This work is licensed under a
Creative Commons Attribution 4.0 International License
[1] AhmadianMosa, Kashani Mohammad Mahdi, (2010), mystic aesthetics of art in face of man in work of James Joyce youth, study of contemporary literature of the world, No. 58, pp.43-66.
[2] Joyce James, (1967), Dubliners, trans. ParvizDarush, first edition, Tehran: pub. Asatir.
[3] Joyce James, (1993), Dubliners and its analysis, trans. Mohammad-alisafarian and SalehHosseini.
[4] Horn Stein Pressi and Broun, (2008), James Joyce (1882-1941), perception of culture of literature of the world, trans. Homayoun Nor Ahmar, art and architecture; scene, new period, No. 64 and 65.
[5] YaqubLotte, (2003), The Dead" of Joyce and "The Dead, of Hyosten, pub. Farabi, 14th edition, No. 4.
[6] Baker, J. R. (1962). Ibsen, Joyce, and the Living-Dead: A Study of Dubliners. Marvin Magalaner (Carbondale, 111., 1962), 19-32.
[7] Benstock, B. (1966). The Sisters, and the Critics. James Joyce Quarterly, 4(1), 32-35.
[8] Bierman, R. (1966). Structural Elements in" The Dead". James Joyce Quarterly, 4(1), 42-45.
[9] Connolly, T. E. (1965). Joyce's" The Sisters": a pennyworth of snuff. College English, 189-195.
[10] Loath, Jakob (1998), Narrative in Fiction Film; An Introduction, Oxford UP.
[11] Ellmann, R. (1958). The Backgrounds of" The Dead". Kenyon Review, 507-528.
[12] Walzl, F. L. (1966). Gabriel and Michael: The Conclusion of" The Dead ". James Joyce Quarterly, 4(1), 17-31.
[13] Magalaner, M., &Kain, R. M. (1956). Joyce: The man, the work, the reputation. New York: New York University Press.
[14] Ghiselin, B. (1956). The Unity of Joyce's Dubliners. Accent, 16(2), 75.