In this study I have tried to shift the emphasis from Joyce`s mechanical intricacies and focus on the words he creatively revealed in Ulysses. No simple formula will express the relations between artistic device and meaning. In the history of Ulysses criticism realistic interpretation of Pound and the mythic view of Eliot have become touchstones to two important dimensions of the work. Therefore our criticism must constantly fluctuate between partial visions. I have also tried to examine relativistic consciousness or view points in which main criticism of Ulysses undertakes. It is ultimately a matter of emphasis. The equation between two spheres, world and consciousness, structures and values is infinitely subtle. I see the language as a perfect illustration of the dialectical relationship between ourselves and the world. Joyce`s text in its emphasis on writing refuses the possibility of any source or origin and therefore the narrative falls back into discourse as the text refuses to give us a fixed set of substitution. This thesis also proves that deprived of any unitary position of dominance, the reader`s discourses distance themselves one from the other and the distance thus opened provides the space for new things to be said. These methods suggest that Ulysses can be considered as the novelistic equivalent of a Brechtian drama.