Starting from Joyce's Parnell complex, re-examine the creative style of 'Dubliners' and reveal its uniqueness, making it an' event 'in literary history. In the Irish Cultural Renaissance, Joyce employed the technique of "anti epiphany" to take readers away from Yeats style romantic legends and showcase the narrative's "eventfulness". Gabriel in 'The Dead' travels through illusions that symbolize the subject, and Joyce uses this to expand the boundaries of literary language's discourse on the spiritual struggles of modern people, implying a reflection on national thought. The first draft of 'Dubliners' was delivered in 1905 and only published in 1914, and Joyce insisted that the' unusual 'aspects of his work were surprising. The academic community has explored the novel from multiple perspectives, but its literary uniqueness has not yet been revealed. The study of literary events attempts to reveal the eventuality of 'The Dubliners' and finds that positioning it as Joyce's early realism creation is inaccurate, and the' epiphany 'technique used also needs to be debated. The eventuality is reflected in the performative nature of literary language, which gives the work a stronger witness power than historical works. Joyce's creative intention, historical narrative in the novel, and philosophical reflections on subjectivity reveal how 'Dubliners' became an event in literary history, and how Joyce used the narrative's' anti epiphany' to shake the heroic tradition in Irish historical narrative.

Event 'Singularity': Starting from Joyce's Parnell Complex

Explored how Joyce's' Dubliners' became an event in literary history, emphasizing the importance of the 'singularity' in event generation. Joyce regarded Irish politician Parnell as the "singularity" of his creative career, and Parnell's political charisma and self exiled attitude influenced Joyce's unique interpretation of Irish politics and history. Dubliners "portrays the social reality of Dublin by depicting the inaction and internal divisions of the National Party in the post Parnell era, as well as the numbness of ordinary people's public life. Joyce rejected the romantic style and focused on urban life and ordinary people, authentically representing the reality of Irish society. Dubliners "is different from Victorian realism literature in that it portrays a lack of communication and spiritual alienation. Joyce abruptly ends the story, opens up infinite space for interpretation, and captures the uniqueness of the Irish national disease, making 'Dubliners' an astonishing literary event.

The eventuality of historical events and narratives

Explored how Joyce used narrative techniques to depict the eventfulness of historical events in 'Dubliners'. Joyce's creation is not just a representation of history, but a portrayal of history through literature, giving narrative more agency. Eagleton and Kale's viewpoint is cited to support the argument that fictional works can internalize and transform social constraints into their own creative materials, achieving eventuality by repeating rules or even changing them. Deleuze's concept of "anti reality" has also been introduced, illustrating how Joyce formed events through the aggregation of different time dimensions. In 'Dubliners', Joyce symbolically repeats major events in Irish history through the lives of ordinary people, making history the object of reinterpretation, and the eventfulness is reflected in the' anti epiphany 'formed by the collision of history and the present. The contrast between the Irish cultural revival at the end of the 19th century and the implicit narrative in 'Dubliners' is that the novel does not celebrate the glory of the country, but rather subtly narrates the pain points of history. After Racing insinuated the historical disputes between Ireland and Britain and France, as well as the Irish people's complex feelings towards the French through Jimmy's story. Joyce's narrative eventuality is reflected in his own sudden turn, especially in "After Racing", where Jimmy's experience at a yacht party implies the Irish historical narrative's obsession with fleeting victories and neglect of failed outcomes. Jimmy's "paralyzed" image and indifference to critical moments reflect the Irish's promiscuity, who are immersed in the thrill of heroic narratives but ignore the pain Ireland suffers after the pursuit. Joyce deconstructed the grand narrative of national heroes through the approach of "anti epiphany", turning his gaze to ordinary Irish people and revealing the eventful nature of his historical narrative.

Transcending the Illusion of the Subject: A Philosophical Event that Revives the 'Dead'

Explored Joyce's philosophical reflections on subjectivity in his final story 'The Dead' in 'Dubliners'. The protagonist Gabriel undergoes psychological changes in the story, shaking the threshold of the symbolic realm and tearing open the cracks of the real world. He attempted to confirm his subjectivity by portraying himself as an intellectual who actively distanced himself from Ireland, refusing to learn Gaelic or get close to the agricultural culture of Western Ireland. Instead, he regularly traveled to European countries and was exposed to their languages, publishing articles in pro British newspapers. In terms of love, Gabriel resolutely married Greta, despite her mother's concern about her background. However, while challenging nationalism, Gabriel also fell into the illusion of another ideology. His desire object is not his wife Greta, but his desire to become his wife, and behind this desire is his confirmation of his family and social status. In public life, Gabriel's carefully maintained vanity still does not exist. He repeatedly confirms the content of his speech at dinner parties to avoid making people feel like he is showing off. The philosophical event that Joyce wants to create is not to reveal illusions, but to transcend illusions. Only by encountering Gabriel with the core he desires to escape can true subjectivity be formed. When Greta mentioned the details of her former lover Fury dying for her, Gabriel instantly encountered reality, forcing him to face the core he truly wanted to escape behind the symbolic subject - the barrenness of the spiritual world. The events in the real world have both the ability to destroy symbolic symbols and the creative power to reconstruct the subject. Gabriel began to imagine Fury standing under a tree dripping with rain, waiting for Greta. His soul had already approached the realm where a large number of the dead lived. The philosophical event brought the deceased back to life, and at this moment Gabriel became Fury. The encounter between the two made Gabriel experience the passion he lacked, and he realized that the time had come for him to set out on his journey west. When Gabriel decided to head west, his understanding of Ireland had undergone a subtle change. He realized that his past disdain for nationalism may have obscured his understanding of the Irish national identity symbolized by the West, which also subtly expressed Joyce's revision of his own national ideology. But Joyce did not use Gabriel's transformation to open up a space of definite meaning, instead presenting the emptiness and exhaustion of the post-traumatic subject. The real invasion forced Gabriel to cross the illusion symbolizing the subject, and for a moment, he fell into a state of chaos as he didn't know how to deal with the relationship between himself and reality in the realm of imagination. At the end of the story, Gabriel watched as snowflakes gently fell through the universe. The boundary between life and death was no longer clear, and Gabriel's thoughts on marriage and social life melted into this heavy snow, leaving only the most essential emptiness and chaos in life. Joyce did not deliberately pursue meaning, but liberated himself from a limited self-image, opened up to life itself, constructed a pure form of life, and brought readers the ultimate aesthetic enjoyment. The episodic writing of 'Dubliners' outlines Joyce's unique reflections on literary creation, Irish historical narrative, and individual spiritual dilemmas in Ireland. Joyce's' epiphany 'technique should be understood as' counter epiphany'. Dubliners retells the historical events of Ireland in a negative way and juxtaposes them with the individual experiences of the characters. Against the backdrop of the Irish Renaissance, Joyce inappropriately summoned the "paralyzed" image of Dubliners, impacting the numb souls of his fellow countrymen who were accustomed to it. On a philosophical level, 'The Dead' creates a typical event in the real world, forcing Gabriel to travel through illusions that symbolize the subject. But Joyce did not deliberately pursue the construction of a new order, but allowed the disappearance of clear meanings, presenting the spiritual dilemma of modern people to a greater extent. Although Joyce's goal was to write the moral history of Ireland, the ending of 'The Dead' clearly leads to a universal reflection on human 'life' and 'death', and the ultimate aesthetic enjoyment amplifies the eventfulness of literature - literature is not a footnote to history and politics, but rather turns them into its own flesh and blood, constantly generating new experiences.