頓悟法(epiphany)一向是喬伊斯的作品中慣用的重要技巧。本篇論文首先揭露喬氏在《年輕藝術家的畫像》中描述的一件史提芬(Stephen)與其師長因爭論漏斗("tundish" or "funnel")一字所引發的口角，及其因此而得之頓悟，其次則探討此事件背後的緣由及其深層意義。本論文借助了巴克汀(M.M. Bakhtin)、海德格(Martin Heidegger)、與梅洛龐帝(Merleau-Ponty)等人的理論來闡述文字與意識之間的微妙互動關係，進而指出「名」如何展現出「物」的本質來，從而解開史提芬心中未解之謎。
Epiphany, or sudden spiritual manifestation, is an important essence of Joyce's works. Embedded in Portrait is the verbal conflict of "tundish" vs. "funnel", an epiphany which has received comparatively little attention from critics. In my paper I am trying to reveal the deep meaning hidden in this verbal event, or battle of consciousness. As Stephen's thinking cuts deep furrows into the soil of language, I will base my discussion upon the penetrating insights of Bakhtin, Heidegger, and Merleau-Ponty for a dynamic research of the relationship between language and consciousness. Hence, living multiplicity of word meaning and accent, together with inner generative process of language will be covered.
