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• W2767960589 abstract "James Joyce and Flann O’Brien are dialectical writers, both in the formalistic structures of their novels and in their relationship to each other in the context of their aesthetics of the novel and Irish literary tradition. O’Brien ironically engages with his own literary distance and belatedness to Joyce in essays such as “A Bash in the Tunnel” and in his column in the Irish Times called “Cruiskeen Lawn,” ultimately going so far as to include an unflattering portrayal of the Irish émigré in his novel The Dalkey Archive. It seems well-established in literary criticism by now to read At Swim Two Birds and The Hard Life as ironic re-inscriptions of A Portrait of the Artist as A Young Man and Dubliners respectively, and critics like O’Grady have un-problematically asserted that “of all post-Joyce Irish writers, Flann O’Brien is perhaps the most consistently—indeed, insistently—self-conscious in his reckoning with Joyce’s ‘priority’” (202). However, in discussing two writers which stand in such a compelling and agonistic relationship to each other, criticism has not dealt with the notion of dialectics, both as it applies to their individual practices of fiction and their intertextual links. I propose to read Joyce’s Portrait in the light of G. W. F. Hegel’s seminal philosophical work Phenomenology of Spirit in order to explore Stephen’s coming into being as an artist in terms of Hegel’s delineation of how consciousness freely determines its own actuality through dialectical negation and sublimation. Reading the novel alongside Hegel’s idea of dialectics will fruitfully illuminate Joyce’s own drama of artistic consciousness emerging from and transcending the stultifying discourses of religion and parochial culture and render Hegel’s aesthetics of Art as materially manifesting how Spirit is embodied in a particular stage of its development. The differences between Joyce and O’Brien can be elucidated when we turn from Hegel to consider Theodor Adorno’s own brand of “negative dialectics,” which employs the movement of dialectical concepts only to show how it necessarily fails to totalize and reduce its subject matter to a finalized “object of knowledge.” This move will help to illustrate O’Brien’s radical departure from Joycean practice in terms of his comic refusal to synthesize or sublimate the language of the body and its affective impulses. If Joyce’s earthy realism provides dialectical counterpoints to Stephen’s image of himself as a “priest of the eternal imagination,” O’Brien’s own dialectical (re)negotiation with Joyce positions the body in opposition to the spirit as a site of excess and indeterminate jouissance (which, for O’Brien, cannot be divorced from the impulse to write)." @default.
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• W2767960589 date "2017-11-01" @default.
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• W2767960589 title "The Dialectic Imagination: Aesthetic Form and Openness in the novels of James Joyce and Flann O’Brien" @default.
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• W2767960589 doi "https://doi.org/10.1093/litimag/imx069" @default.
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