Abstract:

In the “Lestrygonians” episode of Ulysses, Bloom overhears a conversation linking the “ends of the world” with a “twoheaded octopus” (U 8.520–21). The apocalyptic mollusk reappears later in Ulysses, resurfacing in the “Circe” episode. This essay examines these passages and thematically linked sections of Joyce’s work within the contexts of censorship, Freemasonry, Theosophy, and the occult. The intertextual relationship between the octopus sections of Ulysses and W. B. Yeats’s “The Second Coming” is also studied here, alongside genetic analysis of the “Lestrygonians” section. Joyce’s sea monster is a symbol of sexual intercourse, of the convergence of Stephen and Bloom, and of Ulysses itself. The two octopus passages also undermine the certainties of religious and spiritualist teleologies by linking time with space and coastal geography, and through mixing eschatological language with aquatic, animal, sexual, and cyclical imagery. The two-headed octopus is part of a theme in Joyce’s work that depicts the animal world, and the “end” or purpose of the human world, as essentially unknowable.

摘要：

在的“拉斯忒吕戈涅斯”插曲尤利西斯，布鲁姆偷听链接“世界的末端”与“章鱼twoheaded”的对话（ü 8.520-21）。世界末日的软体动物稍后在尤利西斯出现，并在“ Circe”情节中重新出现。本文在审查制度，共济会，神学和神秘学的背景下研究了乔伊斯作品的这些段落和主题相关的部分。这里还研究了尤利西斯章鱼部分与WB Yeats的“第二次来临”之间的互文关系，以及对“ Lestrygonians”部分的遗传分析。乔伊斯的海怪是性交的象征，是史蒂芬·布鲁姆和尤利西斯融合的象征本身。通过将时间与空间和沿海地理联系起来，以及将末世语言与水生，动物，性和周期性图像相结合，这两个章鱼段落也破坏了宗教和精神主义目的论的确定性。两头章鱼是乔伊斯作品中一个主题的一部分，该主题描绘了动物世界以及人类世界的“终点”或目的，这在本质上是不可知的。