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Aesthetic theory of the portrait of the artist as a young man
Aesthetic theory of the portrait of the artist as a young man
Aesthetic elements in A portrait of the artist as a young man
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James Joyce’s, A Portrait of the Artist as a Young Man, serves as a psychological look into the maturation that occurs within children as they constantly absorb different elements of life. Stephen Dedalus represents what most boy experience while growing up, and his struggles and triumphs serve as an ideal example for the bildungsroman genre. Of the numerous themes within the novel, Joyce’s inclusion of vivid imagery and sensory details provide for an enhanced reader experience. It is important to note his use of imagery to mature the character of Stephen throughout the novel, and how they influence Stephen’s behavior as he explores his sexuality, struggles with accepting religion and, and attempts to understand his calling in life beyond school.
The story relayed in A Portrait of the Artist as a Young Man, centers on Stephen Dedalus, a young Irish schoolboy in the early 20th century. Using stream of consciousness, Joyce provides his reader with a firsthand perspective into the mind of the protagonist Stephen. From the time he is a small child up until his early 20s, Stephen goes through many personality changes that mimic what any human being goes through growing up. Joyce makes Stephen’s case different by incorporating innumerable amounts of influences in his life, including Stephen’s father, omnipresent thoughts of sex, moocows, and fiery sermons condemning sinners of their wrong doings. Eventually Stephen must make a on what it is that he desires in life other than his natural impulses and the need to appease the religious portion of his psyche.
For a large part of the novel, Stephen struggles with the impulses of sexuality, and needing to delve into his innate feelings as an adolescent. His encounter with a prostitute at ...
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...e decision in the future, after he realizes the priesthood is not for him. Joyce finally gives Stephen’s character a strong psychological state in order to work through his troubles and to see past the once ostentatious idea of living for others instead of living for himself.
A Portrait of the Artist as a Young Man has its idiosyncrasies throughout, but James Joyce manages to present an entire transformation through random thoughts and imagery. Stephen Dedalus embodies the coming to age story with his urges to commit sinful acts, yet tries to remain pious in order to pursue his dream of becoming a priest. The use of imagery and symbolism throughout the novel serve as reliable mediums for maturation, without convoluting the overall theme with indecipherable meanings.
Works Cited
Joyce, James. A Portrai of the Artist as a Young Man. London: Penguin Books, 1993.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
Potok, Chaim. “Asher Lev, an artist is a person first.” Goodreads. N.p., n.d. Web. 3 May. 2014.
Moreover, Quentin, unlike his brother Benjy, who understands reality without any abstraction, is a highly gifted and sensitive man. Hence, his monologue in section two is replete with his abstract and philosophical meditations on the nature of what he experiences, as his contemplation on time shows. From this perspective, Quentin is seen to be an alter-ego of Faulkner, as Stephen Dedalus in A Portrait of the Artist as a Young Man (1916) is that of Joyce. Through Quentin, Faulkner examines the possibility that artistic resources, particularly literary language, can capture life that is easily flawed with time into the ultimate truth “so that 100 years later when a stranger looks at it, it moves again.” Quentin’s problem with time and his struggle to arrest the past fixed, in this sense, are Faulkner’s
8. Rice, Thomas Jackson. James Joyce: Life, Work, and Criticism. Frederiction: York Press LTD., 1985.
As Stephen grows, he slowly but inexorably distances himself from religion. His life becomes one concerned with pleasing his friends and family. However, as he matures he begins to feel lost and hopeless, stating, "He saw clearly too his own futile isolation. He had not gone one step nearer the lives he had sought to approach nor bridged the restless shame and rancor that divided him from mother and brother and sister." It is this very sense of isolation and loneliness that leads to Stephen's encounter with the prostitute, where, "He wanted to sin with another of his kind, to force another being to sin with him and to exult with her in sin.
In James Joyce’s A Portrait of the Artist as a Young Man, Stephen Dedalus feels confined by the nagging presence and rigidity of his family, the Catholic Church, his Irish nationality and his social class. In order to free his soul and express himself as the artist he knew he was, Stephen had to break away from these social institutions. The journey Stephen takes, follows the narrative structure of Joseph Campbell’s Hero’s Journey and shares similarities with the mythical character, Daedulus’s life.
Joyce, James. A Portrait of the Artist as a Young Man. New York: New American Library, 1991.
Even as a young boy, Stephen experienced rejection and isolation at school. On the playground Stephen "felt his body [too] small and weak amid the [other] players" (Joyce 8). His schoolmates even poked fun at his name. In response to his rejection by the other boys Stephen makes a conscious decision to "[keep] on the fringe of his line, out of sight of his prefect" and the other boys. Stephen is later depicted as choosing the "warm study hall" rather than the playground with his friends outside (Joyce 10). His rejection at school leads him to isolate himself in his schoolwork, thus putting himself on a scholarly path that will give him the intellectual skills necessary for the artist within him to achieve adulthood.
Ulysses opens with Buck Mulligan calling Stephen a "fearful jesuit" and mocking church rituals as he shaves (Joyce, Ulysses 3). The two main characters of this novel, Stephen Dedalus and Leopold Bloom have each fallen from their respective faiths. They both suffer for their religious affiliations; Bloom is excluded and h...
Ultimately, Stephen rejects Catholicism as his religion because of the trauma it has caused him and because it is too restricting for an artist like himself and replaces religion with art. After his rejection of Catholicism Stephen starts thinking like an artist, examining the soul and aesthetics. Even his namesake, Daedalus evokes the image of an artist and creator. Daedalus was a creator from Greek mythology that Stephen identifies himself as with great pride. Also, the next story Joyce writes is Ulysses, a story pertaining to Greek mythology whose main character is a Jew. Greek were also Pagan so it's possible to say that as Stephen/Joyce rejected Catholicism he started to accept Paganism as his religion.
James Joyce's A Portrait of the Artist as a Young Man presents an account of the formative years of aspiring author Stephen Dedalus. "The very title of the novel suggests that Joyce's focus throughout will be those aspects of the young man's life that are key to his artistic development" (Drew 276). Each event in Stephen's life -- from the opening story of the moocow to his experiences with religion and the university -- contributes to his growth as an artist. Central to the experiences of Stephen's life are, of course, the people with whom he interacts, and of primary importance among these people are women, who, as his story progresses, prove to be a driving force behind Stephen's art.
Sucksmith, Harvey Peter. James Joyce: A Portrait of the Artist as a Young Man. London: Edward Arnold Publishers, 1973.
Stephen's Journey to Maturation in A Portrait of the Artist as a Young Man by James Joyce
The novel starts right off with the notion of a love between a mother and son. Even at a young age Stephen is able to distinguish that his mother is a source of pure unabridged love. “His mother had a nicer smell than his father.”(1) At a very young age the artist is already beginning to form because of women, he is beginning to see beauty through the senses. “His mother put her lips on his cheek; her lips were soft and they wetted his cheek; and they made a tiny little noise: kiss.”(7) This scene occurs very early on with Stephens mother Mary Dedalus here and throughout the novel helps in teaching him right and wrong what is to be expected, but above all show him the capacity to love and understand what is to be loved unconditionally. Stephens mother is also is there in all the key moments in Stephens life; in his leaving to boarding school as a child, then in leaving to London. In these instances she shows perhaps an overprotectiveness toward him in the cleaning of his ears once already an adult, in advising him on friends and money throughout his youth while al...
James Augustine Aloysius Joyce, the author of A Portrait of an Artist as a Young Man, was once described by a friend, Constantine Curran, as "a man of unparalleled vituperative power, a virtuoso in speech with unique control of the vernacular." While Constantine viewed Joyce's quality of verbal abuse "powerful," and praised his "control" of the language, many viewed this expressive and unrestrained style of writing as inappropriate and offensive. A dramatic new step for modernism, Joyce used language, style, and descriptions of previously unwritten thoughts and situations which stirred the cultural norm, thus sparking controversy over what was necessary and acceptable in literature.