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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 31 lipca 2024

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1

Tarasenko, O. "Image of the Family and People in the Artwork of Roman Petruck". Research and methodological works of the National Academy of Visual Arts and Architecture, nr 27 (27.02.2019): 227–34. http://dx.doi.org/10.33838/naoma.27.2018.227-234.

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Heroes of portraits of Roman Petruk are open-world creative people – his teachers, parents, of the same age – young artists, actors in whose faces the reality of the Spirit is manifested, the movement of life. The article analyzes Petruk's portraits of his teacher, an outstanding Ukrainian artist and teacher, Nikolai Andreevich Storozhenko and teachers of NAOMA. The ritual value of a portrait is shown, which provides the connection of the worlds - temporary and eternal. The symbolic content of portraits, the value of the conditional background in character characteristics is studied. The relationship between content and form, features of composition, symbols and stylistics of portrait images of the Ukrainian artist in the context of world art is revealed. Methods of iconography and iconography are used. The main thing in the school of Storozhenko: the means of art combine in man the lost integrity of the body, soul and spirit. In the compositions of Petruk, secular and cult art was consonant. Following the teacher, Roman communicates the time: man and family, family and people, people and humanity. In Storozhenko’s portraits Petruk asserts the highest hierarchy of the artist-creator. The connection with portraits of avant-garde masters is shown. The relationship between the portrait and the icon in the portraits of Petruk is studied. The icon confirms the dominant spirit of peace, and emotionality is important in a psychological portrait. The work of the artist combines the legacy of the art of Ancient Rus and Byzantium, the European and Ukrainian Baroque, romanticism, and academicism with modern trends. Neosynthesticism – in such a way named his method Petruk. The gallery of portrait images created by Roman Petruk (more than 100 works of painting and graphics) is a testimony to the spiritual battle of the artist for the dominant of spirit over matter. The general scientific significance of the article is the introduction of a modern Ukrainian portrait into the context of world art.

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Lowe-Evans, Mary. "Joyce's Portrait of the Artist as a Young Man". Explicator 48, nr 4 (lipiec 1990): 275–77. http://dx.doi.org/10.1080/00144940.1990.9934028.

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Kearney, Anthony. "Joyce's a Portrait of the Artist as a Young Man". Explicator 56, nr 1 (styczeń 1997): 33–36. http://dx.doi.org/10.1080/00144949709595246.

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Gilliam, D. M. E., i R. W. McConchie. "Joyce’s a Portrait of the Artist as a Young Man". Explicator 44, nr 3 (kwiecień 1986): 43–46. http://dx.doi.org/10.1080/00144940.1986.11483936.

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Cervo, Nathan. "Joyce’s a Portrait of the Artist as a Young Man". Explicator 49, nr 2 (styczeń 1991): 114–16. http://dx.doi.org/10.1080/00144940.1991.11484029.

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Mathews, Carolyn L. "Joyce's a Portrait of the Artist as a Young Man". Explicator 50, nr 1 (październik 1991): 38–40. http://dx.doi.org/10.1080/00144940.1991.9938706.

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Aoyama, Tomoko. "Seinen: Ogai's portrait of a young man as an artist". Japanese Studies 14, nr 3 (grudzień 1994): 66–77. http://dx.doi.org/10.1080/10371399408727589.

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Stanca, Nicoleta. "“From Baby Tackoo To Sunny Jim”: Joyce’s “A Portrait of the Artist as a Young Man” As Fictional Biography". Linguaculture 2, nr 1 (30.06.2011): 37–44. http://dx.doi.org/10.47743/lincu-2011-2-1-254.

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The reader must not identify Stephen Dedalus in A Portrait of the Artist as a Young Man with James Joyce in every respect. For instance, Stephen is represented at Clongowes as a timid boy, conscious of his smallness and weakness. Conversely, young Joyce was keen on hurdling and cricket, won cups in sports competitions and earned the nickname “Sunny Jim” due to his cheerful disposition. This paper will trace autobiographical elements in the novel with the purpose to prove that they are meant not as mere recordings of particular autobiographical experiences but as instances of universality. Hence, the choice of the novel title, A Portrait of the Artist as a Young Man.

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Belyaev, Vasily, i Nina Makarova. "Portrait of Kirill Razumovsky by Pompeo Girolamo Batoni". Ideas and Ideals 14, nr 2-2 (27.06.2022): 338–49. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-338-349.

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The article analyzes the portrait of Count Kirill Grigoryevich Razumovsky, painted in Rome in 1766 by the famous artist Pompeo Girolamo Batoni. The portrait has features characteristic of portraits of travelers making the Grand Tour of Europe. In the second half of the 18th century, these were usually young aristocrats completing their education. Young people studied at the best universities; acquired extensive communication experience during their stay in major European centers; improved their skills in horseback riding, dancing and swordsmanship in famous academies, and also acquired knowledge of the art of antiquity by visiting Italy. In the portraits of travelers, Batoni emphasized the elegant dignity of the persons depicted; motifs of ancient architecture and sculpture of Rome testified to their good taste. Kirill Razumovsky also commissioned a portrait from the artist during his Grand Tour. However, the Russian count was already a mature man of 38 years old, who experienced a rapid rise in his youth, when he turned from a shepherd boy into a nobleman, and the collapse of hopes for receiving the hereditary title of hetman in Little Russia shortly before his Grand Tour. Comparison of Kirill Razumovsky portrait with the portrait of the young British traveler Thomas Dundas, which is close in composition, reveals the peculiarities of Pompeo Batoni’s work: by making only minor changes in the composition of the works, the painter skillfully conveyed the inner world of the depicted persons.

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Jones, Robert S. P. "Language, Form and Emotion in James Joyce’s Portrait of an Artist as a Young Man: A Literary Analysis". Advances in Language and Literary Studies 8, nr 5 (2.11.2017): 158. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.158.

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James Joyce’s Portrait of the Artist as a Young Man has fascinated readers for more than a century and there are layers of psychological meaning to be found throughout the novel. The novel is the perfect vehicle to discuss the relationship between form language and emotion as Joyce deliberately manipulated the emotional response of the reader through innovations in form and language, departing dramatically from previous literary traditions. This paper attempts to take a fresh look at the novel from a psychological perspective and seeks to examine underlying conditioning processes at work in the narrative – particularly the concept of associative learning. Understanding emotional responses to different stimuli is the bedrock of psychological investigation and 100 years after the date of its publication, Portrait of an Artist presents remarkably fresh insights into the human experience of emotion. Despite its age, Portrait of the Artist contains many contemporary psychological insights.

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Guimarães, Dinara G. Machado. "Cerzimento literário de James Joyce - Psicanálise e literatura". Eutomia 1, nr 21 (20.11.2018): 269. http://dx.doi.org/10.19134/eutomia-v1i21p269-279.

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O “Cerzimento Literário de James Joyce - Psicanálise e Literatura”, a partir do “Retrato do Artista quando Jovem” (A portrait of the artist as young man) que se inscreve na origem de tudo o que vai acontecer de Ulisses até o Finnegans Wake, onde “James Joyce acaba por se fazer um nome como autor-artífice do significante que o representa por sua obra.

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Gordon, Andrew. "THX 1138 Portrait of the Artist as an Angry Young Man". Film International 3, nr 3 (maj 2005): 12–21. http://dx.doi.org/10.1386/fiin.3.3.12.

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Sunil, Madhurantika. "Application of Rasa Theory in James Joyce’s a Portrait of the Artist as a Young Man". International Journal of Trend in Scientific Research and Development Volume-3, Issue-1 (31.12.2018): 438–41. http://dx.doi.org/10.31142/ijtsrd18998.

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Watt, Stephen. "The Antimodernism of Joyce's Portrait of the Artist as a Young Man". MFS Modern Fiction Studies 40, nr 4 (1994): 891–94. http://dx.doi.org/10.1353/mfs.1994.0041.

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Nelson, E. Charles. "WILLIAM HENRY HARVEY A PORTRAIT OF THE ARTIST AS A YOUNG MAN". Curtis's Botanical Magazine 13, nr 1 (luty 1996): 36–41. http://dx.doi.org/10.1111/j.1467-8748.1996.tb00535.x.

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Baradaran Jamili, Leila, i Razie Arshadi. "Semiology of Culture in James Joyce’s A Portrait of the Artist as a Young Man". Advances in Language and Literary Studies 9, nr 4 (31.08.2018): 51. http://dx.doi.org/10.7575/aiac.alls.v.9n.4p.51.

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This study sheds new light on the role of city whether real or fictional in modern novel as one of the signs of man’s cultural fate. For the same reason, city is not a mere physical place, but a spatial concept. Not only has city become inseparable from man’s personal and national destiny but also one’s life continues to unfold on city’s streets. James Joyce’s (1882-1941) A Portrait of the Artist as a Young Man (A Portrait, 2000) deals with Joyce’s home, Dublin. Joyce aims to universalize and simultaneously eternalize his home through his art. Accordingly, the reader of his text is to decipher the cultural signs of Dublin to get into it. As Michael Ryan (1946-) refers to culture as the total way of life that it has multiple meanings; to understand the culture of a city, to read its meaning, one has to decipher it. Semiology, based on Roland Barthes (1915-1980), is the science of signs whose emphasis is on the interpretation of codes, signs and symbols in a particular culture. Thus, the culture of Dubliners portrayed in A Portrait can be decoded through semiology by the readers. Stephen Dedalus is one who deciphers the cultural signs such as paralysis, religion, prostitution and confession through his walking in Dublin. He considers them as nets of Dublin that he tries to escape from them.

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Bădulescu, Dana. "Autobiography as Fiction in “A Portrait of the Artist as a Young Man”". Linguaculture 2, nr 1 (30.06.2011): 29–36. http://dx.doi.org/10.47743/lincu-2011-2-1-253.

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This paper looks into the artful way in which James Joyce fictionalizes his autobiography in his Künstlerroman A Portrait of the Artist as a Young Man. Joyce projects his essentially artistic self onto the fictional character Stephen Dedalus, the namesake of the classical ‘cunning’ ‘artificer.’ In his turn, Stephen dreams of becoming Joyce and writing Ulysses. Thus, Joyce’s personal history and Dublin’s geography lose their recognizable ‘reality’ in a blueprint of the artist’s mind that charts a Dublin and a self-reshaped by his imagination.

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Laffan, William, i Shirley Kelly. "Portraits by the Artist as a Young Man". Books Ireland, nr 261 (2003): 227. http://dx.doi.org/10.2307/20632598.

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Nganshi, Amungwa Veronica, i John Nkemngong Nkengasong. "Religious Consciousness in Joseph Conrad’s Heart of Darkness and James Joyce’s A Portrait of the Artist as a Young Man". Journal of Humanities and Social Sciences Studies 2, nr 6 (30.11.2020): 151–62. http://dx.doi.org/10.32996/jhsss.2020.2.6.17.

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The paper examines religious consciousness in the modernist novels of Joseph Conrad’s 1902 Heart of Darkness and James Joyce’s 1916 A Portrait of the Artist as a Young Man with the objective of illustrating that though these writers apparently rejected the Catholic faith, they were still spiritually conscious and were thus able to detect and question religious values that were repressive. This consciousness is enriched by autobiographical elements prompted by the nihilism of the early twentieth century. Although Heart of Darkness is a colonial novel and A Portrait of the Artist as a Young Man traces the development of a potential artist, both converge on the critique of religious hypocrisy and injustice. Using the concepts of psychobiography, the conscious and unconscious of the Psychoanalytic theory as well as the concept of nihilism of the Modernist theory, the paper demonstrates that both Conrad and Joyce effectively make a critique of religion by the inclusion of various aspects of their real life experiences in their novels. They do this not to reject religion per se but for its reformation. In other words, the religious views of the protagonists in both works reflect those of their authors. Both authors portray not what is dominantly fictional but what they were a part of. This paper’s significance is its projection of the notion that it is the exploration of religious consciousness from an autobiographical perspective that gives the British modernist novel its strength and major difference. Conrad and Joyce demonstrate that without sincerity, justice, restraint, controlled freedom and mutual respect, the individual and society degenerate. Literature serves as a fabric of culture with the writer as the voice of conscience.

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GÜNEŞ, Ali. "Crisis of Identity in a Portrait of the Artist As a Young Man". Doğuş Üniversitesi Dergisi 2, nr 3 (27.07.2002): 37–49. http://dx.doi.org/10.31671/dogus.2019.336.

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Galindo, Caetano Waldrigues. "Distance by Degrees: Translating A Portrait of the Artist as a Young Man". ABEI Journal 18 (17.11.2016): 97. http://dx.doi.org/10.37389/abei.v18i0.3523.

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Tseng, Li-ling. ""Being and Difference in A Portrait of the Artist as a Young Man "". James Joyce Journal 25, nr 2 (31.12.2019): 37–54. http://dx.doi.org/10.46258/jjj.2019.25-2.37.

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Brockman, William S. ""A Portrait of the Artist as a Young Man" in the Public Domain". Papers of the Bibliographical Society of America 98, nr 2 (czerwiec 2004): 191–207. http://dx.doi.org/10.1086/pbsa.98.2.24295781.

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Tropp, Sandra. "Mathematics and Heresy in A Portrait of the Artist as a Young Man". James Joyce Quarterly 54, nr 3-4 (2017): 315–34. http://dx.doi.org/10.1353/jjq.2017.0005.

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Gurra, Hyreme, Fatmire Isaku i Bjonda Xhumkar. "THE ERA OF MODERNISM AND JAMES JOYCE’S “A PORTRAIT OF THE ARTIST AS A YOUNG MAN”". ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies 12, nr 8 (4.08.2023): 42. http://dx.doi.org/10.58885/ijllis.v12i8.42hg.

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<p><span>This research paper is going to elaborate the elements of Modernism as one of the most distinguished and important period of Literature. The key elements of this Era will be highlighted threw James Joyce’s Portrait. Modernism surely made a new approach to English Literature with a completely new writing style, motifs, aspects, symbols, and access to scenes,using new elements that will encourage and influence future writers. In “A Portrait of the Artist as a Young Man’’, is portrayed the innovative use of stream of consciousness, a technique throughout which is described the thought and the stream of consciousness since it vividly contains the elements of Modernism.The new style of writing that characterizes Modernist writers is highly impressing and contains innovative elements that were not used by authors from other periods in Literature. This style transcribes the inner world of the actors, rather than describing sexiness or the external outlook of the character. The novel “A Portrait of the Artist as a Young Man,” vividly contains a great amount of these elements, away from the traditional styles and methods.In this study are highlighted and analyzed the main elements of Modernism, used in almost every part of the novel.The research methods being used throughout this paper are: comparative method, narrative method, qualitative and quantitative method.</span></p><p><span><strong>Keywords:</strong> Obsessed, Modernism, tradition, stream of consciousness, individual, techniques.</span></p>

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Hall, Jason David. "Stephen's Telescopic Imagination: Geography, Astronomy, and Spatial Analytics in A Portrait of the Artist as a Young Man". James Joyce Quarterly 60, nr 3 (marzec 2023): 339–55. http://dx.doi.org/10.1353/jjq.2023.a905373.

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ABSTRACT: This essay considers possible sources for Stephen's list of coordinates in A Portrait of the Artist as a Young Man , suggesting that an intertext with the work of English astronomer Sir Joseph Norman Lockyer (1836-1920) provides not only a credible template but also a mode of imaginative "telescoping" that enables Stephen to develop imaginative "flight" as a complement to empirical, terrestrial observation and experience.

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Shuhaib, Mahdi. "Foreshadowing Overuse". Al-Adab Journal, nr 149 (15.06.2024): 1–18. http://dx.doi.org/10.31973/vhx0xd55.

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As a descriptive study, this article examines the significance of stylistic analysis in observing fiction, focusing on the use of foreshadowing. The author investigates the potential overuse of foreshadowing in selected modern cultural novels and analyses its impact on the plot and the suspense of the readers. The study examines the use of foreshadowing to deconstruct the difficulty novelists face in crafting immaculate works. It concludes that foreshadowing is an integral part of any literary work, regardless of its type or genre, and that it cannot be restricted to particular words. Furthermore, the "tense" factor in most modern works is not fixed or regulated due to the overuse of the flashback technique. The discussion examines Mr. Dalloway by Virginia Woolf and A Portrait of the Artist as a Young Man by James Joyce. Mrs. Dalloway's linguistic variables demonstrate that foreshadowing predominates the plot, as Woolf's foreshadowing lexis continually alludes to Septimus and Clarissa's plight. A Portrait of the Artist as a Young Man heavily uses concrete lexemes to foreshadow Daedalus’ evolution, whereas Mrs. Dalloway focuses on speech and abstract lexemes.

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LYNCH, AUDRY L. "Robert Cathcart Gives a Portrait of the Artist John Steinbeck as a Young Man". Steinbeck Review 8, nr 1 (2011): 79–83. http://dx.doi.org/10.2307/41561793.

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LYNCH, AUDRY L. "Robert Cathcart Gives a Portrait of the Artist John Steinbeck as a Young Man". Steinbeck Review 8, nr 1 (2011): 79–83. http://dx.doi.org/10.5325/steinbeckreview.8.1.0079.

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Reynaerts, Jenny, i Stella Versluis-van Dongen. "A Portrait of the Artist as a Young Man: Edgar Degas Inspired by Rembrandt". Rijksmuseum Bulletin 59, nr 2 (15.06.2011): 102–33. http://dx.doi.org/10.52476/trb.11608.

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Reali, Florencia. "Emotion metaphors in James Joyce’s A Portrait of the artist as a young man". Journal of Literary Semantics 49, nr 1 (26.04.2020): 41–60. http://dx.doi.org/10.1515/jls-2020-2016.

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AbstractCognitive stylistics provides a framework for analysis of conceptual metaphors in literature, as a way to approach fictional characters’ mind styles. Here, cognitive linguistic tools are applied to characterize the metaphorical expressions of emotion in James Joyce’s A portrait of the artist as a young man. A number of conceptual metaphors were identified in relation to anger, lust, shame, pride, fear, happiness and sadness, among others. Creative uses of language came to light, both by means of novel conceptual mappings and original linguistic realizations of more conventional metaphors. Original expressions revealed aspects of mind style of the novel’s main character, particularly in relation to his struggle with negative emotions. For example, anger and resentment are conceptualized as a sort of covering that could be effortlessly detached from the body, while shame-related feelings are experienced as threatening floods. From a methodological perspective, this study illustrates the advantages of cognitive stylistic tools for the analysis of literary work.

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Adesola Mafe, Diana. "A Portrait of the (Tortured) Artist as a Young (Coloured) Man: Reading Arthur Nortje". Safundi 9, nr 4 (październik 2008): 427–55. http://dx.doi.org/10.1080/17533170802349556.

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LYNCH, AUDRY L. "Robert Cathcart Gives a Portrait of the Artist John Steinbeck as a Young Man". Steinbeck Review 8, nr 1 (marzec 2011): 79–83. http://dx.doi.org/10.1111/j.1754-6087.2011.01142.x.

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Crispi, Luca. "Stephen Dedalus from A Portrait of the Artist as a Young Man to Ulysses". James Joyce Quarterly 57, nr 1-2 (2019): 67–79. http://dx.doi.org/10.1353/jjq.2019.0103.

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Boron, Oleksandr. "Sepia Portrait of Lukian Aleksieiev by Shevchenko (“Portrait of an Unknown Man with Guitar”): Revision of Ascription". Слово і Час, nr 11 (15.11.2019): 27–40. http://dx.doi.org/10.33608/0236-1477.2019.11.27-40.

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The paper refutes an ascription accepted in the current Complete Collection of Shevchenko’s Works for the sepia drawing that was formerly known as a “Portrait of an Unknown Man with Guitar”. It was supposed to be a portrait of Lukian Aleksieiev dated 1856–1857. The paper’s author points out that the age of the portrayed man (25–30 years old) does not correspond to L. Aleksieiev’s age at the time (16–18 years old). The inscription ‘Raim’, which H. Palamarchuk treats as not made by the artist himself, is considered undoubtedly as Shevchenko’s plot forming component of the work. The portrayed man is dressed in a double-breasted frock coat with a straight stand collar (neither skewed nor rounded) belonging to the period of Nikolai I, who died in 1855. Frock coats were abolished by Military Minister’s order on March 15, 1855; instead of them since January 1856 a half-kaftan with a rounded stand collar was introduced. This leads to the conclusion that a portrayed military ofﬁcer is dressed in a uniform that was in use until 1855. The paper supports and develops observations of V. Smilianska and other researchers that the sepia drawing depicts a staff captain Aleksei Maksheiev, a representative of the Military Ministry in the Aral describing expedition, and accordingly, the work is dated by the year 1848. The following hypothesis is offered: Starting to draw A. Maksheiev’s portrait from nature, Shevchenko ﬁnished it after the staff captain’s departure for Orenburg and signed it at the place of completion ‘Raim’. Later Shevchenko took the sepia drawing to the Novopetrovsk fortiﬁcation, to which in 1856 a young graduate of the Nepluiev Cadet Corps, a sergeant of Ural Cossack 200-man detachment L. Aleksieiev was sent for the service. He made friends with the poet. Leaving his exile place in August 1857, in memory of their common stay in the fortiﬁcation, Shevchenko decided to present the young man with some of his drawings, namely two landscapes with the fortress and A. Maksheiev’s portrait, having crossed the inscription ‘Raim’ with a pencil. For L. Aleksieiev this had to be primarily a work by a well-known artist, a famous poet, while the personality of an unknown military ofﬁcer might be no so important.

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MYSLINA, JU N. "CREATIVE ESCAPISM AFTER CHILDREN'S PERCEPTION OF VIOLENCE BY THE HEROES OF THE NOVELS "A PORTRAIT OF THE ARTIST AS A YOUNG MAN" BY J. JOYCE AND "MAIDENHAIR" BY M. SHISHKIN". Scientific Notes of Orel State University 100, nr 3 (26.09.2023): 92–98. http://dx.doi.org/10.33979/1998-2720-2023-100-3-92-98.

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The article is aimed to study creative escapism after the experienced and reflected violence in the children’s mind of the heroes of the novels by J. Joyce «A Portrait of the Artist as a Young Man» and M. Shishkin «Maidenhair». I prove that both writers present the child’s mind as integral and self-reflective, capable of analytical conclusions. The adult worldview of the characters formed after the early abuse does not allow them to streamline their personal and social roles. Heroes question this situation through the violence early experience and through their personal obsession with passions. Thus, creative escapism for the heroes of the novels «A Portrait of the Artist as a Young Man» and «Maidenhair» seems to be unique way to realize existence in the real world. But creative escapism is a personal choice, limited by personal desires and passions, which cannot produce anything beneficial. The escapism of the heroes of Joyce and Shishkin is an escape from reality, when the heroes claim their own superiority and the greatness of their incomparable personality. This conception of escapism discards their social role in society, and leads to a new violence against nature and self.

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Creasy, Matthew. "Contingency, Irony … Textuality: A Portrait of the Artist as a Young Man and Textual Criticism". Modernist Cultures 15, nr 1 (luty 2020): 48–68. http://dx.doi.org/10.3366/mod.2020.0279.

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This essay explores the representation of contingency within A Portrait of the Artist as a Young Man in relation to the textual history of James Joyce's novel. There is a fundamental split in this word between haphazard, chance forms of contingency and contingency as determining circumstances. First, I map these conflicting meanings on to Joyce's presentation of Stephen Dedalus and his drive towards artistic autonomy; then I use this tension to explore the textual condition of Joyce's novel, which seems, paradoxically, to demand a hyper-correct text in order to convey the vulnerability of printed works to unforeseen interventions.

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Azizmohammadi, Fatemeh, i Sepide Kamarzade. "Study of "Stephen Dedalus ", the main protagonist of A Portrait of the Artist as a Young Man". Advances in Language and Literary Studies 5, nr 2 (28.04.2014): 162–65. http://dx.doi.org/10.7575/aiac.alls.v.5n.2p.162.

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Amerian, Majid, Moussa Ahmadian i Leyli Jorfi. "Shifts of Time in James Joyce’s A Portrait of the Artist as a Young Man: A Narratological Perspective". Theory and Practice in Language Studies 6, nr 5 (17.05.2016): 1033. http://dx.doi.org/10.17507/tpls.0605.18.

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One of the main issues in narratology is the concept of time. The centrality of time is echoed in Ricouer’s (1984) debates when he says narratives are one of the many ways by which time can be actualized. The present study is to investigate the concept of time as well as the shifts of time in A Portrait of the Artist as a Young Man (A Portrait) in the light of Genette’s (1980) model. Being a modern novel, A Portrait travels through the experiences of its narrator utilizing the stream of consciousness technique. Time takes the reader back and forth immersing him/her in the narrator’s experience. It becomes frozen in some parts while expands in other parts, by detailed descriptions of a moment of its narrator’s feelings, thoughts, and experience. For all these, the present study will focus on this novel from the point of view of time and temporal shifts. The article tries to show the instances as well as the quality of time shifts. For this, Genette’s model of time is considered: the three techniques of order (analepsis and prolepsis), duration (pause, scene, ellipsis, summary, and stretch), and frequency (singulative, repetitive, and iterative). The results demonstrate that all the components of Genette’s model have been shifted. The most time shift instances in each category were: analepsis (37 times), pause (118 times), iterative frequency (53 times). This shows the predominant use of pause in this novel which is a novel of stream of consciousness, too. Pause is mainly hired for describing the protagonist’s (Stephen) state of mind and what he thinks.

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Astier, Colette. "Mythe et roman du poète dans A portrait of the artist as a young man". Littératures 33, nr 1 (1995): 125–38. http://dx.doi.org/10.3406/litts.1995.1701.

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Aayushi Sangharshee. "Construction of Ireland in James Joyce’s A Portrait of the Artist as a Young Man". Creative Launcher 5, nr 1 (30.04.2020): 13–15. http://dx.doi.org/10.53032/tcl.2020.5.1.03.

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Written with Ireland as the setting of the novel, The Portrait of an Artist as a Young Man, brings forth different aspects of the power dynamics that characterised the twentieth century Ireland. It was the ‘age of the empire’ and the different European powers were busy colonising more and more territories. The status of Ireland as both the coloniser as well as the colonised, by the British, is what makes the case of Ireland unique whenever it comes to discussing the ideas of nationalism and colonialism. Joyce in his novel puts forward the unique Irish experience through the life of his protagonist, Stephen Dedalus, who finds himself enmeshed in the political conflicts of the day and struggles his way in his quest for artistic autonomy. Stephen’s uneasiness about the political controversies and his ambivalent stand regarding Irish political leaders can be seen as Joyce’s own rejection of Irish nationalism and his choice for artistic autonomy.

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Bucur Tincu, Bianca Maria. "A PORTRAIT OF THE ARTIST AS A YOUNG MAN - AN INQUIRY INTO THE CHARACTER’S EVOLUTION". Incursions into the imaginary 14, nr 1 (20.08.2023): 53–70. http://dx.doi.org/10.29302/inimag.2023.14.3.

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James Joyce, a prominent figure in the modernist literary movement, created the character Stephen Dedalus and revealed an example of how consciousness functions when one searches for direction in life. The chaotic nature of human consciousness is revealed through literary devices and techniques that prove the lifelikeness of the character and the way fiction represents not only the reality of a specific time but the reality of the multitude of meanings present within the content of fictional writing, namely literature. The aim of this paper is to investigate the evolution of the main character in the novel “A Portrait of The Artist as a Young Man” by James Joyce to reveal the way Stephen Dedalus builds his consciousness and finds the tone of his “voice”. The metaphor of the voice is to be considered the conceptual term used to describe the different phases of the character’s evolution and the way he succeeds in creating order among uncertainties, quests, and struggles. The term “voice” is used within the neuro-scientific frame of thought, as defined by Antonio Damasio as being “the representation of the conscious self” (Damasio 2010: 45). Both terms, namely consciousness and voice, lead to psychological content; thus, the nature of the analysis is psychological, literary, and symbolic as well. The mythological dimension is to be interpreted through symbols and their significance. The literary dimension revolves around literary techniques such as interior monologue and stream of consciousness, and the psychological frame includes elements that connect literature and psychology.

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Lain, Norbert F. "The Meaning of a Word in A Portrait of the Artist as a Young Man". James Joyce Quarterly 61, nr 1-2 (wrzesień 2023): 127–30. http://dx.doi.org/10.1353/jjq.2023.a927921.

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Leahy, Frank. "On the Distinctions Between Spoken and Written Language in A Portrait of the Artist as a Young Man". James Joyce Quarterly 60, nr 4 (czerwiec 2023): 453–76. http://dx.doi.org/10.1353/jjq.2023.a914616.

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Abstract: Figures as diverse as Samuel Beckett and Marshall McLuhan have lauded Joyce for his unusual awareness of the distinct conventions and characteristics of language as it occurs in different forms (primarily spoken and written). Such commentary usually focuses on Ulysses and Finnegans Wake . While more formally restrained than Joyce’s two greatest works, A Portrait of the Artist as a Young Man shows Joyce forging the philosophy and aesthetic which consciously treats language in these different forms, implicitly (through, for example, the strategies he develops to represent sound) and explicitly (through, for example, ruminations on the properties of writing and speech). This is shown not least by the fact the book begins not (as is sometimes claimed) at the beginning of Stephen’s life, but at the beginning of his linguistic life, and from the outset uses a variety of print-oriented techniques (such as italicization, indentation, and ellipsis points) to represent the phonic world. This implicitly demonstrates a further distinction, also crucial to Joyce’s later work, not only between speech and writing, but between handwriting and print. The distinction also looms large in A Portrait , which at various times references the manual in a way that emphasizes the labored means of production of the yet-to-be published writer, but also is written very distinctly (as Hugh Kenner observes about Ulysses ), for “technological space” or “printed pages for which it was designed from the beginning.” It is notable in this context that Joyce rejected one strategy in particular for representing the sounds of speech within the visual medium of writing: non-standard spelling. He experimented with a more phoneticized style in Stephen Hero , but this is largely abandoned by the time it becomes A Portrait . We are left with one notable dialectal spelling: “shite.” The deployment of this word speaks volumes about Joyce’s journey from sound to print.

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Fernández, José Francisco. "More than an Artist in the Making: Samuel Beckett’s “Assumption” Revisited". Anglia 137, nr 3 (13.09.2019): 434–48. http://dx.doi.org/10.1515/ang-2019-0038.

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Abstract Samuel Beckett’s first published short story, “Assumption” (1929), is usually described as an apprentice work, “a piece of marginally interesting juvenilia” (Pattie 2000: 52), a beginner’s attempt toward a modernist short story in which the influence of James Joyce is clear. Indeed, it has been claimed that Joyce’s A Portrait of the Artist as a Young Man is the model underlying Beckett’s early foray into creative fiction. The current paper seeks to reassess the established critical appreciation of “Assumption”, that of being a parody of Joyce’s novel by a playful disciple; instead, I will argue that Beckett was in fact questioning the very principles of his master’s art. If Portrait is the epitome of the Künstlerroman, Beckett in his short piece debunked the myth of the young artist by consciously downgrading the aesthetic concerns of his protagonist and by disrupting the revered categories of modernist fiction.This essay is part of the research project FF I 2016-76477-P, funded by the Spanish Ministerio de Ciencia, Innovación y Universidades and by AEI / FEDER. The author would also like to thank CEI Patrimonio (Universidad de Almería) for their support..

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Kumar, Manish, i Monjita Rabha. "A Comparative Study of the Depiction of Hell in Paradise Lost and A Portrait of the Artist as a Young Man". International Journal of Research Publication and Reviews 5, nr 2 (luty 2024): 1370–71. http://dx.doi.org/10.55248/gengpi.5.0224.0441.

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McAteer, Michael. "W. B. Yeat’s Presence in James Joyce’s "A Portrait of the Artist as a Young Man"". Belgrade English Language and Literature Studies 7 (2015): 11–31. http://dx.doi.org/10.18485/bells.2015.7.1.

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Amaral, Vitor Alevato do. "The Paratexts of the Brazilian Translations of A Portrait of the Artist as a Young Man". ABEI Journal 18 (17.11.2016): 109. http://dx.doi.org/10.37389/abei.v18i0.3524.

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Dohun Kim. "Translation of Form Style Markers: Focusing on A Portrait of the Artist as a Young Man". English21 27, nr 1 (marzec 2014): 69–91. http://dx.doi.org/10.35771/engdoi.2014.27.1.004.

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박윤기. "The Aesthetic Theory of James Joyce in A Portrait of the Artist as a Young man". Studies in English Language & Literature 34, nr 2 (kwiecień 2008): 41–61. http://dx.doi.org/10.21559/aellk.2008.34.2.003.

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