From the age of six Joyce, was educated by Jesuits at Clongowes Wood College, at Clane, and then at Belvedere College in Dublin (1893-97). Later the author thanked Jesuits for teaching him to think straight, although he rejected their religious instructions. At school he once broke his glasses and was unable to do his lessons. This episode was recounted in A PORTRAIT OF THE ARTIST AS A YOUNG MAN (1916). In 1898 he entered the University College, Dublin, where he found his early inspirations from the works of Henrik Ibsen, St.Thomas Aquinas and W.B. Yeats. Joyce's first publication was an essay on Ibsen's play When We Dead Awaken. It appeared in Fortnightly Review in 1900. At this time he began writing lyric poems.
After graduation in 1902 the twenty-year-old Joyce went to Paris, where he worked as a journalist, teacher and in other occupations in difficult financial conditions. He spent in France a year, returning when a telegram arrived saying his mother was dying. Not long after her death, Joyce was traveling again. He left Dublin in 1904 with Nora Barnacle, a chambermaid (they married in 1931), staying in Pola, Austria-Hungary, and in Trieste, which was the world’s seventh busiest port. Joyce gave English lessons and talked about setting up an agency to sell Irish tweed. Refused a post teaching Italian literature in Dublin, he continued to live abroad.
The Trieste years were nomadic, poverty-stricken, and productive. Joyce and Nora loved this cosmopolitan port city at the head of the Adriatic Sea, where they lived in a number of different addresses. During this period Joyce wrote most of DUBLINERS (1914), all of A Portrait of the Artist as a Young Man, the play, EXILES (1918), and large sections of Ulysses. Several of Joyce's siblings joined them, and two children, Giorgio and Lucia, were born. The children grew up speakin the Trieste dialect of Italian. Joyce and Nora stayed together althoug Joyce fell in love with Anny Schleimer, the daughter of an Austrian banker, and Roberto Prezioso, the editor of the newspaper Il Piccolo della Sera, tried to seduce Nora. After a short stint in Rome in 1906-07 as a bank clerk ended in illness, Joyce returned to Trieste.
In 1907 Joyce published a collection of poems, CHAMBER MUSIC. The title was suggested, as the author later stated, by the sound of urine tinkling into a prostitute's chamber pot. The poems have with their open vowels and repetitions such musical quality that many of them have been made into songs. "I have left my book, / I have left my room, / For I heard you singing / Through the gloom." Joyce himself had a fine tenor voice; he liked opera and bel canto.
In 1909 Joyce opened a cinema in Dublin, but this affair failed and he was soon back in Trieste, still broke and working as a teacher, tweed salesman, journalist and lecturer. In 1912 he was in Ireland, trying to persuade Maunsel & Co to fulfill their contract to publish Dubliners. The work contained a series of short stories, dealing with the lives of ordinary people, youth, adolescence, young adulthood, and maturity. The last story, 'The Dead', was adapted into screen by John Huston in 1987.
It was Joyce's last journey to his home country. However, he had became friends with Ezra Pound, who began to market his works. In 1916 appeared Portrait of the Artist as a Young Man, an autobiographical novel. It apparently began as a quasi-biographical memoir entitled Stephen Hero between 1904 and 1906. Only a fragment of the original manuscript has survived. The book follows the life of the protagonist, Stephen Dedalus, from childhood towards maturity, his education at University College, Dublin, and rebellion to free himself from the claims of family and Irish nationalism. Stephen takes religion seriously, and considers entering a seminary, but then also rejects Roman Catholicism. "-Look here, Cranly, he said. You have asked me what I would do and what I would not do. I will tell you what I will do and what I will not do. I will not serve that in which I no longer believe, whether it call itself my home, my fatherland, or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using my defence the only arms I allow myself to use - silence, exile, and cunning." At the end Stephen resolves to leave Ireland for Paris to encounter "the reality of experience". He wants to establish himself as a writer.
There once was a lounger named Stephen
Whose youth was most odd and uneven
--He throve on the smell
--Of a horrible hell
That a Hottentot wouldn't believe in.
(Joyce's limerick on the book's protagonist)
At the outset of the First World War, Joyce moved with his family to Zürich, where Lenin and the poet essayist Tristan Tzara had found their refuge. Joyce's WW I years with the legendary Russian revolutionary and Tzara, who founded the dadaist movement at the Cabaret Voltaire, provide the basis for Tom Stoppard's play Travesties (1974).
In Zürich Joyce started to develop the early chapters of Ulysses, which was first published in France, because of censorship troubles in the Great Britain and the United States, where the book became legally available 1933. The theme of jealousy was based partly on a story a former friend of Joyce told: he claimed that he had been sexually intimate with the author's wife, Nora, even while Joyce was courting her. Ulysses takes place on one day in Dublin (June 16, 1904) and reflected the classic work of Homer (fl. 9th or 8th century BC?).
The main characters are Leopold Bloom, a Jewish advertising canvasser, his wife Molly, and Stephen Dedalus, the hero from Portrait of the Artist as a Young Man. They are intended to be modern counterparts of Telemachus, Ulysses, and Penelope. Barmaids are the famous Sirens. One of the models for Bloom was Ettore Schmitz (Italo Svevo), a novelist and businessman who was Joyce's student at the Berlitz school in Trieste. The story, using stream-of-consciousness technique, parallel the major events in Odysseus' journey home. However, Bloom's adventures are less heroic and his homecoming is less violent. Bloom makes his trip to the underworld by attending a funeral at Glasnevin Cemetary. "We are praying now for the repose of his soul. Hoping you're well and not in hell. Nice change of air. Out of the fryingpan of life into the fire of purgatory." The paths of Stephen and Bloom cross and recross through the day. Joyce's technical innovations in the art of the novel include an extensive use of interior monologue; he used a complex network of symbolic parallels drawn from the mythology, history, and literature.
From 1917 to 1930 Joyce endured several eye operations, being totally blind for short intervals. (According to tradition, Homer was also blind.) In March 1923 Joyce started in Paris his second major work, Finnegans Wake, suffering at the same time chronic eye troubles caused by glaucoma. The first segment of the novel appeared in Ford Madox Ford's transatlantic review in April 1924, as part of what Joyce called Work in Progress. Wake occupied Joyce's time for the next sixteen years - its final version was completed late in 1938. A copy of the novel was present at Joyce's birthday celebration on February 1939.
Joyce's daughter Lucia, born in Trieste in 1907, became Carl Jung's patient in 1934. In her teens, she studied dance, and later The Paris Times praised her skills as choreocrapher, linguist, and performer. With her father she collaborated in POMES PENYEACH (1927), for which she did some illustrations. Lucia's great love was Samuel Beckett, who was not interested in her. In the 1930s, she started to behave erratically. At the Burgh?lz psychiatric clinic in Zurich, where Jung worked, she was diagnosed schizophrenic. Joyce was left bitter at Jung's analysis of his daughter - Jung thought she was too close with her father's psychic system. In revenge, Joyce played in Finnegans Wake with Jung's concepts of Animus and Anima. Lucia died in a mental hospital in Northampton, England, in 1982.
After the fall of France in WWII, Joyce returned to Zürich, where he died on January 13, 1941, still disappointed with the reception of Finnegans Wake. The book was partly based on Freud's dream psychology, Bruno's theory of the complementary but conflicting nature of opposites, and the cyclic theory of history of Giambattista Vico (1668-1744).
喬伊斯出生於都柏林的兒子約翰stanislaus喬伊斯,貧窮的紳士, 如未能在酒廠的業務和嘗試各種專業領域,包括政治和收稅. 喬伊斯的母親Mary Jane利,是10歲,比她的丈夫. 她是壹位出色的鋼琴家,他的生命是由羅馬天主教會和她的丈夫. 盡管貧困的家庭竭力維持堅實的中產階級的門面. 從6歲開始喬伊斯,於壹九四三年由耶穌clongowes木學院, clane , 然後在麗高校在都柏林( 1893-97 ) . 稍後撰文感謝耶穌教他直認為,盡管他拒絕接受他們的宗教指令. 在學校,他曾壹度打斷了他的眼鏡,而無法做他的教訓. 這段敘述壹個藝術家的畫像作為壹個年輕人( 1916 ) . 1898年他進入大學,都柏林 在那裏他發現他的早期啟示的作品易蔔生,托馬斯阿奎那和w.b. 耶茨. 喬伊斯的第壹出版物是壹篇關於易蔔生發揮我們在睡夢中死亡. 看來,雷震在回顧1900年. 在這個時候,他開始寫作抒情詩. 畢業後,於1902年21歲的喬伊斯前往巴黎,他在那裏工作,作為記者, 教師和其他行業的財政困難的條件. 他花了在法國的壹年,回國時抵達賀電說,母親是奄奄壹息. 不久後她去世,喬伊斯趟. 他離開都柏林在1904年與諾拉barnacle ,壹位女服務員(已婚,他們在1931年) ,留在波拉,奧匈帝國, 而在的裏雅斯特,這是世界上第七繁忙的港口. 喬伊斯發表英文教訓,暢談了成立壹個機構,以出售愛爾蘭花呢. 拒絕後的教學意大利文學在都柏林舉行,但他仍然住在國外. 的裏雅斯特年,是遊牧,生活貧困,並富有成效. 喬伊斯與諾拉愛這個國際性港口城市為龍頭的亞得裏亞海, 當他們住在許多不同的地址. 在此期間喬伊斯寫道大部分dubliners ( 1914 ) , 所有藝術家的畫像作為壹個年輕人,這部戲,流亡者( 1918 ) , 而大部份尤利西斯. 幾個喬伊斯的兄弟姐妹們壹起,和兩個孩子, giorgio和魯西亞,出生. 孩子長大speakin雅斯特方言的意大利人. 喬伊斯和諾拉在壹起althoug喬伊斯愛上anny schleimer ,女兒是奧地利銀行家 羅伯托prezioso ,報紙的編輯il piccolo della sera ,試圖誘引諾拉. 經過短暫stint在羅馬1906-07作為銀行秘書名額疾病,喬伊斯返回雅斯特. 1907年喬伊斯出版了詩集,室內樂. 標題與會者建議,如作者事後表示,以健全的尿液玲玲變成妓女的便器. 詩與他們公開元音和重復這樣的音樂素質,很多人已制成 歌曲. "我離開我的書, /我離開我的房間, /我聽到妳唱歌/透過陰郁. " 喬伊斯本人已被罰款男高音的聲音; 他喜歡歌劇和美聲唱法. 1909年喬伊斯開辟了電影院在都柏林舉行,但這次事件失敗了,他很快又回到裏雅斯特 還打破和工作作為壹名教師,花呢推銷員,記者和講師. 1912年,他在愛爾蘭,試圖說服maunsel有限公司履行合同出版都柏林. 工作包含壹系列的短篇小說,對付普通百姓的生命,青年,少年,青壯年, 和成熟. 最後的故事中, '死' ,被改編屏幕由約翰休斯頓在1987年. 據喬伊斯的最後旅程,他的母國. 但是,他已經成了朋友,與龐德,他們開始向市場的作品. 在1916年出現了藝術家的畫像作為壹個年輕人,壹本自傳小說. 它顯然壹開始是壹個半傳記回憶文章斯蒂芬英雄, 1904年至1906年. 只是壹個片段的原始手稿已經成活. 這本書采用生活中的主角,斯蒂芬dedalus ,從童年走向成熟,他的學歷在大學學院 都柏林,與反抗擺脫債權家人和愛爾蘭民族主義. 斯蒂芬以宗教的重視,認為進入壹個福音,但也拒絕接受羅馬天主教. "看看這裏, cranly , 他說. 妳問我什麽我做什麽,我不會做. 我會告訴妳 我會做什麽,我不會做的. 我不會說,我不再 相信,不論它自稱是我的家,我的祖國,我的教會: 我將設法用語言來表達自己的某種方式的生命或藝術的自由,我可以和 作為全我所能,用我的辯護唯壹的武器,我讓自己使用-沈默,流放, 狡詐. " 在結束斯蒂芬決心離開愛爾蘭前往法國巴黎,遇到"現實的經驗" . 他是要建立自己作為壹個作家. 從前有壹個椅名叫斯蒂芬的青年是最奇怪不平衡-- throve他對氣味-- 恐怖的地獄, hottentot不會相信吋(喬伊斯的打油詩對本書的主角)下午開始的 第壹次世界大戰期間,喬伊斯舉家搬遷到蘇黎世, 在列寧與詩人散文家特裏斯坦文庫已經找到了救星. 喬伊斯第壹次世界大戰幾年傳奇的俄國革命和文庫, 創辦者是達達運動在歌廳伏爾泰,提供了依據,為湯姆斯托帕德遊戲travesties ( 1974年) . 在蘇黎世的喬伊斯開始發展初章尤利西斯,這是首次在法國出版, 因為檢查的麻煩,在英國和美國,這本書成為法律許可的1933年. 主題嫉妒是部分基於第壹個故事,前壹個朋友告訴喬伊斯: 他聲稱,他曾遭到性親密與作者的妻子,諾拉,盡管喬伊斯是尊王她. 尤利西斯發生的前壹天,在都柏林舉行( 1916年6月, 1904年) ,反映了典型的工作荷馬( fl.第九或第八世紀公元前? ) . 主要特點是布盧姆是壹個猶太人廣告助選,他的妻子莫莉,斯蒂芬dedalus , 英雄從藝術家的畫像作為壹個年輕人. 他們的本意是現代對口telemachus ,尤利西斯, penelope . barmaids是著名的警報器. 壹個模式供坯實業schmitz ( italo svevo ) 小說家和商人,被喬伊斯的學生在校berlitz雅斯特. 這個故事,用意識流技術,並行的重大事件奧德修斯的歸途. 不過,布魯姆的冒險少英雄和他的同學是暴力較少. 布魯姆使得他這次來的黑道出席了葬禮在glasnevin墳場. "我們現在祈禱,為他的靈魂. 希望妳和沒有地獄. 尼斯變化 空氣. 出的fryingpan的生命之火的煉獄. " 山徑斯蒂芬和Bloom十字架recross通過壹天. 喬伊斯的技術創新,在藝術的小說,包括了廣泛使用的內心獨白; 他用壹個復雜的網絡符號parallels來自神話,歷史和文學. 從1917年至1930年喬伊斯經歷了幾次眼部手術在內雙目失明為短區間. (根據傳統,荷馬也是盲人) . 在1923年3月開始,喬伊斯在巴黎他的第二項主要工作, 芬尼根守靈,痛苦的同時慢性眼部麻煩,造成青光眼. 第壹部分小說出現在福特madox福特的大西洋審查,在1924年4月, 作為喬伊斯什麽所謂的工作進度. 繼占領喬伊斯的時間,未來16年,其最後文本的完成,晚於1938年. 壹份新穎出席喬伊斯的生日慶典1939年2月. 喬伊斯的女兒露西亞,出生在的裏雅斯特1907年,成了榮格的病人在1934年. 在她十幾歲,她學習舞蹈,後來在巴黎時報稱贊她的技巧作為choreocrapher ,語言學家和表演. 與父親同她合謀pomes penyeach ( 1927年) ,為她做了壹些插圖. 露西亞的大愛是貝克特,誰不關心她. 早在三十年代,她開始表現不尋常. 在burgh?lz精神科診所,在蘇黎世榮格那裏工作,她被確診患有精神分裂癥. 喬伊斯留下慘痛在榕的分析,他的女兒榮認為她太接近她的父親 psychic制度. 為了報復,喬伊斯發揮芬尼根守靈與榮格的概念和animus anima . 盧死在精神病院諾坦普敦,英格蘭在1982年. 垮臺後的法國,在二戰期間,喬伊斯返回蘇黎世,在那裏他死於1941年1月13日, 還是失望接待芬尼根守靈. 這本書部分基於弗洛伊德夢心理學,布魯諾的理論上的互補性,但矛盾的性質的對立, 和循環論歷史維柯( 1668-1744