ABSTRACT
Virginia Woolf an English writer declined analysis, fearing harm to her creativity; James Joyce was an Irish novelist and poet. He rejected it for his schizophrenic daughter Lucia. Each regarded writing as freeing them from the conditions that ordinarily shape the child, its cast of mind, its ego. The ego makes every effort to repress the unconscious, barring by means of its power of formalization, from entering linguistic expression. Only if the ego itself were reconfigured would it ever really be able to speak. Joyce found what Woolf missed in her battle with the signifier, something that might have offered her deliverance. In The Dead, Joyce frames a new masculine ego and a new feminine one with, author believe, revolutionary effect. In it he paints a devastating portrait of the fatuous male ego produced by the deadened language of patriarchal imperial order. An ego opens to, not walled off from other egos.
