Peter de Vooged`S Article on “Dubliners”
Peter de Vooged`s article on “Dubliners”
Peter de Voogd concentrates in his article on the possibilities of visualisation in a reading of the text of “Dubliners”. Different visualizations of reading can be observed, when film directors cast the actors for a character who can be imagined totally different by another reader of the script. De Voogd mentions the James Joyce was aware of these visual aspects and manipulated his readers` visualisations. On reason for this is his interest in the scenic arts like drama and film. James Joyce wrote “Dubliners” with the aim that the Irish could have “one good look at themselves in my nicely polished looking glasses”. He often uses the pictures of people looking in through windows and the potential of pictorial visualisations to structure the reader`s reaction to his verbal texts. When writing about this theory de Voogd mentions Florence Walzl`s view that students should realize that the stories in the “Dubliner” are far more complex than they look. But de Voogd points out that they also should be made more complex than they are.
This short story “Eveline” is the first in “Dubliners” written in third person narration, stream-of-consciousness technique and written from a woman`s perspective. Through the whole story Eveline herself is the focaliser. James Joyce used verbal hints like “watching...saw...looked” and the image of Eveline looking out of the window and around the room so that the text can easily be visualised. The authors think of the nine spoken lines in the short story as interruptions of the stream-of-consciousness but also mentions their importance as they are emphasised as one-line paragraphs. Moreover he compares them with text frames in silent movies and think of the short story as a film script mostly consisting of stage directions. The reader recognises Eveline´s step from the Victorian heroine in the beginning to the helpless animal in the end. He compared the final act of Eveline with most sterile
Peter de Voogd concentrates in his article on the possibilities of visualisation in a reading of the text of “Dubliners”. Different visualizations of reading can be observed, when film directors cast the actors for a character who can be imagined totally different by another reader of the script. De Voogd mentions the James Joyce was aware of these visual aspects and manipulated his readers` visualisations. On reason for this is his interest in the scenic arts like drama and film. James Joyce wrote “Dubliners” with the aim that the Irish could have “one good look at themselves in my nicely polished looking glasses”. He often uses the pictures of people looking in through windows and the potential of pictorial visualisations to structure the reader`s reaction to his verbal texts. When writing about this theory de Voogd mentions Florence Walzl`s view that students should realize that the stories in the “Dubliner” are far more complex than they look. But de Voogd points out that they also should be made more complex than they are.
This short story “Eveline” is the first in “Dubliners” written in third person narration, stream-of-consciousness technique and written from a woman`s perspective. Through the whole story Eveline herself is the focaliser. James Joyce used verbal hints like “watching...saw...looked” and the image of Eveline looking out of the window and around the room so that the text can easily be visualised. The authors think of the nine spoken lines in the short story as interruptions of the stream-of-consciousness but also mentions their importance as they are emphasised as one-line paragraphs. Moreover he compares them with text frames in silent movies and think of the short story as a film script mostly consisting of stage directions. The reader recognises Eveline´s step from the Victorian heroine in the beginning to the helpless animal in the end. He compared the final act of Eveline with most sterile