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        <identifier>oai:www.ideals.illinois.edu:2142/81502</identifier>
        <datestamp>2023-07-11</datestamp>
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        <thesis xmlns="http://www.ndltd.org/standards/metadata/etdms/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:dc="http://purl.org/dc/elements/1.1/" xsi:schemaLocation="http://www.ndltd.org/standards/metadata/etdms/1.1/ http://www.ndltd.org/standards/metadata/etdms/1.1/etdms11.xsd http://purl.org/dc/elements/1.1/ http://www.ndltd.org/standards/metadata/etdms/1.1/etdmsdc.xsd">
          <dc:contributor>James Hurt</dc:contributor>
          <dc:creator>Goldberg, Michael Emanuel</dc:creator>
          <dc:date>2015-09-25T20:15:46Z</dc:date>
          <dc:date>2015-09-25T20:15:46Z</dc:date>
          <dc:date>10000-01-01</dc:date>
          <dc:date>1999</dc:date>
          <dc:date>1999</dc:date>
          <dc:description>"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."</dc:description>
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  Previous issue date: 1999</dc:description>
          <dc:description>Embargo set by: Seth Robbins for item 82783
Lift date: Forever
Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs</dc:description>
          <dc:description>Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs</dc:description>
          <dc:description>U of I Only</dc:description>
          <dc:description>222 p.</dc:description>
          <dc:description>Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 1999.</dc:description>
          <dc:identifier>http://hdl.handle.net/2142/81502</dc:identifier>
          <dc:identifier>(MiAaPQ)AAI9944863</dc:identifier>
          <dc:language>eng</dc:language>
          <dc:subject>Literature, Modern</dc:subject>
          <dc:title>"Moving Bodies: James Joyce and the ""New Physics"""</dc:title>
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            <department>English</department>
            <discipline>English</discipline>
            <grantor>University of Illinois at Urbana-Champaign</grantor>
            <level>Dissertation</level>
            <name>Ph.D.</name>
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