Tesi sul tema "Portrait of the artist as a young man"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Portrait of the artist as a young man.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 saggi (tesi di laurea o di dottorato) per l'attività di ricerca sul tema "Portrait of the artist as a young man".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi le tesi di molte aree scientifiche e compila una bibliografia corretta.
1
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.
Testo completo
2
Mendonça, 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.
Testo completoAbstract (sommario):
Submitted by Automação e Estatística (sst@bczm.ufrn.br) on 2018-05-02T22:29:08Z
No. of bitstreams: 1
JorgeWittDeMendoncaJunior_DISSERT.pdf: 4599695 bytes, checksum: 6df4b7337f620e00be20ae22cdb06536 (MD5)Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-05-04T22:24:08Z (GMT) No. of bitstreams: 1 JorgeWittDeMendoncaJunior_DISSERT.pdf: 4599695 bytes, checksum: 6df4b7337f620e00be20ae22cdb06536 (MD5)
Made available in DSpace on 2018-05-04T22:24:08Z (GMT). No. of bitstreams: 1 JorgeWittDeMendoncaJunior_DISSERT.pdf: 4599695 bytes, checksum: 6df4b7337f620e00be20ae22cdb06536 (MD5) Previous issue date: 2018-02-06
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.
3
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.
Testo completoAbstract (sommario):
This thesis examines the use of irony in Joyce’s Portrait, claiming that it has the effect of deconstructing common notions of maturity that are engrained within the Bildungsroman tradition, and that this was Joyce’s intention. In Portrait, irony plays the role of psychological reality, undercutting Stephen’s unrealistic expectation to see his life follow a traditional path of teleological progression. This essay proceeds by looking at the novel’s symbolic, thematic and literary cues, as well as through an analysis of its structure, and Stephen’s psychological and behavioral tendencies throughout the novel. This interpretation of the irony as bearing deconstructive meaning comes from the essay adopting a static, as opposed to a kinetic, apprehension of Stephen in Portrait.
4
Gan, 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.
Testo completoAbstract (sommario):
Influenced by post-Lacanian psychoanalytic feminist theory and Judith Butler’s theories of gender performativity, this project examines three fictional brooding male writers from three separate periods of twentieth-century Ireland and Britain and their performances of authenticity, authority, and exceptionalism as artist figures. By tracing a sociohistorical arc and conducting close literary analyses, this project argues that the myth of white male artistic genius is derived from the power and privilege of a cult of individuality that can be used to excuse and justify harmful behaviour and that comes at the exclusion and expense of those outside this highly specific version of hegemonic masculinity. James Joyce’s A Portrait of the Artist as a Young Man, John Osborne’s Look Back in Anger, and Sarah Kane’s Blasted undermine the myth of male artistic genius by exposing the artificial and theatrical nature of the notion of “authenticity” and the posture of being countercultural when one is part of a dominating elite.
5
Sagrista, 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.
Testo completoAbstract (sommario):
Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa.This 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.
6
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.
Testo completo
7
Natali, 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.
Testo completo
8
Monteiro, 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.
Testo completoAbstract (sommario):
After centuries under British domination, Ireland experienced a strong demand for the restoration and consolidation of its own political and cultural identity in late nineteenth and early twentieth century. James Joyce tried to fulfill the Irish need for identity (re)construction and blended mythology and realism in his works and, by doing so, he made an attempt to provide self-awareness to his people. This thesis investigates in what sense the journey of formation of an artist, developed in A Portrait of the Artist as a Young Man, metaphorically parallels the journey of the classic hero in order to investigate Joyce's choices regarding mythological archetypes and its influence on and purpose in his work. This analysis relies on the research of four fields: Irish historical context, James Joyce's biography, mythological features, and relevant features of Joyce's novel in the realms of structure and construction of meaning. By sharing the features of a hero, the protagonist of Joyce's first novel elevates the condition of the artist to the role of savior, redeemer-a hero to his community for revealing the path to enlightenment through literature. Therefore, Joyce reveals that the path to self-awareness is a universal search, making of his works a reflection unrestricted by time, place, and culture.Após 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.
9
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.
Testo completoAbstract (sommario):
This thesis is a study of the influence exerted by John Milton's Paradise Lost on James Joyce's A Portrait of the Artist as a Young Man. Its main character, Stephen Dedalus, narrates some remarkable passages of his life, through his childhood and young age, and his passage from a state of innocence to his first sinful experiences, being the first taken by the hands of a woman. This work focuses on Stephen's sins and repentance, his unwillingness to serve, his non serviam, and the whole course of his sins, in which I claim to have been influenced by Milton's characters in Paradise Lost, Adam, Eve, and Satan. The concepts and theories used to define influence used in this work are Harold Bloom's revisionary ratios, Patrick Colm Hogan's psychology and economy of influence, and Luiz Fernando Ferreira Sá's notion of influence as influx and inflow. A Portrait of the Artist as a Young Man is Joyce's tentative to propose an alternative to the ones who choose not to serve, as Milton failed to do, and be a true artificer of wor(l)ds.xxx
10
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.
Testo completo
11
Brown, 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.
Testo completo
12
Corrêa, 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.
Testo completoAbstract (sommario):
James Joyce é um dos escritores mais famosos do século 20, sendo sua obra muito comentada por leitores e acadêmicos, especialmente devido ao alto nível de complexidade de Ulisses e Finnegans Wake, os romances da fase madura. O foco da presente dissertação, todavia, são os primeiros livros de Joyce que, apesar de serem mais acessíveis ao público em geral, também contêm toda a elaboração linguística e simbólica que caracteriza o autor. Trato especificamente do volume de contos Dublinenses e do romance Um Retrato do Artista Quando Jovem, utilizando para análise deste o suporte oferecido pelo outro romance anterior, não publicado em vida, Stephen Hero. O objetivo da pesquisa é investigar aspectos presentes na prosa de Joyce que revelem a formulação e a aplicação de sua teoria estética. Como a cidade de Dublin surge como uma metáfora sobre as circunstâncias de ser irlandês, interessa ao leitor adquirir alguma familiaridade com a cultura e a história daquele país e com as relações existentes entre os irlandeses e sua terra natal, especialmente no que tange às questões sobre religiosidade e sobre a dominação inglesa. A dissertação vem estruturada em quatro capítulos. O primeiro apresenta James Joyce tanto como pessoa quanto como escritor em formação, nascendo e crescendo em Dublin na virada dos séculos XIX e XX. São analisadas as influências exercidas pelo contexto católico de sua criação e pela crise social e econômica enfrentadas tanto pelo país quanto pela família do autor. O segundo capítulo lida com Dublinenses, o conjunto de contos que apresenta a visão de Joyce sobre a cidade de Dublin. Esses contos podem ser lidos individualmente, mas a obra assume um significado maior quando considerada de forma unificada em termos de linguagem, simbologia, estratégias narrativas e objetivos, em um plano de evolução que abrange fases da infância, da adolescência, da maturidade e da vida pública. As personagens compartilham características comuns: paralisia, falta de perspectivas e incapacidade de entender ou de reagir aos fatores históricos e sociais que os colocam naquela posição. Entre tais fatores predominam três, a cultura católica, a dominação inglesa e a inabilidade das pessoas para reagir de maneira criativa e produtiva aos problemas que se apresentam. O terceiro capítulo analisa a evolução do fazer artístico de Joyce a partir do binômio Stephen Hero e Um Retrato do Artista Quando Jovem, tendo como elemento comum a ideia do Künstlerroman. No quarto e último capítulo, apresento um comentário sobre as marcas de individuação de Joyce em relação a alguns de seus contemporâneos que também tratam sobre questões envolvendo arte, história e tradição. Ao término do trabalho, espero que a minha percepção sobre o conjunto de fatores que propiciaram o surgimento de um autor como Joyce possa ser de utilidade para pessoas que, como eu, acreditam tanto na importância estética quanto na relevância política e social desses três primeiros livros, os primeiros retratos de Dublin que James Joyce produziu.James 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.
13
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.
Testo completoAbstract (sommario):
Bibliography : pages 245-249.The 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.
14
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.
Testo completoAbstract (sommario):
L’écriture joycienne se distingue par la conscience aiguë dont elle témoigne de l’histoire des mots. Cette tendance est le produit de l’émergence de la grammaire comparée et de la sémantique historique au XIXe siècle, disciplines qui avaient bouleversé le concept d’étymologie et légitimé, en apparence, la prise en compte du passé de la langue dans son emploi. Pourtant, quand Joyce écrit, cette approche est irrémédiablement dépassée, et ses nombreuses contradictions critiquées. Aussi les œuvres de l’écrivain, loin de constituer un reflet fidèle et stable du discours sur l’étymologie du siècle où il naquit, en mettent-elles à nu les paradoxes et les partis pris. La stratégie d’écriture de Dubliners, si elle repose sur une exploitation fréquente des données mises au jour par les comparatistes et les sémanticiens, prend ainsi le contrepied de toute démarche transcendantale et tire profit de la nature subjective et aléatoire de l’activation des potentialités étymologiques des mots par le lecteur. La volonté affichée par Stephen dans A Portrait of the Artist as a Young Man de trouver une justesse supérieure dans la motivation directe puis indirecte des noms fait place, dans le roman suivant, à un rejet amer de « l’imposture des sons ». Mais Ulysses éclaire également les failles des théories linguistiques de son époque : sa mise en lumière du rôle joué par l’étymologie populaire dans le fonctionnement de la langue implique une critique du positivisme saussurien et s’inscrit dans une dénonciation plus large de toute conception pseudo-rationnelle et supra-individuelle de l’histoireOne 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
15
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.
Testo completoAbstract (sommario):
There are numerous ways to approach the analysis of James Joyce’s first novel, A Portrait of the Artist as a Young Man, and many of the 20th and 21st centuries’ intellectual greats have used this novel as a means to build upon their own cultural theories. Indeed, Joyce’s body of work could be described as uncategorizable, able to be at one and the same time Modernist, Structuralist, Postmodernist, Poststructuralist, and a whole plethora of other designations that scholars have classified it as. What this Master’s thesis will set out to do is not to prove something new or create a unique way of looking at Joyce’s novel, but instead will strive to point out how connections can be made between the novel itself and the 3-horizon framework of how history and theory operate in a dialectic as proposed by Frederic Jameson in his seminal work The Political Unconscious. While setting out to accomplish this task, this thesis will also draw heavily from Lacan’s concept of the Real, the Symbolic, the Imaginary, and the Sinthome. Furthermore, in order to further develop these links, added commentary will be provided through the works of Slavoj Žizek.
My starting point for this thesis will be in the introduction and an analysis of Jameson’s argument against the Althusserian conception of historicism in literature and his arguments for how both history and theory operate in a dialectic and can be utilized in literary and cultural analysis through a Marxist lens. Once this has been established, this thesis will then proceed to apply Jameson’s three-horizon framework, namely by first establishing the historic conditions under which James Joyce first conceptualized and eventually completed his novel as a bildungsroman and therefore fulfilling the first horizon, “of political history, in the narrow sense of punctual event[s] and a chronicle like sequence of happenings in time,” followed in the second section and fulfilling the second horizon by examining the novel’s place within society, “… in the now already less diachronic and timebound sense of a constitutive tension and struggle between social classes,” and finally, in the final section, by fulfilling the third horizon and determining the work of art’s place within the framework of the totality of human history, “… in its vastest sense of the sequence of modes of production and the succession and destiny of the various human social formations” (Jameson, 2002: 60).
Furthermore, In each of the three sections, careful consideration will be taken of how the language of A Portrait develops as the novel progresses and is closely related to the four-part Borromean knot of the unconscious as proposed through Lacan’s conception of the Real, the Symbolic, the Imaginary, and the Sinthome. The way the work of art encompasses both Jameson’s dialectic of history and theory as well as the way in which Lacan presents the subconscious will need further clarification and evidence, and for this I will utilize the works of Slavoj Žižek as a means to justify how both Psychoanalytic and Marxist theory can cooperate concurrently. The final fifth section will map out and summarize the conclusions and findings of this thesis, followed by an extensive works cited and consulted.
16
Koizumi, 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.
Testo completoAbstract (sommario):
The major characteristics of Joyce's stylistic achievement in the organic unity of contents and expressions are, firstlyp the 'style* is not intended to reveal the author but the whatness, of his characters and subjects described and secondly Joyce's 'style' contains in itself particular meanings beyond the limits of the semantic and lexical contents of words. These features are more specifically defined as his use of the language for mimetic purposes to revealp suggest and represent consciousness (sometimes even unconscious and subconscious) mood, emotion mental patterns thought processes physical movement situation impression and sound effects through his command of the rhythmical syntactical and other grammatical, and phonological possibilities of his medium. In his earlier worksp Dubliners and A Portrait of the Artist as a Young Man(and Stephen Hero for comparison with the Portrait) examination of the variety of his mimetic devices and their purposes contributes to the better comprehension of his works where each stylistic pattern, whether occurring in limited locality or throughout is woven into the whole design of the works. The main recurrent devices can roughly be distinguished as follows andt accordingly, Joyce's mimetic creative ability and variety in his earlier works are to be examined under the following classification: 1. Rhythmic (defined as 'repetition with variations') devices to represent and reveal certain concealed aspects and qualities of his characters; firstly, for characterization by means of special devices of appellations and secondly for revealing the preoccupations and concerns. II. Syntactical grammatical and rhythmic devices to represent, reflect and suggest firstly, his characters thought processes mental patterns emotion, mood and other psychological aspects, and secondly physical movement situation, atmosphere and impression. III. Phonological devices to imitate and suggest actual and imaginary sounds.
17
Cotter, 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.
Testo completo
18
Aguiar, 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.
Testo completoAbstract (sommario):
Dissetação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T19:24:59Z (GMT). No. of bitstreams: 1 102138.pdf: 1568574 bytes, checksum: 740d03ac8acba46173b5e19b0704ac0b (MD5) Previous issue date: 1995
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.
19
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.
Testo completoAbstract (sommario):
Critically examining the Lacanian and Althusserian theories of the subject, this thesis explored the theoretical problems and methodological premises of a converged version of both theories. The central argument the present thesis seeks to demonstrate is that the Lacanian-Althusserian dialectic provides a more comprehensive and effective account of the process of the subject formation than a purely psychoanalytical or structuralist Marxist analysis of the term. After a critical study of the way the subject is positioned between language and ideology in contemporary critical theory the thesis proceeds to investigate the subject-object relation in the Cartesian and Hegelian subjects. Conceived of as the convergence of lack and material, the Lacanian-Althusserian dialectic focuses on the close affinity between the Lacanian notion of linguistic alienation and the Althusserian concept of ideological interpellation. The subject’s alienation with what is called in the thesis ‘ideological signifier’ is considered as the result of direct and dramatic modes of interpellation in both language acquisition process and the mature phase. The major theoretical premises of this model include the following: first, identity functions through, and because of, the ‘inter-subjective dialectic’ and an ‘intra-subjective lack.’ Identity is never fully constituted because of this antagonism, and thus remains ‘incomplete.’ Secondly, the subject is ideologically constituted through language. The mechanism through which both language and ideology construct a subject never permits the subject enjoying a state of full identity with ideological signifiers. Thirdly, the subject’s identity is represented in the language exposed to and, later, reproduced by him/her. In order to demonstrate a practical reading of subjectivity formation in terms of this critical approach the present research applies it to James Joyce’s A Portrait of the Artist as a Young Man (1916). The process of the subject formation has been analysed through the subject’s alienation/interpellation by the ISAs. Also, the inter-subjective dialectic between different subjectivities of the subject’s identity has been investigated. The thesis demonstrates that identity reconstruction represented in the novel is a complicated and ongoing process, which begins with disillusionment, goes through materialization of epiphany, and ends with inventiveness in language. This process has been represented as a move from ideological to non-ideological subjectivity through artistic creativity. The exploration of the aesthetics of language is crucial to the analysis of the reconstruction of Stephen Dedalus’ identity in that it happens in and through language.
20
Morillot, 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.
Testo completoAbstract (sommario):
Ce travail s'intéresse aux états dont les personnages joyciens font l'expérience. Il vise à rendre compte des fluctuations de présence au monde par le repérage et l'analyse de tout un éventail d'états cliniques, mystiques et cognitifs dans les premières œuvres de James Joyce : Dubliners, A Portrait of the Artist as a Young Man, et Stephen Hero.Si nous replaçons la notion d'état dans le contexte historique des textes de Joyce à travers l'influence combinée de Walter Pater, William James et Friedrich Nietzsche, nous l'utilisons également dans une acception très contemporaine en nous appuyant sur les neurosciences.L'état joycien est envisagé dans sa dimension pathologique par le biais, sur un plan médical,d'Hippocrate et de William Harvey, entre autres, et par l'intermédiaire, sur un plan littéraire, de Gerard Manley Hopkins et Thomas Stearns Eliot. Les notions de tempérament et d'état sont ensuite repensées à l'aune du mysticisme par le relais de Denys l'Aréopagite (Pseudo-), Thérèse d'Avila et Marguerite-Marie Alacoque. La cognition permet de mettre en valeur les processus mentaux à l'origine de ces états.Cette réflexion sur la notion d'état se double d'une approche linguistique du texte. Il s'agit de formaliser le passage d'états spirituels à des états grammaticaux. Les adverbes d'intensité et de manière, ainsi que leur combinaison, peuvent être indicateurs de dispositions mentales et physiologiques.L'éclairage linguistique corrobore notre représentation de l'état joycien comme un réceptacle qui oscille entre la saturation et la disponibilité, de même qu'il permet de saisir la contiguïté poreuse qui existe entre l'état et l'événement dans le texte joycien.
21
Brändström, 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.
Testo completoAbstract (sommario):
The predominant focus on the male protagonist in the Bildungsroman genre has provoked feminist critics to offer a re-definition of the genre, claiming that the female protagonist's development differs in significant ways from the traditionally expected course of development (i.e. male). A feminist comparison between A Portrait of the Artist As a Young Man and Martha Quest found, unexpectedly, that the female protagonist follows the traditional Bildungsroman trajectory in several respects, whereas the male protagonist deviates from it. A Portrait emphasizes the themes of childhood, formal education and religion, while in Martha Quest the themes of family relations, informal education, sexuality and marriage are treated at length. Martha Quest as an example of a female Bildungsroman deals specifically with the issues of role models, gender roles and gender inequality, which neither the traditional Bildungsroman nor A Portrait does.
22
Silva, 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.
Testo completoAbstract (sommario):
Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa.The 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.
23
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.
Testo completo
24
Holberg, 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.
Testo completoAbstract (sommario):
The purpose of this essayis to find out how masculinity, based in Raewyn Connells theoriesabout hegemonic,subordinated, complicitand marginalized masculinities,is constructed in James Joyce’s A Portrait of the Artist as a Young Man. Stephen Dedalus, Joyce’s alter ego, is the main object for the analysis.It becomesclear that there aretwomaintypes of hegemonic masculinity, one very strict and disciplined among the priests in the Jesuitschools Stephen attends to, and one of a more intellectualkind at the University.The strong influence from the Catholic church in Ireland is however noticeable in every context Stephen presentshimself. Also, there areseveral examples of subordination, complicity and marginalization among the men in the novel.
25
Hubier, 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.
Testo completoAbstract (sommario):
Par une analyse précise de l'Enfant de volupté, des Faux-monnayeurs, des Cahiers et des Poésies d'Andre Walter, du Portrait de l'artiste en jeune homme, d'Ulysse, de Tonio Kröger, de la Mort à Venise et des Carnets de Malte Laurids Brigge, nous avons tente de démontrer que le roman des quêtes de l'écrivain comme personnage pouvait être considéré comme un genre à part entière. Pour ce faire, nous avons étudié les modes de représentation de l'écrivain dans la littérature européenne, de la fin du XIXème siècle à la deuxième décennie du XXème représentation qui motive l'insertion, au sein du roman, de nombreux autres genres : journaux intimes, lettres ou fragments d'essai. Nous avons ainsi pu analyser les nombreuses altérations des structures narratives afin de distinguer les notions de quête et de Bildung. La première, plus complexe encore que la seconde, peut être éclairée par certains concepts de la métapsychologie freudienne appliques au roman : liaison et déliaison, narcissisme, fantasmes d'omnipotence et, surtout, opposition entre les logiques œdipienne et préœdipienne. En raison même de la présence d'un personnage d'écrivain, les différentes réponses du lecteur sont déterminées par une dialectique entre une participation immédiate et inconsciente au texte et une volonté de démonter les rouages de ce texte. Nous sommes ainsi parvenu a la conclusion, apparemment étonnante, que cette dialectique lectorale se fonde sur les fragmentations narrative et diégétique - lesquelles sont autant le retour à une forme traditionnelle de poésie que le signe d'une modernité problématique.
26
Guth, 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.
Testo completo
27
Ismaili, 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/.
Testo completoAbstract (sommario):
Scholars agree that from the first D. H. Lawrence showed considerable interest in portraits of the artist, but do not see the theme as being pivotal in his oeuvre, particularly during the 1906-1913 period. The main reason for this has been the tendency to read Lawrence's early work largely as an attempt to turn his life into art, thus ignoring somehow that he was highlighting the theme of the identity of the artist. Part One (Chapter Two) in this study traces Lawrence's early tensions, troubles, concerns, dilemmas, interests and ambitions to show how they forecast his imminent attention to the artist theme. Part Two presents a detailed analysis of how the image of the artist as a young man emerges and evolves in each of Lawrence's first three novels. Without ignoring or underestimating the individuality of each of Lawrence's early major artists - Cyril Beardsall, Siegmund MacNair and Paul Morel - the emphasis on these figures in Chapters Three, Four and Five in this thesis is not so much on their differences as on what binds these artistic protagonists together. The dominant theme in The White Peacock is that of the artist's alienation and eventual self-exile from his native landscape The artist's relationship with women, which is tackled only tangentially in the first novel, becomes the dominant theme in The Tresl2asser Siegmund's search as an artist for spiritual and sexual fulfilment is picked up by Paul in Sons and Lovers. Unlike his artist predecessors, Paul finally succeeds in getting what he wants from separate women although this artist too fails to find both soul and passion in one and the same woman. Moreover, like Cyril and Siegmund, Paul is surrounded by possessive women who fail to understand and hence are unable to accept, that the man and the artist in him are inseparable. This study reveals the long and relentless quest of Lawrence's early major artist-figures for self-awareness self-fulfilment and freedom. It also assesses Lawrence's contribution to the artist theme in twentieth-century English literature.
28
Yip, 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.
Testo completo
29
Ozias, 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.
Testo completo
30
Kojima, 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.
Testo completo
31
Bacon, 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.
Testo completoAbstract (sommario):
When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities.
I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series
32
Hogan, James Joseph. "Form fits content in A Portrait of the artist as a young man". Thesis, 1995. http://hdl.handle.net/1957/35162.
Testo completoAbstract (sommario):
In A Portrait of the Artist as a Young Man, James Joyce used
the form or structure of his language to connote a meaning which
supported the content of the text. The elements of form he used
most often were sentence and paragraph structure, punctuation,
rhythm, and classical rhetorical schemes. By manipulating these, he
gained three benefits: he supplied an emotional appeal to the
content, he represented his epistemological beliefs in his language,
and he gave elegance to his prose.
Background research reveals the influences that led to Joyce
using form to support content. They include his Jesuit education, his
own predisposition to the connotative aspects of language, and his
literary work previous to Portrait.
The examination of the text of Portrait exhibits the particular
ways Joyce used the elements of form to fit content. Several of the
highly emotional episodes of the story, the most likely to contain
form-fitting-content examples, are examined in detail. Attention is
given to rhetorical schemes of repetition because it is through these
schemes that emotional pitch is adjusted in the story. Joyce's
innovative use of syntactical structures to fit content, and his
application of such poetic forms as rhythm and meter to simulate
physical action are discussed. An examination of the end of the book,
a section where rhetorical schemes and structural manipulation
seems to disappear, shows how the apparent lack of connotative
elements is appropriate to making a new form fit a new content.
The use of form to support content in Portrait was an artistic
commitment which Joyce began in Portrait. He would continue and
intensify his commitment in all of his writing after Portrait. How
Joyce wrote would always thereafter be determined by what he
wrote about.Graduation date: 1995
33
Lin, Yu-Yu, e 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.
Testo completoAbstract (sommario):
碩士國立中山大學
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.
34
Yu-yu, Lin, e 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.
Testo completoAbstract (sommario):
碩士國立中山大學
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.
35
Tsai, Chiajung, e 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.
Testo completoAbstract (sommario):
碩士國立中正大學
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.
36
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.
Testo completo
37
CHEN, SHU-YI, e 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.
Testo completo
38
McIntyre, 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.
Testo completoAbstract (sommario):
This thesis will read James Joyce's novel A Portrait of the Artist as a Young Man as a text that is fundamentally concerned with ecological issues, demonstrating awareness of the land beyond and outside of Dublin. Joyce frequently depicts the colonization of Ireland as centered on the control of land in the form of agriculture, which he brings into the political foreground of the novel's characters. I will argue further that this novel is critical of the violent nationalist rhetoric and insurrections of early 1900s Ireland, a movement which perpetuated the agricultural control of land. As an effective rebellion to this aporia, which Joseph Valente has termed “the metrocolonial double bind,” I will read the novel’s queer ecology, a non-violent resistance that moves beyond constricting categories of human/animal, urban/rural, and opens up the world for novel ways of living and being.
39
Lin, Tzu-yu, e 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.
Testo completoAbstract (sommario):
碩士國立臺灣大學
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.
40
McLaren, Stephen, University of Western Sydney, of Arts Education and Social Sciences College e School of Humanities. "Framing a portrait of the artist : evolution in design". 2005. http://handle.uws.edu.au:8081/1959.7/30426.
Testo completoAbstract (sommario):
This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history.Doctor of Philosophy (PhD)
41
McLaren, Stephen. "Framing a portrait of the artist : evolution in design". Thesis, 2005. http://handle.uws.edu.au:8081/1959.7/30426.
Testo completoAbstract (sommario):
This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined.
Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel.
Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history.
42
Lin, Ying-Yung, e 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.
Testo completoAbstract (sommario):
碩士國立清華大學
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。
43
Shen, Yun Jeng, e 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.
Testo completoAbstract (sommario):
碩士國立中正大學
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.
44
Lin, Yi-Chuang, e 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.
Testo completoAbstract (sommario):
碩士國立成功大學
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.
45
Weng, Wei-Ming, e 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.
Testo completoAbstract (sommario):
碩士國立臺灣大學
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.
46
Huang, Suh-xin, e 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.
Testo completoAbstract (sommario):
碩士東吳大學
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.
47
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.
Testo completo
48
Yueh-chi, Chang, e 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.
Testo completoAbstract (sommario):
碩士國立中正大學
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.
49
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.
Testo completo
50
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". Dissertação, 2013. https://repositorio-aberto.up.pt/handle/10216/75772.
Testo completo