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Because of this ratio, “a reference to the knowing subject is constitutive of beauty; and since this is so, the meaning of claritas changes” in Aquinian theory (Eco 118). On a second level, the Joycean perceiver is a subject in the sense of one who has been subjected to another power. Because the formal structure of beauty requires a corresponding structure of vision, the mind’s luminosity has been shaped by what it apprehends. ” The object perceived in epiphany thus manifests itself in the subject, which becomes the visible realization of itself.

Hero 80). Eventually, these concepts lead Heidegger to a theory of art that is essentially epiphanic. In the time of the ancient Greeks, writes Heidegger, the arts “brought the presence [Gegenwart] of the gods, brought the dialogue of divine and human destinings, to radiance. And art was simply called techne¯. It was a single, manifold revealing” (“Question” 34). The “presence of the gods” recalls the original usage of epiphaneia, as the bodily manifestation of a deity. Like Stephen’s epiphany, and his belief that the artist’s task is the “revelation of the beautiful” (Hero 80; original italics), art as techne¯ is a revealing.

In his Paris notebook, Joyce states that “All art, again, is static [ . . ]” and that “this rest is necessary for the apprehension of the beautiful—the end of all art, tragic or comic,—for this rest is the only condition under which the images, which are to excite in us terror or pity or joy, can be properly presented to us and properly seen by us” (Scholes and Kain 53–54). O p e n i ng t h e Su bj e c t 35 Such stasis rests upon a parity between the perceiver and the perceived: the radiance of the image matched with the luminous apprehension of the mind.

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