ࡱ> -/,] rbjbjzpzp . b br  2$z77LeeeeeeepʶH/eb0e?eeTDL6eN,z377OB ^: Name: Dr. Bruce Stewart Affiliation: University of Ulster Paper Title: The Curve of An Emotion: fin de sicle Metaphysics in Wilde, Yeats and Joyce. My proposed paper revolves around the fact that Joyce borrowed Wildes phrase curve of an emotion, which Wilde employed in An Ideal Husband as a defining quality of female intellect (i.e., the absence of rigorous thought). For Joyce, however, it served a very different purpose as a descriptive term for the conception of soul which he defined in Aristotelian terms as a developmental entity (or entelechy) in the first Portrait essay of 1904. The young Joyce borrowed much from Wilde and especially from The Picture of Dorian Gray, whose title-character is no less a precursor of Stephen Dedalus than Des Esseintes in Huysmans Rebours is a precursor of Wildes eponymous character. (Huysmans novel was of course the decadent yellow book that influenced Dorian Gray.) In later remarks on Wilde he emphasised the sense of sin as a separation from God which Wilde shared with Catholicism, thus implicitly proposing a biographical reading of Dorian Gray in terms of the double life that Wilde adumbrates in that novel and which was to assume a tragic relevance in the light of his nemesis at the hands of English law. Wildes influence on Joyce is little recognized today, chiefly because the supposed modernity of the latter renders it inconvenient, and Buck Mulligans allusions to a new Hellenism or Stephens to the cracked looking-glass of Irish art in the Telemachus chapter of Ulysses are considered happenstance rather than essential. Yet there is a great deal more to the Wilde-Joyce connection than a kind of superficial borrowinggrist to his literary mill. More obvious is his debt to Yeats whose manifestly fin de sicle story The Tables of the Law both Joyce and Stephen Dedalus knew by heart; yet even still, the indebtedness is generally underplayed. More broadly still the total effect of fin de sicle thinking in the domain of metaphysics and aesthetics on Joyce has yet to be assessed and, to that extent, a vital link between the Irish nineteen-eighties and European modernism remains little understood. Put otherwise, modernist and post-structuralist criticism have collaborated to occlude the fin de sicle Irishman in James Joyce and with it the true magnitude of Irelands share in the spirit of the fin de sicle. %9:FGHbo ' * 3   T _  `mnq詙~llllllllll`hNOJQJmH sH "hNhm~6OJQJ]mH sH hNhm~5OJQJhNhm~OJQJmH sH hNhN6OJQJmH sH hNhNOJQJmH sH hNh*OJQJhNhEOJQJhNhNOJQJmHsHhNh0VOJQJhNhNOJQJhNhE5OJQJ$:oqrgdm~gdNqrhNhBOJQJmHsH,1h. A!"#$% s2&6FVfv2(&6FVfv&6FVfv&6FVfv&6FVfv&6FVfv&6FVfv8XV~ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@ 0@_HmH nH sH tH @`@ NormalCJ_HaJmH sH tH DA D Default Paragraph FontRiR  Table Normal4 l4a (k (No List PK![Content_Types].xmlN0EH-J@%ǎǢ|ș$زULTB l,3;rØJB+$G]7O٭Vc:E3v@P~Ds |w< r qr r UmUmUmUmUm%%3; ; t /99B B t 9*urn:schemas-microsoft-com:office:smarttagsplaceB*urn:schemas-microsoft-com:office:smarttagscountry-region=*urn:schemas-microsoft-com:office:smarttags PlaceType=*urn:schemas-microsoft-com:office:smarttags PlaceName %9NWCJg m t q t q t g m t E1W=zY29PW=9P  m~4-i:0VYUlE AN*Br t @r @UnknownG*Ax Times New Roman5Symbol3. *Cx Arial9GaramondACambria Math"qhKg'Kg'h h  hh24n n 3qHP)?-i:0!xx fYeats studies have been curiously defensive against the use of contemporary forms of (literary) theoryO'Toole Linda.MoloneyOh+'0$0<L dp   hYeats studies have been curiously defensive against the use of contemporary forms of (literary) theoryO'TooleNormalLinda.Moloney2Microsoft Office Word@@Ƚ'@Ƚ'h ՜.+,0d hp  Cn  gYeats studies have been curiously defensive against the use of contemporary forms of (literary) theory Title  !"#%&'()*+.Root Entry FbH01Table WordDocument.SummaryInformation(DocumentSummaryInformation8$CompObjr  F Microsoft Word 97-2003 Document MSWordDocWord.Document.89q