ABSTRACT

In Ulysses, Joyce depicts an epic hero who is also a pacifist, a Jew, a petit bourgeois businessman, a commercial traveler, a voyeur, an exhibitionist, and an ostensibly inadequate husband. Because psychological positions are mobile and transferable in the landscape of the novel, Leopold Bloom is alternately powerful and obsequious, feminized and flagellated, politically exalted and socially humiliated. He emerges as a "new womanly man" and unconventional hero who seems, paradoxically, to inhabit those marginal spaces on the edge of social discourse usually reserved for women and for cultural deviants.