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The use of Speech in James Joyce's Ulysses In his article "The Decomposing kind of Joyce's Ulysses," Henry Staten has argued "which Ulysses achieves a number of its most characteristic outcomes by pressing the inner logic of mimesis to the limitation, above throughout onomatopoeia, which manifests at a peculiarly condensed manner the self-contradictory nature of the realist project" (Staten 174-5). Mimetic narrative and method are undone through an onomatopoeiac manner, which is imagined by Stephen "as the pure self-expression or self-annunciation of reality" (175): "Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide" (Ulysses 3.2-3, emphasis added). "Listen: a fourworded speech: seesoo, hrss, rsseeiss, ooos" (3.456-7). In textually representing "wavespeech," Stephen's onomatopoeiac "signatures" foreground the monogamous nature of our understanding and perceptions of the world. Really, any perfect or phenomenal referent to which our signifying language is only connected, acting as a transparent medium through which we might know and perceive that the referent, is not absent. An individual could say referents from Joyce's text will be in turn other indications. In other words, the unmediated or instantaneous reception of sense, of this feeling of something's 'quiddity' or 'eidos, '' its perfect, "iterable" form is impossible. Language is not a clear mediation of awareness. There's always semeiotic mediation, even a determined though not necessarily random process. The use of mimesis in speech may be, Staten additional asserts, Joyce's aesthetic aim. Perhaps Ulysses is the first publication to willfully undermine its mimetic makeup, its own intentionality in trying to mirror nature. It displays language as deconstructive of itself,.