It is common knowledge amongst Joyce scholars that Joyce was scared of dogs; this fear, according to his brother Stanislaus, began in childhood when the young James was bitten on either the chin or the leg: 'My brother's fear of dogs and preference for cats dates from the time when he was badly bitten by an excited Irish terrier for which he and I were throwing stones into the sea'. Joyce's phobia of dogs is transmuted onto his semi-autobiographical protagonist Stephen Dedalus, who is scared of 'dogs, horses, firearms, the sea, thunderstorms, machinery, the country roads at night'. This distrust of dogs is not restricted to when Stephen is the narrator and we can see this, as well as Joyce's fondness for cats, in how these two animals are treated and represented in Ulysses; the Bloom's cat is a family member, invited by Molly into the bedroom, whilst dogs like Tatters and Garryowen are figured as aggressors. Joyce's representation of animals, however, is not simply confined to pets; in Ulysses alone there are-to name a few-symbolic and physical cattle, ungrateful seagulls, bats, a stuffed owl, horses, a figurative lapwing, rats, seals, and even a panther. Whilst a record detailing the appearances of animals in Ulysses can be confined to an appendix, a similar document on Finnegans Wake would necessitate a whole separate volume; indeed, this volume exists in the guise of Hildegard Möller's A Wake Bestiary. Despite its length and its detail Möller's bestiary is not exhaustive. For example, on page 360 of the Wake Möller records the presence of eighteen animals, but the Finnegans Wake Extensible Elucidation Treasury (hereafter known as FWEET) records more that Möller does not, such as dingo in the word 'Dingoldell' (360.33), and the clucking of hens in the phrase 'gluck-glucky' (360.9-10). The Wake is so saturated with animals, and saturated in such a subtle and delicate way that it is entirely possible to miss or overlook the majority of them that the work contains. Despite the fact that animals are prevalent in both Ulysses and Finnegans Wake, it takes a relatively long time - as shall be made clear in the two literature reviews of this thesis - for Joyce Studies to pick up on their presence. It is often quoted that with Ulysses, Joyce set out to reproduce Ireland's capital city in such detail that Dublin could be remade with only his novel as a blueprint. Joyce goes further with Finnegans Wake, to the point where some critics claim he records the entire history of mankind: 'Clearly, Joyce recounts the night and through his account recreates or creates the history of man and the universe'. The exhaustive and detailed nature of Joyce's later prose demonstrates how easy it is to overlook animals; both Ulysses and Finnegans Wake reflect how animals in the real world are so interwoven with our environment, our manufacturing processes, and in our everyday encounters that it becomes easy to fail to notice them until they are out of place; ants outside are easily dismissed, whereas ants in your own kitchen demand attention. We have animals as pets (cats, dogs, snakes, shrimp, parrots) and we put out wild bird feeders. Our supermarkets are full of animal products - both obvious ones like meat and dairy, but also more subtly in plastic bags, sugar, and bread products. Ulysses reflects this ubiquity in its cheese sandwich, hungry gulls, lemon soap, and ivory bookmarks. Both Ulysses and Finnegans Wake, however, also record - and indeed are examples themselves of - another way in which we use animals; as symbols, idioms, insults, allegory, and in art, both as an art subject, but also as the art object, such as with taxidermy, leather bound books, and paint pigments made from insect blood or cow urine. Given this ubiquity of animals in both the physical world and Joyce's literature, this thesis will focus on their presence, examining Joyce's representations of animals in Ulysses and Finnegans Wake in order to establish that Joyce is consistently using animals to consider what it means to be human, and what (if anything) separates humanity from the remainder of the animal kingdom.