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Aesthetic view of james joyce in Portrait of an artist as a young man
Aesthetic view of james joyce in Portrait of an artist as a young man
Aesthetic view of james joyce in Portrait of an artist as a young man
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Authoritative Discourse in A Portrait of an Artist as a Young Man
In James Joyce's A Portrait of An Artist As A Young Man, the main character, Stephen Dedalus, struggles between his natural instincts, or what Bakhtin calls the "internally persuasive discourse" that "[is not] backed up by [an] authority at all", and his learned response, reinforced by the "authoritative discourse" of religion. To Stephen's "internally persuasive discourse", his natural sex drive is not 'wrong'. It is only after he succumbs to the "authoritative discourse" of religion that he learns that such a natural human drive is 'bad'. Thus, he learns that it is wrong to succumb to sex: he does not think that it is bad on his own. In this case, the "authoritative discourse" that considers sexual drive to be 'bad' becomes Stephen's "internally persuasive discourse". He learns that his natural urges are wrong and, as a result, he learns to deny them and pretend them to be nonexistent. This is how the "authoritative discourse" becomes Stephen's "internally persuasive discourse".
The evidence that Stephen relies on his senses is best shown by the description of how much he has to deny his senses in order to reach the "discourse" of religion.
Each of his senses was brought under a religious discipline. In order to mortify the sense of sight he made it his rule to walk in the street with downcast eyes, glancing neither to right nor left and never behind him. His eyes shunned every encounter with the eyes of women (162-3).
However, there is a natural impulse from which he cannot escape: and that is his sense of touch. He may try to deny it in all possible ways but he cannot wholly escape it. This sense of touch is what causes ...
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Epstein, Edmund L. The Ordeal of Stephen Dedalus. Carbondale and Edwardsville: Southern Illinois U P, 1971.
Givens, Seon, ed. James Joyce: Two Decades of Criticism. New York: 1948. 2nd ed. 1963.
Goldman, Arnold. The Joyce Paradox: Form and Freedom in his Fiction. Evanston, IL: Northwestern U P, 1966.
Halper, Nathan. The Early James Joyce. Columbia Essays on Modern Writers. Ed. George Stade. New York: Columbia U P, 1973.
Joyce, James. A Portrait of the Artist as a Young Man. The Portable James Joyce. Ed. Harry Levin. New York: Penguin, 1976.
Levin, Harry. "The Artist." James Joyce, A Portrait of the Artist as a Young Man: Text, Criticism, and Notes. Ed. Chester G. Anderson. New York: Penguin, 1968. 399-415.
Wright, David G. Characters of Joyce. Dublin: Gill and Macmillan, 1983.
The role of women in China has changed dramatically, from one servitude and repression in ancient China, to one of equality in modern China. China women were sometimes subject to their father but when they got married they were subjected to obey their husband without and questioning. ?This study considers family development and attitudes toward motherhood in light of changing roles of women in China. The effects of revolutionary events and government policies on marriage and the traditional family are presented based on interviews conducted in China and a review of the literature? (Hare-Mustin and Hare 67-82). I think that women in any culture should have the same role because it seem like China women have no freedom. Some women went to night school, or worked at the factory until laws were passed to equalize women under the law.
30. Drucker, G. (1987) The Defining characteristic of Society: Postpatriarchialist deconstruction in the works of Joyce. Cambridge University Press
...f this saga, the splendid portrayal of characters, the use of spiritual elements, and the historical
Few people, if any, in the twentieth century have inspired as much careful study and criticism as James Joyce. His work represents a great labyrinth which many have entered but none have returned from the same. Joyce himself is a paradoxical figure, ever the artist, ever the commoner. He has been called the greatest creative genius of our century and, by some, the smartest person in all of history. His most famous novel, Ulysses, is considered by many to be the greatest novel ever written. Beyond all of these superlatives lies a perfect case study in the creative mind and process.
To be eligible for SSI benefits, an individual must be at least age 65, blind or disabled, a United States citizen or an eligible noncitizen and reside in the United States. To ensure...
3 From Letters of James Joyce, Vol. II, ed. Richard Ellmarm (New York,1966), p. 134.
Fairhall, James. James Joyce and the Question of History. Cambridge University Press. New York, New York: 1993.
All other citations from Joyce, James. The Portable James Joyce, ed. Harry Levin. New York: Penguin Books, 1976.
The beginning of the ninth century AD to the eleventh was known as the “Viking age”; during this time Iceland was settled by Scandinavians and CeltsCeltics. Some of the settlers were Christian while most were Pagan; together they created a culture
When it comes to traditions, customs and beliefs, one of the most mysterious civilizations in the world is considered to be ancient China. Through their values and cultural lifestyle they have succeeded for many years to make us wonder and want us to know more about their beliefs and traditions in their lives. Many of the traditions of this culture are not fully understood even today. In ancient China, women lived in the shadow of the men such as: their father, husband and even their son. Traditionally, the women in China were expected to obey. There were expected to obey blindly the male presence in their lives.
1 Joyce, James : The Dead , Norton Anthology of English Literature Vol.2, sixth edition
...dom and power of his soul, as the great artificer whose name he bore, a living thing, new and soaring and beautiful, impalpable, imperishable". (Joyce, 433) Stephen is now fully able to create from within himself, without being dependent on others to feel whole. This is accentuated by Joyce’s description of the beach scene— "He was alone. He was unheeded, happy and near to the wild heart of life". (Joyce, 433) Stephen the artist is alone and needs to be alone, not to search in vein for companionship that, even if attained, could only drag him from his newfound freedom. This realization of self-fulfillment and self-control is the single defining point in Stephen’s education; it is the brushstroke that completes the "Portrait of the Artist as a Young Man."
An important similarity between them is their isolation. Joyce believed that the separation from society is important for an artist in order to see society clearly. Common people are easily swayed by authority figures, as Dante and other Irish Catholics are against Parnell by the church's condemnation, or by other trendy movements such as the peace testimonial, all of which are rejected by Stephen in the end. When Stephen in his discourse on beauty describes the basket, he says "your mind first of all separates the basket from the rest of the visible universe which is not the basket. The first phase of apprehension is a bounding line drawn about the object to be apprehended" (212). Thus, by extension, if an artist is to apprehend the society, a line must be bound around society separating the artist from it in order to view it; it is difficult in a maze of hedges to comprehend the pattern, but when viewed from above the paths in and out become clear. The artist must stand outside the changeable mindset of the average human being in orde...
James Joyce's fragment of a novel, Stephen Hero, leaves the reader little room to interpret the text for themselves. The work lacks the narrative distance that Joyce achieves in his later works. Dubliners, a work Joyce was writing concurrently, seemingly employs a drastically different voice. A voice which leaves the reader room to make judgments of their own. Yet it is curious that Joyce could produce these two works at the same time, one that controls the reader so directly, telling not showing , while the other, Dubliners, seems to give the reader the power of final interpretation over the characters it portrays.
Pope, Deborah. "The Misprision of Vision: A Portrait of the Artist as a Young Man". James Joyce. vol.1. ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 113-19.