Thomas Rice compellingly argues that James Joyce's work resists
postmodernist approaches of ambiguity: Joyce never abandoned his
conviction that reality exists, regardless of the human ability to
represent it. Placing Joyce in his cultural context, Rice first
traces the influence of Euclidean and non-Euclidean geometries on
Dubliners and A Portrait of the Artist as a Young Man. He then
demonstrates that, when later innovations in science transformed
entire worldviews, Joyce recognized conventional literary modes of
representation as offering only arbitrary constructions of this
reality. Joyce responded in Ulysses by experimenting with
perspective, embedding design, and affirming the existence of
reality. Rice contends that Ulysses presages the multiple tensions
of chaos theory; likewise, chaos theory can serve as a model for
understanding Ulysses. In Finnegans Wake Joyce consummates his
vision and anticipates the theories of complexity science through a
dynamic approximation of reality.
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