Abstract
This article is an attempt to approach James Joyce's Ulysses from a Bakhtinian perspective, not only to reinforce the opening thesis (Ulysses is the novel par excellence in the light of Bakhtin's theory of the genre) but also to discover the implications of Joyce's use of the so-called "heteroglossia". Ulysses contains an elaborated dialogue of languages which do not exclude each other but intersect in many different ways. This study approaches the "Nausicaa" episode as a paradigmatic microcosm in which heteroglossia is organized and incorporated according to the same procedures which articulate the whole novel. The analysis of all the voices which participate in the narrative reveals the various mechanisms and meaningful implications of the dialogical interaction within the text.
Highlights
Ulysses contains an elaborated dialogue of languages which do not exelude each other but intersect in many different ways
According to Bakhtin's theory of the novel as a dialogic genre, which he describes as: "multiform in style and variform in speech and voice" (261), the reader of any novel becomes an investigator confronted with several heterogeneous unities, often located on different linguistic levéis, and subject to different stylistic controls
In Joyce's work the novelistic whole is constantly breaking down into different stylistic unities which bring about the appearance of a diversity of individual voices
Summary
Ulysses contains an elaborated dialogue of languages which do not exelude each other but intersect in many different ways. In Joyce's work the novelistic whole is constantly breaking down into different stylistic unities which bring about the appearance of a diversity of individual voices.
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