Ilustrando la tematización de lo inefable y lo invisible, lo reviniente opera en la narración como trasunto de lo ominoso, referente subversivo y emergente que se equipara al relieve textual de los índices de visibilidad inmediata y fundamentada a fin de legitimar una prominencia discursiva par entre elementales en primer plano y descriptores diferidos en escena.
Nuestra aproximación a “The Dead” analiza la funcionalidad de los índices fantasmáticos como estrategia efectiva de deconstrucción dentrodel imaginario de esta ínclita obra. Projected on this scenario, both interacting with or stemming from it, our approach will offer readings of Gabriel Conroy’s rite of passage and quest for assertiveness within the oneiric masquerade of a haunted Christmas in Dublin. The ghost has a multiplication of forms in “The Dead”, both a denotative and a figurative rendition, either embodied in the ghastly setting, mood and atmosphere, together with the ethereal musings of the music, or in the crucial summoning of three spectral modes: the return of those already dead and gone the evanescent living as dead and, closing the circle, both the former and the latter as a unified synonym of the suspended. Marking the salience of the ineffable and the invisible, the revenant motif stands in this narrative as a disruptive agent of the repressed, rising and blending in with the immediately visible or overtly framed to assert a balanced prominence between notions of the foreground and the background. This approach to Joyce’s “The Dead” casts a light on the mechanics of phantasmagoria working as a foundational deconstructive strategy at the core of this masterpiece.
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