| 英文摘要 |
A Portrait witnesses the evolution of Stephen’s new Irish art: proclamations of “silence, exile, cunning” are made to predict and dictate his future paths of artistic creation. And in Ulysses, Stephen’s famous dicta undergo decisive evolution. First and foremost, the middle dictum, exile, gets revoked blatantly: instead of departing from Ireland, Stephen stays put inside the country. His involuntary, mentallydistancing act of exile now replaces the voluntary, socially-distancing stance of the earlier Stephen. However, the third mandate, cunning, sees a meaningful twist in its execution in Ulysses. Stephen’s verbal art and witticism can be seen in his two works: the vampire-lover poem and the Parable of the Plums. Both exhibit the emphatic derivation of existent art, one from an English-translated Gaelic poem and the other from the biblical parabolic genre. And finally, the first dictum, silence, materializes as a dramatic enactment in Stephen’s reimagination of the literary heritage of Shakespeare, bringing the bard’s otherwise silenced life/history back to light. Taken together, Stephen’s new Irish art can be seen propitiously forged in Ulysses. |
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