{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/81502"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/81502","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"\"Moving Bodies: James Joyce and the \"\"New Physics\"\"\"","abstract":"\"James Joyce was an innovator in modern literature, and many of his resources and approaches have been examined thoroughly. Albert Einstein's theory of relativity, however, is an under-explored influence on Joyce's later fiction. As he wrote Ulysses and Finnegans Wake, Joyce culled from the Einsteinian ideas that were \"\"in the air\"\" the inspiration for a cluster of radical narrative techniques. Because Einstein's theories appear to hold equally true for animate and inanimate matter, they coincide smoothly with Joyce's search for a \"\"soft\"\" modernism that favors humanism. Joyce's human-centered aesthetic can be called \"\"Einsteinian narrative,\"\" and it includes bodies in motion, cinematic style, and multiple perspectives (including mythic ones). The final result is a novelistic form in which the subject (both storyteller and reader) and the object (the story) are all in motion with respect to each other. The result of this form is a full, objective, thorough representation of modern Dublin and modern humanity. My project climaxes by arguing that pieces of Finnegans Wake consist of Joyce setting up a dichotomy. On the one side, Joyce suggests Wyndham Lewis as representative of the Fascistic, \"\"hard\"\" modernist whose vision of art draws from out-dated Newtonian absolute reference frames. Contrary to this, Joyce represents himself as a \"\"soft,\"\" Einsteinian modernist, who (though flawed) privileges an intuitive, subjective, humanist agenda.\"","abstract_html":""James Joyce was an innovator in modern literature, and many of his resources and approaches have been examined thoroughly. Albert Einstein's theory of relativity, however, is an under-explored influence on Joyce's later fiction. As he wrote Ulysses and Finnegans Wake, Joyce culled from the Einsteinian ideas that were ""in the air"" the inspiration for a cluster of radical narrative techniques. Because Einstein's theories appear to hold equally true for animate and inanimate matter, they coincide smoothly with Joyce's search for a ""soft"" modernism that favors humanism. Joyce's human-centered aesthetic can be called ""Einsteinian narrative,"" and it includes bodies in motion, cinematic style, and multiple perspectives (including mythic ones). The final result is a novelistic form in which the subject (both storyteller and reader) and the object (the story) are all in motion with respect to each other. The result of this form is a full, objective, thorough representation of modern Dublin and modern humanity. My project climaxes by arguing that pieces of Finnegans Wake consist of Joyce setting up a dichotomy. On the one side, Joyce suggests Wyndham Lewis as representative of the Fascistic, ""hard"" modernist whose vision of art draws from out-dated Newtonian absolute reference frames. Contrary to this, Joyce represents himself as a ""soft,"" Einsteinian modernist, who (though flawed) privileges an intuitive, subjective, humanist agenda."","abstract_has_math":false,"creators":["Goldberg, Michael Emanuel"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"English","degree_department":null,"school":null,"contributors":["James Hurt"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T20:15:46Z","date_published":"2015-09-25T20:15:46Z","updated_at":"2026-07-22T22:26:16Z","subjects":["Literature, Modern"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI9944863"],"render_values":[{"text":"(MiAaPQ)AAI9944863","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/81502","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["James Hurt"]},{"key":"dc:creator","label":"Author","values":["Goldberg, Michael Emanuel"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T20:15:46Z","10000-01-01","1999"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Literature, Modern"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/81502","(MiAaPQ)AAI9944863"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"James Joyce was an innovator in modern literature, and many of his resources and approaches have been examined thoroughly. 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My project climaxes by arguing that pieces of Finnegans Wake consist of Joyce setting up a dichotomy. On the one side, Joyce suggests Wyndham Lewis as representative of the Fascistic, \"\"hard\"\" modernist whose vision of art draws from out-dated Newtonian absolute reference frames. Contrary to this, Joyce represents himself as a \"\"soft,\"\" Einsteinian modernist, who (though flawed) privileges an intuitive, subjective, humanist agenda.\"","Made available in DSpace on 2015-09-25T20:15:46Z (GMT). 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Albert Einstein's theory of relativity, however, is an under-explored influence on Joyce's later fiction. As he wrote Ulysses and Finnegans Wake, Joyce culled from the Einsteinian ideas that were \"\"in the air\"\" the inspiration for a cluster of radical narrative techniques. Because Einstein's theories appear to hold equally true for animate and inanimate matter, they coincide smoothly with Joyce's search for a \"\"soft\"\" modernism that favors humanism. Joyce's human-centered aesthetic can be called \"\"Einsteinian narrative,\"\" and it includes bodies in motion, cinematic style, and multiple perspectives (including mythic ones). The final result is a novelistic form in which the subject (both storyteller and reader) and the object (the story) are all in motion with respect to each other. The result of this form is a full, objective, thorough representation of modern Dublin and modern humanity. My project climaxes by arguing that pieces of Finnegans Wake consist of Joyce setting up a dichotomy. On the one side, Joyce suggests Wyndham Lewis as representative of the Fascistic, \"\"hard\"\" modernist whose vision of art draws from out-dated Newtonian absolute reference frames. Contrary to this, Joyce represents himself as a \"\"soft,\"\" Einsteinian modernist, who (though flawed) privileges an intuitive, subjective, humanist agenda.\"","Made available in DSpace on 2015-09-25T20:15:46Z (GMT). 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