religious institution worked to extend its influence over the political sphere, and to prevent the planting of the seeds of European Enlightenment thoughts on Irish soil. In , when Dib was only ten, the colonial authorities celebrated the centenary of the French occupation of Algeria. The latter was the oldest and the biggest French colony in Africa.

On this account, the colonial power proclaimed its wish to make it the model of its superior culture and the example of its firm presence in the continent. Yet, less than ten years after this event, France entered World War II and underwent a terrible defeat at the hand of the German army. The years that followed its capitulation were depressing for its people, and particularly disastrous for its overseas subjects. In Algeria, the indigenous populations endured harsh living conditions among shortcomings in food, harvests, and employment.

Besides, the political scene was closed upon their grievances, and prisons thronged with political activists. On May 8th, , when the world rejoiced at the end of World War II, the Algerian populations went out celebrating the happy event and claiming their own freedom. Unfortunately, the demonstrators were faced with fire, and thousands of people were massacred to death 9. Nevertheless, even if the two events plunged the two countries in unprecedented turmoil, they also impelled their respective intellectuals to take their responsibilities over the situations in the countries.

Joyce and Dib are thus counted among the products of Irish and Algerian artistic Renaissance, who took it upon themselves to support the cause of the nationalists and to take up the task of freeing the countries. In his effort to present his native city to the world, Joyce shifted his narrative away from the celebratory narratives of the Celtic Twilight and inscribed it in the line of nineteenth century European realist masters, namely Flaubert, Tolstoy, and Ibsen. He also explored naturalistic possibilities in Dublin urban life and borrowed insights from the philosophy of Nietzsche.

The result became neither a romanticisation of Irish provincial life, in the manner of the Irish Revival poets, nor a surface record of mundane local customs, in the manner of local colour writers. It has owned his collection of short stories an outstanding place among the best European naturalist writings that have ever succeeded to describe the life in modern cities and its encroachment on the individual will and the collective desire.

His realist mode of writing was supported by a naturalist stance that recorded the social life in Tlemcen in its minutest detail, and scrutinised both the existential and social tensions. These narratives were exotic-like stories with pronounced ethnographic traits. On the whole, the two novelists had so much been interested in recording the indigenous traditions and praising the national past that they lost grip with the struggle of their people and became estranged from the reality of their country.

In other words, paralysis is the motif which governs the reading of all the short stories and connects them together. By Dar-Sbitar and Dublin we mean the physical, social, and spiritual environment that surrounds, directs, and oppresses the characters and their desire. Therefore, any analysis of Dubliners and La grande maison ought to start with the examination of the settings of Dublin and Dar- Sbitar, the two places that lend their names to the two fictions.

All these examples picture Dublin as a big prison house, where the air smells nasty and the characters suffer confinement. The prison motif is also sustained by the oppression that hangs over the head of all the characters and their continuous longing for escape. His descriptions overlook the European district of the town and stress its suburb, particularly the residence of Dar-Sbitar.

The suburb is an irksome place made of small houses and a maze of small sombre streets. Dar-Sbitar rises amid this blazing atmosphere, at the very back of the back town. Besides, when the affair reaches the proportions of a scandal, Mr Doran is left with only two alternatives: And when the breach has to deal with a question of honour, the offender is repudiated and driven out of the community.

Her proscribed behaviour has aroused the reprobation of everybody, and owned her the scorn of her brother Mourad who has sworn to kill her and to avenge the honour of the family. However, love between adults is not the only love banished from the world of Dar-Sbitar and Dublin. Love between children, too, is repressed and reprimanded.

For if love is among the best stimuli of desire in the world, the hearts of children are its best recipients. The ruthlessness of her drunkard father has increased her anxieties, and given her palpitations. But since she has known Frank, things are no longer what they used to be. His tales of distant countries soothed her sufferings and provided an outlet for her imagination through which she wants to consecrate her right to happiness.

In her lonely existence, Frank has become the only issue of escape and the brightest promise of a better tomorrow.

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Yet when the time to elope with Frank reaps, Eveline relinquishes all her hopes and forsakes Frank. In fact, her education as well as her religion interpose between her and her desire and force her to abandon her dreams. It suggests the Irish incapacity to overcome the Irish orthodox values which strangle individual liberties and hinder social emancipation.

In the two stories, Joyce achieved plots of unfulfilled desire, whereby the desire of the protagonists is heightened only to lead to disappointments and frustrations. Omar, too, is a boy prone to believe in the dream world of romance. His romantic impulse is thus given free run through the outlet of his relationship with Zhor. They reveal two communities closed on themselves, living in a condition of bondage, and incapable of any salutary change.

Joyce holds the religious institution of the Church responsible for the wretched predicament of the Irish, whereas Dib indicts the colonial system for the sufferings of his people. The latter illustrates how the religious teachings of Ireland work to repress the imagination of children and to stultify their desire. During the course, Omar feels that all the lesson, like all the teachings in the school, is but a set of lies cf. His impressions are shared by his friends and sustained by the schoolmaster himself who is at pain to explain the meaning of the concept to the pupils. Nonetheless, his solemnity is of no help, since Omar and his schoolmates exhibit attention only in so far as it allows them to avoid the big stick of the schoolmaster.

Dubliner's Paralysis Underlined - Stephanie Kromer - Google Книги

The violence of the latter appears, thus, as the main motive which prompts the presence of the pupils and keeps them in the class. It suggests the coercive nature of the colonial education and the force through which it maintains its ideological subjection of the natives. On account of their physical disabilities, the two characters stand as symbolic figures that evoke the spiritual paralysis of the two countries. During all his office in the Church, he had had a strong bond to the ideology of the Irish clergy, though his understanding of theology had always been superficial.

But when he broke the chalice which contains the mind of God, his life was radically transformed. In the simplicity of his mind and education, he thought that the sky would fall upon his head. But to his great disillusion, nothing happened, and no supernatural power took heed of his deed.

It suggests the incapacity of the Irish to depart from their archaic way of living, and to initiate any revolutionary change in the country. In these two stories, as well as in real life, adolescence is about getting to know oneself, love, and sexuality.

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Comparing the two stories in regard to sexuality and love it soon comes clear that they deal with very different natures of those concepts. In this paper, these different kinds will be compared; differences and similarities will be shown. Ukaguzi Sera ya Maoni. Itasawazishwa kiotomatiki kwenye akaunti yako na kukuruhusu usome vitabu mtandaoni au nje ya mtandao popote ulipo.

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The Collected Poems of W.

Dubliner’s Paralysis Underlined

This volume provides accurate texts of all the poems by Yeats published in his lifetime or scheduled for publication as of his death on January 28, , including those omitted from earlier collections. For more than two hundred years after William Shakespeare's death, no one doubted that he had written his plays. Since then, however, dozens of candidates have been proposed for the authorship of what is generally agreed to be the finest body of work by a writer in the English language.

In this remarkable book, Shakespeare scholar James Shapiro explains when and why so many people began to question whether Shakespeare wrote his plays. It is a fascinating story, replete with forgeries, deception, false claimants, ciphers and codes, conspiracy theories—and a stunning failure to grasp the power of the imagination.

Are the plays and poems of Shakespeare a sort of hidden autobiography? Do Hamlet, Macbeth, and the other great plays somehow reveal who wrote them?