![]() ![]() Indeed, in these works the impossibility for the “youthful protagonists” to become adults, and therefore the natural fluidity of their identities as adolescents, is effectively symbolised in, and determined by, their relationship with the dimension of the sea and/or with the element of water in general. The works of James Joyce that feature young characters are an excellent example of the coincidence of these two literary changes and can be ascribed to a particular category of modernist Bildungsroman, for which I propose the definition of fluid anti-developmental narratives. the sea-set novels by Joseph Conrad, such as Lord Jim and The Shadow-Line ). On the other hand, the great 19 th -century tradition of sea adventure tales, centred on long and dangerous journeys at sea (that for the main characters, represented the occasion on which they could prove their valour), is abandoned in favour of much more introspective narrations, mainly focussed on the inner development of the central figures (e.g. ![]() On the one hand, during this period, the traditional Bildungsroman is gradually replaced by its modernist counterpart, which features adolescent protagonists who never fully develop into mature adults (or, at least, into what is socially defined as such). ![]() ” The work of the great modernist stands at the crossroads of two major literary transformations, both of which took place between the end of the 19 th century and the opening decades of the 20 th century. This subject has been investigated 1 extensively, yet little attention has been paid to the specific function that the maritime dimension fulfils in determining the particular condition of arrested development exhibited by Joyce’s young and adolescent characters, namely, as Jed Esty efficaciously puts it, their condition of “youthful protagonists who conspicuously do not grow up 2. 3 Joyce is if course not the only writer ascribable to this category another name that must be menti (.)ġ The significance of the maritime and aquatic dimension in James Joyce’s work is undoubtedly a central element from a symbolic and a narrative point of view.Modernism, Colonialism, and the Fiction of Development. 1 An early contribution on this theme is Sydney Feshbach's essay “Literal/Littoral/Littorananima: The (.).En este articulo, me concentraré en particular en el elemento marítimo del barco para evidenciar cómo, en la prosa modernista en general pero en particular para los personajes joycianos, esto pierde su función de rito de paso. ![]() La obra de James Joyce se destaca porque estas transformaciones literarias coinciden, comenzando con las historias en Dubliners (1914) dedicadas a infancia y adolescencia, hasta llegar a la novela de formación A Portrait of the Artist as a Young Man (1916) y Ulysses (1922), en donde la dimensión marina/acuática simboliza y determina el desarrolla atrofiado de los protagonistas jóvenes. In this article, I particularly focus on the maritime element of the ship and put in evidence how, in modernist fiction but especially for the Joycean characters, it loses its traditional rite-of-passage function.Įntre el final del siglo 19 y el comienzo del siglo 20 occurrieron dos importantes cambios literarios : por un lado el tradicional Bildungsroman fue remplazado por su versión modernista, en la que se observan protagonistas adolescentes que no llegan a ser adultos por otro lado, el género de cuentos de aventuras de mar fue sustituido por narraciones mucho más introspectivas, lo que afecta el estilo modernista, sobre todo la representación distopica del mar y la dimensión acuática en general. In the work of James Joyce, the concurrence of these two literary transformations distinctly stands out from those short stories in Dubliners (1914) centred on childhood and adolescence, to the anti-developmental novel A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), the marine/aquatic dimension both symbolises and determines the condition of arrested development of the young protagonists. Two major literary changes coincide between the end of the 19th century and the beginning of the 20th century : on the one hand the traditional Bildungsroman is replaced by its modernist counterpart, which features adolescent protagonists whose development into mature adults in never achieved on the other hand, the traditional genre of sea adventure tales is replaced by more introspective narrations, anticipating many of the aspects that will become characterising features of Modernism – in particular, the overall dystopic representation of the sea and of the aquatic element in general. ![]()
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