Dissertations / Theses on the topic 'Portrait of the artist as a young man'
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Heinimann, David. "A portrait of the young man as a failed artist /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66151.
Full textMendonça, Júnior Jorge Witt de. "O tempo do artista em A portrait of the artist as a young man." PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA LINGUAGEM, 2018. https://repositorio.ufrn.br/jspui/handle/123456789/25094.
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A obra de James Joyce (1882-1941) que trabalhamos nessa pesquisa, A Portrait of the Artist as a Young Man, publicada em 1916, narra a história de Stephen Dedalus no período que vai da sua infância até o início da idade adulta. É a partir dessa perspectiva da evolução do texto juntamente com o personagem que propomos um estudo do romance enquanto gênero diferenciado no tratamento da categoria do tempo. Partimos com o objetivo de analisar de que maneira a linguagem desenvolvida pelo autor possibilita a criação de uma camada linguística para o desenvolvimento do personagem e do tempo ao longo da narrativa, possibilitando o compartilhamento de uma experiência temporal a partir da linguagem. Analisaremos como a linguagem é utilizada para desenvolver a temática da rebeldia do personagem, inserida na estrutura linguística da obra. Desenvolvemos essa pesquisa em A Portrait a partir do estudo de autores como Ricoeur (1995), Bakhtin (2010), Benjamin (2011), Lukács (2007), Mendilow (1972), Genette (1995), entre outros. Discutimos também a questão da interação narradorpersonagem e sua influência na evolução da narrativa, partindo de Candido (2007) e Auerbach (2002). Nossa proposta desenvolve primeiramente um estudo sobre as características romanescas que fazem da temática do tempo um elemento essencial à forma do romance. Abordamos, na sequência, a forma como a linguagem desenvolve uma reconfiguração da experiência temporal na estrutura linguística do romance. Chegamos à conclusão de que para configurar o tempo por meio da linguagem, o autor utiliza de recursos literários como, por exemplo, a relação entre o narrador e personagem observada na manipulação do ponto de vista, a possibilidade de unir o discurso do narrador às palavras do personagem por meio de uma linguagem híbrida, o uso de ferramentas como a repetição ou a exploração dos níveis da consciência do personagem pela sua linguagem, além da adaptação de estilos e padrões narrativos correspondentes a cada etapa da vida do personagem fazendo com que a sua evolução seja sentida, não apenas declarada, na própria experiência linguística da leitura.
The work of James Joyce (1882-1941) discussed in this research, A Portrait of the Artist as a Young Man, published in 1916, tells the story of Stephen Dedalus, in the period of time that goes from his childhood to early adulthood. It is from the perspective of the evolution of the text along with the character that we propose a study of the novel as a genre differentiated in the treatment of the category of time. We set out to analyze how the language developed by the author allows the creation of a linguistic layer for the development of the character and the category of time throughout the narrative, allowing the sharing of a temporal experience from the language. We will also analyze how the language is used to develop the theme of character's rebellion, which is also observed in the linguistic structure of the novel. We carry out this research in A Portrait from the theoretical underpinning of authors such as Ricoeur (1995), Bakhtin (2010), Benjamin (2011), Lukács (2007), Mendilow (1972), Genette (1995), among others. We also discuss the narrator-character interaction and its influence on narrative evolution, based on Candido (2007) and Auerbach (2002) theoretical background. Our proposal first depicts a study on the romanesque characteristics that make of the category of time an essential element to the form of the novel. We next deal with the way language embodies a reconfiguration of temporal experience in the linguistic structure of the novel. We conclude that in order to configure the time within the language, the author uses literary resources such as the relationship between the narrator and character, which can be seen in the manipulation of the point of view, the possibility of uniting the speech of the narrator to the words of the character through a hybrid language, the use of tools such as the repetition or the exploration of the levels of the character's consciousness by its language and the adaptation of narrative styles and patterns corresponding to each stage of the life of the character, causing its evolution to be felt, not just stated, in the linguistic experience of reading.
Sewerin, Mikael. "The Deconstruction of Maturity in Joyce's Portrait of the Artist as a Young Man." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-113427.
Full textGan, Wanghui. "A Portrait of the Artist as an Angry Young Man: Masculinities and the Male Artist in Twentieth-Century British Literature." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/41098.
Full textSagrista, César. "James Joyce’s attitude towards religion in “A Portrait of the Artist as a Young Man”." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110205.
Full textThis essay will deal with an aspect that cannot be ignored nor go unnoticed when we read A Portrait of the Artist as a Young Man; Joyce's interest in the theme of religion, or the importance of religion in the development of the artist as a young man, according to Joyce.
Figueroa, Lienqueo Tamara Valentina. "A portrait of the subject as a young artist: James Joyce and modernism." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109942.
Full textNatali, Ilaria. "The Ur-portrait : Stephen Hero ed il processo di creazione artistica in A portrait of the artist as a young man /." Firenze : Firenze University Press, 2008. http://digital.casalini.it/9788884539083.
Full textMonteiro, Flavia Rodrigues. "A portrait of the hero as a young man: Stephen Dedalus and the mythogenesis of the artist." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/ECAP-8FDLTC.
Full textApós séculos sob a dominação inglesa, a Irlanda vivenciou uma forte demanda por restauração e consolidação de sua própria identidade política e cultural no final do século dezenove e início do século vinte. James Joyce tentou suprir a necessidade irlandesa de uma (re)construção de identidade e a mistura de mitologia e realismo em seus trabalhos foi sua tentativa de fornecer auto-conhecimento para seu povo. Essa dissertação investiga em que sentido a jornada de formação de um artista, desenvolvida em A Portrait of the Artist as a Young Man, metaforicamente faz um paralelo com a saga do herói clássico a fim de investigar as escolhas feitas por Joyce no que diz respeito aos arquétipos mitológicos com seu propósito e influência no trabalho do autor. Essa análise baseia-se na pesquisa de quarto campos: o contexto histórico irlandês, a biografia de James Joyce, elementos mitológicos e características importantes do romance de Joyce no que diz respeito à estrutura e construção de sentido. Ao compartilhar as características do herói, o protagonista do primeiro romance de Joyce eleva a condição do artista ao papel de salvador, redentorum verdadeiro herói para sua comunidade por revelar o caminho da iluminação através da literatura. Portanto, Joyce revela que o caminho para o auto-conhecimento é uma busca universal, tornando seus trabalhos uma reflexão que não é limitada por tempo, lugar e cultura.
Meints, Renata Del Rio. "The fallen artist :: the influence of John Milton's "Paradise Lost" on James Joyce's "A portrait of the artist as a young man"." Universidade Federal de Minas Gerais, 2009. http://hdl.handle.net/1843/ECAP-7PYHB9.
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Brown, James S. "Joyce's Doctrine of Denial: Families and Forgetting in Dubliners, A Portrait of the Artist as a Young Man, and Ulysses." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392900185.
Full textBrown, James Stewart. "Joyce's doctrine of denial: Families and forgetting in Dubliners, a Portrait of the artist as a young man and Ulysses /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487847309053153.
Full textCorrêa, Alan Noronha. "How to build and irish artist : Joyce's first portraits of Dublin." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/61716.
Full textJames Joyce is one of the most famous writers in the 20th century, whose work is very commented both by readers and scholars, especially because of the high level of complexity of Ulysses and Finnegans Wake, the two mature masterpieces. The focus of the present thesis, however, lies on the first books written by Joyce, because they are more manageable for reading, and yet bear all the linguistic and symbolic sophistication that marks Joyce’s production. The corpus of the research comprises the book of short stories Dubliners and the novel A Portrait of the Artist as a Young Man, using as support to the analysis of the latter, the previous novel, never published in life, Stephen Hero. The aim of this thesis is to investigate aspects of Joyce’s prose that expose the stages of construction and application of his aesthetic theory. The city of Dublin comes as a metaphor about the condition of being Irish. As a consequence, some familiarity with Irish history and culture is relevant for a better understanding of the books, and of the complex relations involving the Irish and their land, especially in matters concerning Catholicism and English domination. The thesis is divided in four chapters. The first draws on James Joyce, considered both as a person and as a writer in progress, born and raised in Dublin in the turn of the 19th into the 20th centuries. The chapter centres on the relations involving the influence of the Catholic context of his formation and the economic and social crises experienced by Ireland and by the Joyce family at the time. Chapter two is about Dubliners, the collection of short stories that presents Joyce’s view about the city of Dublin. These stories can be read independently from one another, but they acquire a finer meaning if considered as a unit in terms of language, symbolism, narrative strategies and goals, besides following a plan of evolution from childhood to adolescence, and to maturity, and public life. The characters share common characteristics: paralysis, lack of perspective, incapacity to understand or to react to the historical and social factors that put them in that position. Among those factors we have the Catholic tradition, the English domination and the inability of the people to react to circumstantial problems in a creative and productive way. Chapter three analyses the evolution of Joyce’s craftsmanship through the duo Stephen Hero/A Portrait of the Artist as a Young Man, using the notion of Künstlerroman as a starting point. In the last chapter I deal with the peculiarities in Joyce’s style, contrasting them to the practice of some other contemporary authors who also state their views about art, history and tradition. As an aftermath to this thesis, I hope that my comments about the body of elements that propitiated the rise of Joyce as the author he is may prove useful to other people like me, who believe in the relevance of his contribution to the aesthetics of literature and to the discussion about political and social issues related to Ireland, in the first portraits of Dublin displayed in Joyce’s three first books.
McGregor, Jamie Alexander. "Nothung up my sleeve : the Wagnerian impulses in James Joyce's Ulysses and A portrait of the artist as a young man." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/22127.
Full textThe Introduction isolates the particular focus of the dissertation - viz. the importance of the Wagnerian themes and allusions in James Joyce's Ulysses and A Portrait of the Artist as a Young Man, considering existing studies of the same subject, as well as elucidating the structure and argument of the dissertation as a whole. In Chapters 111-V, the argument focuses on particular themes and characters in the operas that appear to influence Joyce, whether in terms of direct reference or oblique allusion. The focus of each of these three chapters is, respectively, the artist-hero, the father-son relationship and the symbolic role of woman.
Belluc, Sylvain. "Signe, nature, signature : parcours étymologiques dans l’œuvre de James Joyce – Dubliners, A Portrait of the Artist as a Young Man et Ulysses." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030105.
Full textOne of the hallmarks of Joyce’s prose is the acute consciousness it reflects of the history of words. This tendency is the product of the emergence of comparative linguistics and historical semantics in the 19th century, both of which had revolutionized the concept of etymology and seemed to make the history of words relevant to their use. Yet that approach soon became irremediably outdated and its numerous contradictions had been subjected to severe criticism by the time Joyce wrote his books. Accordingly, his works, far from giving a faithful and stable image of the etymological discourse prevalent in the century of his birth, reflect its biases and contradictions. Although the writing strategy of Dubliners relies on a constant exploitation of the data unveiled by linguists, it opposes any transcendental philosophy and makes much of the subjective and random nature of the activation of words’ etymological potentialities by the reader. Stephen’s attempts at finding a superior meaning in the direct and then indirect motivation of names in A Portrait of the Artist as a Young Man evolves, in the next novel, into a bitter rejection of the “imposture of sounds”. Ulysses, however, also brings into relief the inconsistencies of the linguistic theories of its own time: in highlighting the role played by folk etymology in the use of language, it constitutes an implicit criticism of Saussure’s positivist claims and calls into question any pseudo-rational and supra-individual conception of history
Evans, Adam Christopher <1984>. ""A Portrait of the Artist as a Young Man" Through the Lens of Marx and Jameson by way of Lacan and Žižek." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20020.
Full textKoizumi, Symphorosa Sophia Yoko. "Mimetic devices of style in the earlier fiction of James Joyce : 'Dubliners', 'Stephen Hero', 'A Portrait of the Artist as a Young Man'." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28084.
Full textCotter, Cynthia Ann. "Buffoons and bullies: James Joyce's priests in "Stephen Hero" and "A Portrait of the Artist as a Young Man", a study of revision." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/731.
Full textAguiar, Junior Eraldo Jose de. "A Study of characterization and representation in James Joyce's a portrait of the artist as a young man and John barth's lost, in the funhouse." reponame:Repositório Institucional da UFSC, 1995. https://repositorio.ufsc.br/xmlui/handle/123456789/157900.
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Análise da caracterização e da representação do artista nos romances A Portrait of the Artist as a Young Man de James Joyce e Lost in the Funhouse de John Barth. A análise destes romances quanto às diferenças existentes no modo de representação do artista, faz com que eles possam ser lidos, respectivamente, como representantes das narrativas modernista e pós-modernista.
Sadjadi, Seyed Bakhtiar. "Investigating the subject's identity : the critical treatment of the Lacanian-Althusserian dialectic and subjectivity formation in James Joyce's 'A Portrait of the Artist as a Young Man'." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/112123.
Full textMorillot, Caroline. "États cliniques, états mystiques : vers une grammaire de la réceptivité dans Dubliners, A Portrait of the Artist as a Young Man et Stephen Hero de James Joyce." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00870012.
Full textBrändström, Camilla. ""Gender and Genre" : A Feminist Exploration of the Bildungsroman in A Portrait of the Artist As a Young Man and Martha Quest." Thesis, Högskolan i Gävle, Institutionen för humaniora och samhällsvetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-6525.
Full textSilva, Lemarchand Francisco. "Synesthetic Traits in the Perception of Language in Stephen Dedalus considered as an avatar of James Joyce." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/110287.
Full textThe general objective of this work is to analyze the work of James Joyce, specifically, the analysis of A Portrait of the Artist as a Young Man.
Gordon, Anna Margaretha. "A Reassessment of James Joyce's Female Characters." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2705.pdf.
Full textHolberg, Maria. "Man föds inte till man, man blir det : En undersökning av maskuliniteten i James Joyce A Portait of the Artist as a Young Man." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-137941.
Full textHubier, Sébastien. "Les anamorphoses d'Orphée : Structures, écritures et lecture littéraire du récit des quêtes de l'écrivain : G. D'Annunzio, A. Gide, J. Joyce, T. Mann, R.-M.Rilke." Reims, 2000. http://www.theses.fr/2000REIML001.
Full textGuth, Gwendolyn Ann. "Interplay in the "Emily" trilogy of L. M. Montgomery: A Canadian portrait of the artist as a young woman." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7488.
Full textIsmaili, Gezim. "The image of the artist as a young man in the first three novels of D.H. Lawrence." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/1221/.
Full textYip, Andrew. "A portrait of the nation as a young man : the genesis of Gallipoli : mythologies in Australian and Turkish art." Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/7779.
Full textOzias, Joseph Eugene. "Joseph Heller and the Errors of Comedy: From Heller's Catch-22 to Portrait of an Artist, as an Old Man." Ohio Dominican University Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1512648671501957.
Full textKojima, Motohiro. "Solving James Joyce's Conundrums : A Study of the Polysemic Words in Dubliners, A Portorait of the Artist as a Young Man, and Ulysses." 京都大学 (Kyoto University), 2009. http://hdl.handle.net/2433/124178.
Full textBacon, Edwin Bruce. "Confronting eternity : strange (im)mortalities, and states of undying in popular fiction." Thesis, University of Canterbury. English, 2014. http://hdl.handle.net/10092/9680.
Full textHogan, James Joseph. "Form fits content in A Portrait of the artist as a young man." Thesis, 1995. http://hdl.handle.net/1957/35162.
Full textGraduation date: 1995
Lin, Yu-Yu, and 林毓瑜. "Erasure and Representation: James Joyce's A Portrait of the Artist as a Young Man." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/98532671459340379592.
Full text國立中山大學
外國語文學系
86
This thesis attempts to discuss the influence of culture upon the individual, and the way the individual tries to get rid of historical and cultural burdens to re-create racial conscience in James Joyce's A Portrait of the Artist as a Young Man. I begin my argument with the temporal setting of Portrait to explore the close relationship between Stephen Dedalus and Mother Ireland, which is responsible for his leaving Ireland with the will to create Irish conscience because Ireland is his wound as well as his womb of art. Then, I discuss the representations of Ireland fashioned by the English during the seven hundred years of colonization. In order to destroy Irish self-esteem and to legitimize the imperial rule, the English depicted Ireland as a debased woman, uncivilized, brutal and subordinate to governance. In ture, Irish nationalists portrayed Ireland as a brave and manly warrior. The difference in these two revisions of Ireland suggests that there is neither an essence nor a certain image of Ireland. With this understanding, I focus on the shadow of this debased eminine image of Ireland on Stephen's growth . Undoubtedly, Stephen internalizes the logic of binary opposition employed in colonial discourse. Woman for him thus becomes the emblem of inferiority. His representations of himself not only indicate his acceptance of man but also express his dislike of woman. Interestingly, Stephen transforms himself into a woman, through imagination in order to obtain "a personal experience" essential to his artistic production which is intended to bring Irish conscience into the world. Through this imagination, the debased image of Ireland as a woman is changed into the source of Stephen's art. The wound/womb of Ireland is thus the birthplace of Stephen as an artist, who, in turn, promises to re-create a new image of Ireland.
Yu-yu, Lin, and 林毓. "Erasure and Representation: James Joyce's A Portrait of the Artist as a Young Man." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/49010218461460415492.
Full text國立中山大學
外國語文學系
86
This thesis attempts to discuss the influence of culture upon the individual, and the way the individual tries to get rid of historicaland cultural burdens to re-create racial conscience in James Joyce'sA Portrait of the Artist as a Young Man. I begin my argument with thetemporal setting of Portrait to explore the close relationship betweenStephen Dedalus and Mother Ireland, which is responible for his leavingIreland with the will to create Irish conscience because Ireland is his wound as well as his womb of art. Then, I discuss the representationsof Ireland fashioned by the English during the seven hundred years ofcolonization. In order to destroy Irish self-esteem and to legitimizethe imperial rule, the English depicted Ireland as a debased woman, uncivialized, brutal and subordinate to governance. In turn, Irishnationalists portrayed Ireland as a brave and manly warrior. The differencein these two revisions of Ireland suggests that there is neither an essencenor a certain image of Ireland. With this understanding, I focus on the shadow of this debased feminine image of Ireland on Stephen's growth. Undoubtedly, Stephen internalizes the logic of binary opposition employedin colonial discourse. Woman for him thus becomes the emblem of inferiority.His representations of himself not only indicate his acceptance of manbut also express his dislike of woman. Interestingly, Stephen transforms himself into a woman, through imagination in order to obtain "a personalexperience" essential to his artistic production which is intended to bring Irish conscience into the world. Through this imagination, the debasedimage of Ireland as a woman is changed into the source of Stephen's art.The wound/womb of Ireland is thus the birthplace of Stephen as an artist,who, in turn, promises to re-create a new image of Ireland.
Tsai, Chiajung, and 蔡佳蓉. "Family in James Joyce’s Dubliners and A Portrait of the Artist as a Young Man." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/28567502036709705798.
Full text國立中正大學
外國語文研究所
100
Conventionally, family is regarded as a haven to people. However, to James Joyce, it is not so great at all. This thesis will argue that family in Joyce’s works is usually an institution that brings the individuals pain or forces them to leave. The oppression and torment ensue from problematic parent-child relationships and religious and political forces upon family. This study focuses on the Irish households in Dubliners and A Portrait of the Artist as a Young Man and explores how Joyce subverts the traditional concept of family. Further, it will also compare and contrast the pictures of family represented in the two works. This paper will analyze the issue of family from two aspects, the private and the public domains. Chapter One will be subdivided into two sections to probe into the households in Dubliners. It starts with the discussion of the relationship between the individual and family to indicate what family really means to him or her. The second part of this chapter will emphasize the interplays among religion, politics, and family. Chapter Two concentrates on the household in A Portrait. It respectively examines the parent-child interactions and how religion and politics impose their influences upon the family like Chapter One. Further, the similarities and differences between the families in the two works will be provided in this chapter, too. In Dubliners, family is described as a place where parents oppress their children by abusing their parental authorities or where people are spiritually imprisoned; in A Portrait, family is a site which forces one to leave. To conclude, through the two works, Joyce aims to portray that family is an institution that causes pain and torture. The only method to save oneself is to escape and nothing more.
Silverberg, Rinata. "Joyce's parody of period-bound languages in A portrait of the artist as a young man." 1994. http://hdl.handle.net/1993/18472.
Full textCHEN, SHU-YI, and 陳淑宜. "A reader-response to the aesthetics of "A portrait of the artist as a young man"." Thesis, 1988. http://ndltd.ncl.edu.tw/handle/84691940688360697312.
Full textMcIntyre, Caitlin Ailish. "Queer animals and agriculture in James Joyce's A portrait of the artist as a young man." 2014. http://hdl.handle.net/1993/24011.
Full textLin, Tzu-yu, and 林慈郁. "The Straying Stranger: Abjection and Melancholia in A Portrait of the Artist as a Young Man." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/11609432245467855072.
Full text國立臺灣大學
外國語文學系研究所
90
Abstract To varying degrees and from different perspectives, conventional readings of A Portrait of the Artist as a Young Man ineluctably involve the assessment of its protagonist, Stephen Dedalus. One of the most meticulously studied fictional character, Stephen has been contradictorily interpreted by generations of critics to be, among others, a heroic artist aspiring to create the soul of the Irish race, a priggish young man who can hardly see beyond the tip of his own nose, a misogynist who has yet to make his peace with women, and a thoughtful intellectual distancing himself from the near-sighted, parochial nationalist movements. I propose to read Stephen in the Kristevan trope of a straying stranger, viewing these diverse facets of Stephen as moments of his straying between the symbolic and semiotic. I will begin by analyzing Kristeva’s concepts of the semiotic elements, abjection, melancholia and the ethics of respect. These seemingly unrelated concepts in fact all adhere to Kristeva’s profound concern with the alterity within the self: the corporeal, maternal semiotic elements contribute to the heterogeneity of the Symbolic order and open up new possibilities for signification; abjection involves a strategic self/ other demarcation that needs to be constantly challenged; melancholia points to the subject’s problematic relation with the primary loss which is, paradoxically, always already within the self; finally, the ethics of respect can be put into practice only when the subject recognizes the inherent otherness. The stranger, I will argue, is one who struggles with the alterity within despite the pain of abjection and melancholia, and who, eventually, reaches the ethics of respect for others. Based on Kristeva’s theory, I will scrutinize the effects of paternal and maternal functions on Stephen and establish him as a stranger oscillating in the Symbolic order. Then I will reexamine Stephen’s political stance and artistic pursuit by Kristeva’s standards and argue that both his strength and weakness are part of his straying. By the end of A Portrait, Stephen may fail to bring about the heroic innovations as he has expected, but his straying will keep hope alive.
McLaren, Stephen, University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "Framing a portrait of the artist : evolution in design." 2005. http://handle.uws.edu.au:8081/1959.7/30426.
Full textDoctor of Philosophy (PhD)
McLaren, Stephen. "Framing a portrait of the artist : evolution in design." Thesis, 2005. http://handle.uws.edu.au:8081/1959.7/30426.
Full textLin, Ying-Yung, and 林穎苑. "The Pursuit of a Modern Artist: Modernity, Space, and Fl�繐eur in A Portrait of the Artist as a Young Man." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/10999985786901902243.
Full text國立清華大學
外國語文學系
96
本論文以現代都市文本中的「現代性」、「空間」和「漫遊者」為主要概念,檢視《一位年輕藝術家的畫像》主角史蒂芬和英國殖民城市都柏林之間的互動關係。「現代性」的意義在於其融合本土都市經驗和當代性,隨著英國殖民而進入愛爾蘭社會的「殖民現代性」,衝擊了愛爾蘭人對自身傳統文化和身份的認同。論文第一章討論喬伊思對「現代性」的概念,強調以懷疑的態度對抗愛爾蘭民族主義者和殖民者的英國文化。喬伊思著重於「殖民現代性」和「現代化」對愛爾蘭的深遠影響,透過現代主義藝術創作的策略,抵制殖民政權的文化壓迫。第二章探討史蒂芬自我認同的探索過程和都柏林的城市空間。英國的都市計劃帶來了都柏林的「殖民現代性」。殖民主義的現代化建設與都柏林市民實際生活的空間經驗不僅相互衝突,也加深都柏林人對家鄉的陌生感。由於史蒂芬兼具藝術家的特質與被殖民者的身份,使他更能洞察都柏林的城市空間,以及在自我身份認同上遭遇的困境。第三章審視史蒂芬在殖民地都柏林的「漫遊經驗」。相對於班雅明的巴黎漫遊者,史蒂芬的漫遊面臨較多的阻礙,但這段漫遊旅程仍象徵史蒂芬在精神上追尋自身主體性的過程。雖然都柏林充斥著殖民政權的壓迫,史蒂芬仍毫無畏懼的為其主體性發聲。
Shen, Yun Jeng, and 沈昀徵. "Stephen Dedalus’s Self-Alienation and Fantasy in James Joyce’s A Portrait of the Artist as a Young Man." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/25yapr.
Full text國立中正大學
英語教學研究所
102
James Joyce’s A Portrait of the Artist as a Young Man makes a number of consultations on politics, religion and identity of early-twentieth-century Ireland. It is an autobiographical novel which depicts the childhood and adolescence of the protagonist Stephen Dedalus and his growing process. In this period, it is fulfilled with Stephen’s inner thoughts and interior monologue which reveal Stephen’s self-contradiction toward identity, religion and relation. Stephen demonstrates his way of being by presenting his way of observing and perceiving surroundings as well as his view on religion, family and identity. These elements become conflicts during his growing. As a result, Stephen feels distanced from the outside world, and goes far from reality. His feeling of isolation increases in his growth and forms a painful alienation. The thesis is divided into two chapters. In the first chapter, Stephen Dedalus’s voluntary self-alienation helps him to locate himself and get a sense of desired identity. Readers can get inside Stephen’s mind to know how he records and responds to reality. In the process of self-alienation, Stephen begins to identify himself with the secular world. In the second chapter, Stephen’s profound fantasy and its functions will be discussed. Although Stephen feels depressed by the reality, fantasy comforts him and gives him another exit. However, fantasy is still fantasy. The joy of fantasy is collapsed and Stephen has no choice but to face reality again. Therefore, after having disappointment in fantasy, Stephen needs to find another way to leave reality behind, or he has to go back to face the original family and country problems.
Lin, Yi-Chuang, and 林宜莊. "Breaking Through the Colonial Context: Stephen’s Self Composing Art in A Portrait of the Artist as a Young Man." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/gvkzbj.
Full text國立成功大學
外國語文學系碩博士班
92
James Joyce’s A Portrait of the Artist as a Young Man, as other works of his, is situated within the historical background of late 19th and early 20th century British-ruled Ireland. Under the British colonization, Stephen, like other Irish elites, is educated with the English value and concepts that disparage his own Irish culture and countrymen. By adopting the British value, he becomes incapable to identify with his Irish father, who has been effeminized by the British colonial power. However, no matter how well he speaks English or how English he has become, he is still an Irishman who is foredoomed by the social context of Ireland to be forever inferior to his British oppressors. Stephen is torn between his Irish origin and English mind. Therefore, the main purpose of this thesis is to show how Stephen, as an Irish elite in late 19th and early 20th century, attempts to break through the confinement of the colonial context of Ireland in order to obtain an equal chance and value as his British oppressors. In order to break through this unjust social context that he suffers from, and to regain his deprived right to be who he wants to be, Stephen must denounce the righteousness of the social authority that has imposed an inferior identity upon him. With the help of Derrida’s idea on deconstruction, especially his idea on the differential nature of language, the researcher tries to demonstrate how Stephen undermines the boundary set by the colonial authority by revealing its absurdity and inconsistency, and how he proves the existence of other possibilities that has been pre-excluded by the colonial authority that is in power. Moreover, the researcher applies Lacan’s idea of mirror effect and the pursuit of one’s self-image to support the argument that Stephen is pursuing after his own self-image. If the present context denies him a unified and distinguished self-identity, then he will create a new context for himself. Stephen will prove his own legitimacy to retrieve what he has lost. To justify his revolt against the colonial power and the social value of his colonizers, Stephen makes himself as a usurped prince of an ancient regime who comes to retrieve his lost right and identity and as a dark avenger of God, the one and only authority and Truth, to reset the perverted order of the world. At the end of this thesis, the researcher concludes that A Portrait of the Artist as a Young Man is not only Stephen’s self portrait of his personal past and struggle, but it is also his art to recreate a unified self-image as a modern hero, who fights against the hostile social environment of the colonized Ireland for new possibilities and new identity.
Weng, Wei-Ming, and 翁偉銘. "Self, the Other and the Semiotic chora in A Portrait of the Artist as a Young Man and Ulysses." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/yuak8p.
Full text國立臺灣大學
外國語文學研究所
102
Abstract This thesis seeks to explore the semiotic traces in A Portrait of the Artist as a Young Man and Ulysses with the hope to map Joyce''s increasing tendency to embrace the unnamable semiotic, which is foregrounded not so much to threaten as to nourish an artist''s imagination. It is my hope to demonstrate the constant tensions between the Symbolic and the semiotic in Joyce''s texts. To borrow Kristeva''s words, I hope to show that in Joyce''s text "language and its rhythm [are] never one without the other, and [artistic] formulation will continue as long as the struggle does" (Kristeva 1980, 29). In so doing, I hope to read Joyce''s texts, especially Ulysses, as signifying practice Kristeva proposes-- to "demystify...the community of language as a universal and unifying tool, one which totalizes and equalizes" (Kristeva 1986, 210) and to demonstrate "the multiplicity of every person''s possible identifications" (Kristeva 1986, 210), acted out by Bloom and Molly. Lacan’s theorization of the Symbolic order enables us to read Stephen Dedalus’s psyche in A Portrait of the Artist as an Young Man as a subject of Cartesian cogito, and thereby uncovering Joyce’s critique of Stephen’s assumptions of art and life. It is not difficult for us to see that Stephen’s growth fits quite neatly to Lacan’s early theorization of the mirror stage. By tracing Stephen’s growth as a budding artist in A Portrait, we can discover a trajectory of Stephen’s subject formation as a process of further entanglement with the symbolic order, which dominates Stephen''s imagination with a network of signifiers. After invoking Lacan''s psychoanalytic insights, I draw on Kristeva’s theorization of the semiotic. Kristeva’s engagement in unraveling the process of abjection extends dimension to Lacan’s subject theory. In my opinion, her theory can help me to discuss the indeterminacy of Joyce’s language and the unnamable jouissance inherent in Joyce’s writing. In “poetic language,” Kristeva discovers the signifying process constituted by a dialectical interaction between the symbolic and the semiotic. Kristeva’s unique reading of language points to the gap of language which has the power to subvert the rigidity of the “signifying system” proposed by Lacan. If Kristeva’s semiotic is more important to my thesis, it is not due to my stronger belief in her theory instead of Lacan’s. Rather, it is due to the fact that the language in Ulysses often points to the possibility of such a semiotic reading. I propose to investigate Joyce’s implicit desire in A Portrait of the Artist as an Young Man and Ulysses as an attempt to explore the scope beyond the Symbolic. In my thesis, I underscore the mother as a powerful authority to battle with the Symbolic order in Joyce''s texts. Further, by investigating the maternal traces Joyce presents in these two novels, I discover mother in Joyce’s text a valuable space for me to see how Joyce pushes the boundary of the symbolic towards the semiotic.
Huang, Suh-xin, and 黃淑欣. "Self-Identity at The Turn of Century:“Young T?宁less” by Robert Musil and “A Portrait of the Artist as a Young Man” by James Joyce." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/40652717997273108164.
Full text東吳大學
德國文化學系
98
Austria representative author Robert Musil and Irish famous author James Joyce both wrote literary works with school life background at the beginning of the 20th century. Both writings contain profound descriptions of the psychological problem faced by teenagers in growth – self-identity. These works describe the problems to conquer resulted from inevitable confusions of self-identity under severe social transition: anxiety toward the future, competitions among peers, repressed sex impulse, dissatisfaction and doubts about authority. After passing through several difficulties, the process towards self-identity in the end was the theme expressed in the works by Musil and Joyce. “Young T?宁less” and “A Portrait of the Artist as a Young Man” were published in the early stage of the 20th century under the background of school life, and disclosed the psychological confusions faced by new groups of the new era – teenagers. The psychological state between childhood and adulthood was the main stream discussed in psychology after 20th century, in which Erikson’s theory was the most publicly accepted. He integrated the psychosexual development introduced by Freud with consideration of social environment, and developed social psychology which described the causes of confusions faced by teenagers in details. This essay compares literary works at the time of the turn of century with the concept of “self-identity”: a comparative research of “Young T?宁less” and “A Portrait of the Artist as a Young Man.” Besides, this essay is expected to highlight teenagers’ main confusions before developing self-consciousness.
Jenkins, Elizabeth Speight. ""faithful Departed": tracing the themes of exile and betrayal through James Joyce's Dubliners, A Portrait of the Artist as a Young Man, and Exiles /." 2008. http://www.lib.ncsu.edu/theses/available/etd-03142008-150110/unrestricted/etd.pdf.
Full textYueh-chi, Chang, and 張月琪. "Themes of Art Vocation in Cao Xueqin's The Story of the Stone and James Joyce's A Portrait of the Artist as a Young Man." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/52104803062434825683.
Full text國立中正大學
外國語文研究所
89
During the past two decades, the comparative approach is frequently used on literary criticisms to help readers comprehend those works that have the same subjects or certain similarities. For example, Christopher Marlowe’s Dr. Faustus might be measured up to Matthew Lewis’s The Monk because of their parallel themes of temptation and corruption. There are also lots of resemblances in Cao Xueqin’s The Story of the Stone and James Joyce’s A Portrait of the Artist as a Young Man, but to put the two works of genius side by side in this dissertation is not just for benefiting readers’ understanding. By the use of the comparative method, this dissertation aims to exhibit a universal theme that art vocation breaks through the limits of races and cultural backgrounds and can happen to any social beings when they identify themselves with their born artistic essence. Jia Bao-yu in The Story of the Stone and Stephen Dedalus in A Portrait of the Artist as a Young Man are but ordinary men with eccentric disposition before they discover their artistic nature. Without recognizing their creative essence, Bao-yu and Stephen are nobodies, but their responses to art vocation transfigure them into somebody and make them unique. The personal experiences of Bao-yu and Stephen tell us that they are gifted with the comparable nature of art though they grow up in different families and associate with diverse communities.
Garcia, Tiago José Sousa. "I am the servant of two masters. Catholicism as a colonial force in James Joyce's A Portrait of the Artist as a Young Man." Master's thesis, 2013. https://repositorio-aberto.up.pt/handle/10216/75772.
Full textGarcia, Tiago José Sousa. "I am the servant of two masters. Catholicism as a colonial force in James Joyce's A Portrait of the Artist as a Young Man." Dissertação, 2013. https://repositorio-aberto.up.pt/handle/10216/75772.
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