詹明信於(多國資本紀元中的第三世界文學)一文中指出，第一世界的文 化文本經常隱藏國族寓言的潛意識結構，相對地，第三世界的國族寓言有意識且 明顯。喬依思的(芬尼根守靈/醒轉)笑稱其讀者為「飽受理想的失眠之苦的理想讀 者」，因而素有天書之惡名，但若以詹明信的觀點來看，這部作品或也非不可卒 讀。本文指出，結構交疊錯雜的(酒吧一景)，其實是一則寓言，旨在呈現二九二 二年愛爾蘭自由國的誕生。喬依思書寫國族的心志，雖呼應愛爾蘭文藝復興時期 建構國族文學的大潮流，但文藝復與運動份子意圖建構純種的愛爾蘭族，喬依思 卻刻意突顯時值新殖民期的愛爾蘭在種族以及語言所呈現的雜質。他筆下的愛爾 蘭雖以新國族的姿態出現，卻因歷經殖民統治而呈既新且舊、既排外卻又國際 化、入侵者與本地人不分的現象。在主題上，這種雜質現象表現於非正宗的愛爾 蘭主體一再因性逾越而身敗名裂一事;在技巧上，則揉合講古和商業化文本的語 言，反復呈現上述主題。藉著主題和技巧上的雜體，喬依思得以承認並彰顯愛爾 蘭因殖民統治而呈文化脫序之實，而非一廂情願地以文學作品拯救國族。以此看 來，這部作品在主題以及文體上的實驗，就不應僅在滿足讀者對現代主義創新手 法的需求，而是一位第三世界作家意圖記載文化霸權的外顯。

　　　　　ln "Third-World Literature in the Era of Multinational Capital,"Jameson argues that, in contrast to the first-world cultural texts,within which are often embedded the unconscious structures ofnational allegory, third world national allegories are consciousand overt. Open to this interpretation, Joyce's Finnegans Wake maybe less impenetrable than its notorious anticipation of an "idealreader suffering from ideal insomnia" (120.13-14) would warrant. Inthis essay, I will argue that central to the convoluted structuresof "A Scene in the Pub" ( II ,iii) is an allegory for the birth of theIrish Free State in 1922. While Joyce's agenda coincides with thecultural-nationalist interest in establishing a national literatureduring the Irish Renaissance era, it diverges from the revivalistaspiration to represent a pure Irish race by highlighting theracially-linguistically hybrid state of neocolonial Ireland. Inscribedwith vestiges of colonisation, betrayal and internal strife, Joyce'sIreland emerges as a new-born nation, at once ancient and modern,xenophobic and cosmopolitan, where the invader and the native areindistinguishable from each other. This hybrid state, I would suggest,is thematically displaced onto the recurrent fall and resurrection of aninauthentic Irish subject through sexual transgression, and reiteratedthrough a marriage of storytelling, a native oral tradition privilegedby Irish revivalist, and idioms of commodified cultural texts fraughtwith ideologies of consumerism. With this double Strategy of thematicstylistic hybridity, Joyce acknowledges and celebrates Ireland'sfall to colonial dislocation instead of redeeming the nationthrough his narrative. By displaying "the continuities and thediscontinuities of colonial and imperial power," Joyce's hilarious celebration of hybrid languages and styles should not merely be understood as a satisfaction of our "commitment to a rhythm of modernist innovation"; rather, it is a third-world writer's attempt to transcribe traces of cultural hegemonies in neocolonial Ireland.