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Salinger’s writing is full of feints and winks and a willingness to play.
Indeed, it is not unreasonable to draw connections between Stephen’s cynical discourse on wives in “Scylla and Charybdis” and Bloom’s museum musings in “Lestrygonians” as the King’s competing theories of female sexuality.Both men think and verbalize permutations of Leontes’ angry ramblings in Act I Scene II, and both scenes are contextualized by discussions of linguistic and artistic control—here, one and the same—and perhaps more importantly, explicit discussions of attaining freedom through those mediums.While I have less experience with As yet, I am uncertain of the role of scholarly research in my thesis plans.In the opening section of “Zooey,” Buddy says, “what I’m about to offer isn’t really a short story at all but a sort of prose home movie” ( 47).Buddy’s proclamation of documentary is complicated by the fact that we know this is fictional story by Salinger and, even within the logic of the Glass family chronicling, it’s clear that Buddy was not there for the events of the story.I plan to begin at the beginning—that is, with “Telemachus,” and a seemingly offhand quip by Buck Mulligan: “The rage of Caliban at not seeing his face in a mirror, he said. Joyce introduces Shakespeare’s monster through the gregarious Mulligan, a man whose flashy linguistic and textual fluency overwhelms Stephen’s more cautious persona.The remark is characteristically intertextual, a rephrasing of Oscar Wilde’s epigraph to , a piece of brief yet incisive commentary on the tension between Realist and avant-garde art: “The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass.The only substantive body of work on this topic as yet is largely concerned with Caliban’s potential Irishness, and the difficult dynamics of artistic self-definition for a colonized island.My planned methodology is, admittedly, largely internal to Joyce and Shakespeare’s work, even closed-off from much current scholarship./ The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass” (Wilde 3). Most scholars contend that Joyce is engaged primarily with Wilde as a fellow, near contemporary Irish writer.In this case the question is semi-historical and largely abstract.