本篇論文旨在探討，將尚．布希亞所觀察到的擬仿物應用到詹姆斯．喬伊斯的《都柏林人》之可能性。擬仿物是一種自我指涉、和真實脫離關係的符號，且擬仿物的誕生即代表了真實的死亡。擬仿物的論證有助於解釋《都柏林人》中二元對立的瓦解，例如真實∕想像，民族主義∕帝國主義，精神性∕物質性，加害者∕被害者，過去∕現今等。除此之外，其他和布希亞擬像理論相關的概念如墨比絲環迴繞的否定性、退卻的歷史，和內爆，都能闡釋都柏林中意義的蒸發。從＜會議室裡的常春藤日＞中的民主選舉擬仿物，＜賽車之後＞中的民族認同擬仿物，＜阿拉比＞中的商品擬仿物，＜伊芙琳＞中的父權擬仿物，＜一抹微雲＞中的國界擬仿物，到＜死者＞中的歷史擬仿物，喬伊斯的都柏林人在察覺真實的消失之後，感到震驚或無法反應。儘管喬伊斯典型的結局透露出一絲灰暗，將布希亞應用至喬伊斯，確實提供都柏林人從二元對立的結構中獲得自由的機會。

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