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The Aesthetics of Phenomena: Joyce's Epiphanies

This study began as a sample reading of an ostensibly marginal and manageable corpus of Joyce’s work in which I tried to see whether phenomenology, as a specific perspective of looking at things, has anything at all to offer to our understanding of Joyce. The perspective turned out overwhelmingly productive, every discovery was followed by another, and the textual field of my examination expanded until Joyce himself emerged, essentially, as a phenomenologist: an original and rigorous thinker who developed a phenomenology of aesthetic experience in his own terms, and an artist whose creative work is comprehensively grounded in the conception of art put forward in his theoretical reflections. The reading that follows is an exposition of this vision of Joyce and of the phenomenological aesthetics of literature that Joyce elaborates in his writing across different genres. Epiphany remains at the epicenter of this vision, but the vision itself expands far beyond the limits of what epiphany encapsulates as a concept or what it appears to be as a literary genre. This conception of literary experience is not defined by epiphany or any other single notion but reshapes our prevailing assumptions about art and literature, just as phenomenology does in relation to analytic or metaphysical philosophy. As a perspective grounded in distinct philosophical positions, phenomenology has not yet enabled a comprehensive reading of Joyce. Separate aspects of Joyce’s writing have been examined as expressing phenomenological insights (which, unsurprisingly, cluster around epiphany) from early Joyce criticism to the present, but there has been no attempt to