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Modern tourism was booming in Southern Europe and the British Isles when Ulysses was conceived in Austrian Trieste. Particularly, the tourist industry of the Isle of Man—a model for Irish Home Rule—was significant as tourism was the root of the Island’s self-sufficiency. It can be argued that Joyce perceived tourism as a means of achieving Irish economic and political power. In other words, Joyce’s Ulysses may serve as a guide on the tour of Dublin, which embodies the postcolonial or hybrid space between the Irish capital and the British colony. While promoting the metropolitan image of Dublin, Ulysses simultaneously exploits its colonial image for tourism. Like his political views, Joyce’s idea of tourism can be defined as semicolonial. Appropriating the British notion of tourism Joyce made the capital of the British colony a tourist object as a different place. Ulysses features a modern, urban Ireland, in contrast to the contemporary Irish tourism which promoted a romantic, rural Ireland. The Dublin tourism of Ulysses offers a colonial metropolitan exhibition as the counterpart to British imperial metropolitan exhibitions, which served as an important part of the tourism industry in the late nineteenth century. The colonial metropolitan exhibition that Joyce promotes through Ulysses makes “Dublin” the exhibit of postcolonial life. It is symbolic that Ulysses begins with the Martello tower in Sandycove—as a counterpart to the Tower of London—with Mulligan, Haines, and Stephen staying together in it. Dublin is portrayed as both subservient like Mulligan and resistant like Stephen to the English tourist Haines. Ulysses’s Dublin is endowed with contradictory or hybrid characteristics. It is a postcolonial space where colonial authority is neither acknowledged nor fought against. Furthermore, Bloom’s dream of tourism which focused on metropolitan Dublin suggests that Joyce’s Dublin, with Bloom in it, is postcolonial, which makes Ulysses a guide to the postcolonial Dublin. Joyce’s efforts at the sales promotion for Ulysses were intended to draw people to the city of Dublin rather than to the book itself.
