A “Distant Music”: Invoking Phantasmagoria in Joyce’s “The Dead”

  1. Julio Ángel Olivares Merino 1
  1. 1 University of Jaén, Spain
Revista:
Estudios irlandeses = Journal of Irish Studies

ISSN: 1699-311X

Año de publicación: 2016

Número: 11

Páginas: 132-148

Tipo: Artículo

DOI: 10.24162/EI2016-5990 DIALNET GOOGLE SCHOLAR

Otras publicaciones en: Estudios irlandeses = Journal of Irish Studies

Resumen

Nuestra aproximación a “The Dead” analiza la funcionalidad de los índices fantasmáticos como estrategia efectiva de deconstrucción dentrodel imaginario de esta ínclita obra. Ilustrando la tematización de lo inefable y lo invisible, lo reviniente opera en la narración como trasunto de lo ominoso, referente subversivo y emergente que se equipara al relieve textual de los índices de visibilidad inmediata y fundamentada a fin de legitimar una prominencia discursiva par entre elementales en primer plano y descriptores diferidos en escena. El fantasma multiplica en “The Dead” sus modalizaciones discursivas, tanto denotadas como figurativas, bien a través de la caracterización del marco de acción o la ambientación – incluyendo también la enunciación etérea de la música –, bien a partir de la sustanciación de tres axiomas específicos de espectralidad: la revitalización de los referentes ya finados; la consunción gradual de los vivos, como trasuntos de los propios muertos, y, como síntesis de ambos modos, la semantización categórica de lo suspendido. A partir de dicha exégesis, teorizamos también acerca del rito de iniciación y asertividad de Gabriel Conroy dentro del marco figurativo de una Navidad hechizada cuyo espacio escénico es Dublín.

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