Chapter 1 Introduction 1
1.1 Ulysses：the Book 1
1.11 My“Encounter”with Joyce 2
1.12 Ulysses：a Synopsis 5
1.13 Ulysses：Homeric Parallels and the“Sun's Path” 6
1.14 Ulysses：Its Stylistic Innovations 13
1.2 Ulysses'Criticism 16
1.21 Literary Criticism 16
1.22 Linguistic/Stylistic Criticism 24
1.3 Theoretical Preliminaries 28
1.31 Style：a Working Definition 28
1.32 Stream-of-Consciousness style 29
1.33 The Theory of Foregrounding 30
Chapter 2 Sound Effects 36
2.1 Symbolic Sounds 36
2.11 The Church Bells：an Overtone of Death 37
2.12 The“Jingling”Sounds：Suggesting Sexuality 43
2.2 Phonological Figures 49
2.21 Plett's Model of Phonological Figures 50
2.22 Phonological Figures of Metaphonemes 53
2.23 Phonological Figures of Isophonemes 56
2.24 Some Unusual Phonological Figures 59
2.25 The Tendency Towards Poeticity in Ulysses 62
2.3 Musical Genres 68
2.31 The Fugue：a Prelude to the Musical Episode 69
2.32 Songs in“Sirens” 73
Chapter 3 Lexical Inventiveness 80
3.1 Special Conversion 81
3.11 Verb Conversion 83
3.12 Non-verb Conversion 87
3.2 Unusual Compounds 91
3.21 Noun Compounds 91
3.22 Verb Compounds 102
3.23 Adjective Compounds 106
3.24 Jumbled Compounds 114
3.3 Comic word-play 130
3.31 Puns 131
3.32 Word-play 152
Chapter 4 Syntactical Variations：Hiberno-English in Ulysses 160
4.1 Why This Topic？ 161
4.2 Hiberno-English Syntax 165
4.21 The Historical Development of Hiberno-English 165
4.22 Some Features of Present-day Hiberno-English 167
4.3 Hiberno-English in Ulysses 169
4.31 Inversion 170
4.32 Omission of the Subject-relative or Connector 178
4.33 Special TMA Markers 179
4.34 Other Salient Features 183
4.4 Reading beyond Hiberno-English 186
Chapter 5 Stylistic Parody and Pastiche 196
5.1 Parody and Pastiche 197
5.2 Parody and Pastiche for Mockery 200
5.3 Parody and Pastiche for Other Purposes 211
Chapter 6 Conclusion 221
6.1 Concluding Remarks 221
6.2 Open Questions 226
Appendix 1 James Joyce's Life Events 228
Appendix 2 Ulysses and Homeric Parallels 232
Appendix 3 Ulysses'Schema 233
Bibliography 235