The tradition of Joyce studies has been long dominated by the two contrasting positions - "the headier symbolic readings" which had been initiated by T.S. Eliot`s comment on Joyce`s mythic method in Ulysses and the "more novelistic readings" which had followed Ezra Pound`s encomium on Joyce`s encyclopaedic realism. However, with the advances of the new critical theory of poststructuralism and of the new literary mode of postmodernism, a radical shift of critical perspective becomes apparent in the so-called "Joycean industries." During the last decade, the critical discourse of poststructuralism has become actively involved in comprehending and exploring the postmodern characteristics of Joyce`s texts, keeping more conventional readings to the margins of the Joycean establishment. In other words, his texts play midwife to the postmodern imagination. By attempting to dent primacy to a single point of view, Joyce extends and intensifies the parameters of discourse. Ulysses presents an array of perspectives, fluctuation between imitation and parody, enforcing a series of intentionally contradictory impressions and effectively blocking the emergence of a single, dominating point of view. Joyce suppresses the appearance of hegemonic voice, and the figures in Ulysses voice a multiplicity of perspectives, all bidding for the attention of the reader struggling to create a text from the printed page. With the disappearance of the authorial voice, the space of the author divides and disseminates in the writing of Ulysses. This power of dissemination reveals itself most bluntly in the sixty-three fragments at the beginning of the "Sirens" episode. In this episode Joyce is concerned to show how the mechanism of writing works. The first two pages, in which phrases without a context litter the text, refuse all possible meaning. Deprived of a context which would allow us to read them, the words become material objects which rest on the page and resist our attempts to subject them to meaning. Words without context cannot be read in terms of meaning because words derive their meaning, not from the fact that each word is charged with a definite thought, but from their position in regard to other words. Therefore, a word is defined in terms of difference: the different words that surround it, and this difference is a difference which is activated across time and space through reading. Meaning is produced through a practice of writing, a process of differentiation of material signs. Consequently, writing in the act of reading through an attention to the materiality of writing.