We can see the text Ulysses not simply as a mixture of traditional realism and postmodernism but as a text in process that exiles a fixed meaning though without disregarding it. In other words Ulysses is not a traditional ‘phenotext’ full of logic and grammar but a text where ‘genotext’ disturbs ‘phenotext’ and ignites itself into a text / subject in process. In the encyclopaedic styles of Ulysses we can see a dialectical balancing between a ‘phenotext’ communicating with the readers and a ‘genotext’ revealed through extreme style experimentations. Ulysses does not lead to either side of extreme. Every chapter has its own particular dynamical dialectic that activates the book into text in process. This involves many features such as intersubjectivity (first six chapters), desire to break and trespass the first style (“Aeolus”), desire to return to it (“Lestrygonians”), dancing of language (“Scylla and Charybdis”), fragments with an invisible thread connecting them (“Wandering Rocks”), language turning to music or text to a human body (“Siren,” “Nausicaa”), ironies reformulated in postmodernism (“Cyclops”), pastiche transforming the plagiarized style and Ulysses text (“Oxen of the Sun), limited mundane point of view from ‘phenotext’ (“Eumaeus”), scientifically well-educated but narrow point of view that fails to control the text (“Ithaca”), and Molly's monologue full of ‘genotext’ oppressed under the ‘phenotext’ (“Penelope”).

We can see the text Ulysses not simply as a mixture of traditional realism and postmodernism but as a text in process that exiles a fixed meaning though without disregarding it. In other words Ulysses is not a traditional ‘phenotext’ full of logic and grammar but a text where ‘genotext’ disturbs ‘phenotext’ and ignites itself into a text / subject in process. In the encyclopaedic styles of Ulysses we can see a dialectical balancing between a ‘phenotext’ communicating with the readers and a ‘genotext’ revealed through extreme style experimentations. Ulysses does not lead to either side of extreme. Every chapter has its own particular dynamical dialectic that activates the book into text in process. This involves many features such as intersubjectivity (first six chapters), desire to break and trespass the first style (“Aeolus”), desire to return to it (“Lestrygonians”), dancing of language (“Scylla and Charybdis”), fragments with an invisible thread connecting them (“Wandering Rocks”), language turning to music or text to a human body (“Siren,” “Nausicaa”), ironies reformulated in postmodernism (“Cyclops”), pastiche transforming the plagiarized style and Ulysses text (“Oxen of the Sun), limited mundane point of view from ‘phenotext’ (“Eumaeus”), scientifically well-educated but narrow point of view that fails to control the text (“Ithaca”), and Molly's monologue full of ‘genotext’ oppressed under the ‘phenotext’ (“Penelope”).

dialectical balancing, phenotext, genotext, extreme style exper- imentation, communication with the readers