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Approaching James Joyce’s Ulysses from the point of view of the cognitive field of cultural memory studies involves an account about the difficulties encountered on the way, followed by the discovery of limitations that the ironies of the Joycean fictional experiment introduce in the standard handling of four cultural memory modes (experiential, mythicizing, antagonistic and reflexive, according to Astrid Erll’s 2008 study Literature, Film and the Mediality of Cultural Memory ). The complexities of the modernist cultural intra-mediation memory modes are explained by reference to self-reflexive postcreation, fabrication, parallelism and parallax; the latter complicates parallelism, just as postcreation, a self-reflexive term coined by Stephen Dedalus in the Ulyssean episode “Oxen of the Sun” complicates fabrication; with help from The Parallactic View by Slavoj Žižek, the species of Joycean irony are explained so as to refute Carl Gustav Jung’s dismissal of Ulysses as meaningless in 1932.

James Joyce’s Ironical Memory: Jungian versus Parallactic Literary (Re-)Cognition in the Cultural-Gift Novel Titled Ulysses