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Writing for the Second Time Through Finnegans Wake (Cage, John), 1977ULIISSES (Nekes, Werner), 1982

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allows him to express the multi-layered and fluid nature of the character in question. Multiply fracturing the perspective of the fictional subject makes this subject change in relation to the perspective from which it is viewed. Hence, Joyce abandons the idea of an objective reality. This goes hand-in-hand with the dissolution of a strict relationship between subject and object in favor of a more dynamic representation.

In the novel «Ulysses,» over which Joyce labored for seven years, the experiences, thoughts and perceptions of Jewish advertising broker Leopold Bloom, his wife Marion and the young Stephen Dedalus are presented in eighteen epic or dramatic scenes. These scenes are set in relation to selected episodes in Homer's «Odyssey.» In this work, Joyce brings almost all areas of human experience to bear, tapping new areas of consciousness in his use of language. His language shapes images characterized by extreme ambiguity. In its structure and metaphors, the language used approaches visual artistic expression. Particularly in «Ulysses» the perceptual category of «seeing» is


endowed with a degree of significance unusual in literature.[8] This is one of the reasons why Joyce's writing not only exerted a major influence on the fine arts—above all conceptual art, with its great mastermind and inspirational figure, John Cage—but also on experimental film. The significance of Joyce is evident not only in individual works, such as John Cage's «Writing for the second time through Finnegans Wake,» 1977, and Werner Nekes' experimental film «Uliisses,» 1982, but is also expressed more generally in complexly structured content, in which ambiguities and semantic oppositions demand a restless, active reader.

Joyce develops text strategies that stimulate the reader's senses and play with his perceptual capabilities. The process of assimilating the work is itself part of the subject matter of the work and assumes an implicit reader.[9] Telling a story is now no longer merely the depiction of the course of real or imagined events, based on a sender-receiver model, but becomes with Joyce an act of intercommunication.

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