A Portrait of the Artist as A Young Man will always be an inspirational book in the world of Post-Modernist literature. This book is one is which paved the road for books just like it, not only breaking free from the expectations of society but also warming our hearts by following the early stages of life of young Stephen Dedalus. This semi-autobiographical story is a symphony of subtle epiphanies, which are expressed through innate underlying structure, which only a true devotee to post-modernist literature could thoroughly enjoy. As we travel through Stephen's mind over the years, we encounter many signposts that foreshadow the conflicts that are to take place later on in the book. As early as eight or nine years of age, while spending his days being watched by his uncle (41-45), we start to see changes to a chapter in Stephen's life, where he will have to take a step into the unknown in order to go through to his life long desire of becoming an artist. Although there are many previous scenes in this book that foreshadow Stephen's decision to choose the life of beauty over his strict Catholic upbringing, deep thought and desire should be taken into consideration, while Stephen bends down on one knee to pray with his uncle. (42) Stephen cannot comprehend for what reason his uncle is praying for and disrespects his piety by not having faith in his prayer. This scene has many different interpretations and is very strong in underlying context, while precisely symbolizing Stephen's upcoming rebellion against the church. While this thought of Stephen's is very complicated and defined, it still maintains an aspect of innocence and curiosity that only a child could be capable of possessing. This is definitely what be an outsider's... ... middle of paper ... ...young age what he needs in order to life his life happily, he constantly finds himself in unfavourable dark situations, bringing out the irony of his story in full force, while he struggles to find his spotlight. Amongst all the unfortunate happenings and wrong decisions Stephen had mad in the past, he is able to find hope when he sees the bird girl (123), while carrying his wreath as a symbol of his dying religion and faith. The beautiful woman on the beach renews Stephen's presence in the world and reinforces his decision he had made in the past, and gives him the consolidation he had been waiting a lifetime for. The series of subtle epiphanies draws out Stephen's life a he finally lets go of the dark burden around his body and transforms himself into an artist for the first time, being reborn into the world through the mirthless beauty of the bird girl's womb.
.... In chapter fourteen Stephen says to himself “Dad laid before me, as still as ever ”. This was showing Stephen’s knowledge that he had to move on as he set his dad to rest then buried him. Stephen was very sad, but whatever he did from that point on, was for his dad.
Watts, Steven. “The Young Artist as Social Visionary” The Romance of Real Life. Baltimore: The Johns Hopkins University Press, 1994. pp. 49-70.
The Portrait of an Artist as a Young Man by James Joyce is widely recognized by New Critics as one of the greatest novels of its age for its aesthetic artistry. In the Portrait, a powerful autobiographical novel of bildungsroman, commonly known as a coming-of-age story, that follows the life of Irish protagonist Stephen Dedalus, Joyce portraits his momentous transition to adulthood as a passage of psychological struggle towards his ultimate philosophical awakening and his spiritual rebirth as an artist. Most visibly in Chapter Four of the novel, Stephen Dedalus, after the denial of his own priesthood, goes on to seek his artistic personality through his secluded journey amongst a myriad of natural elements. Dramatizing the Stephen’s progression towards his artistic revelation, Joyce deployed numerous image patterns that together insinuate the spiritual transformation of Stephen Dedalus into an “impalpable imperishable being” out of the earthly body of which he is composed of (Joyce 108). Specifically, Stephen’s intellectual transfiguration is largely connected with the symbolic connotations of the clouds depicted throughout his journey, which alludes to his transcending soul, wafting across the celestial heaven yet hovering intimately close to the earth that he belongs.
All of Camus' writings may be viewed as a quest for meaningful values in a world of spiritual aridity and emptiness. He begins with man's despair, estrangement, fear, suffering and hopelessness in a world where is neither God nor the promise that He will come- the fundamental absurdity of existence- but ultimately affirms the power of man to achieve spiritual regeneration and the measure of salvation possible in an absurd universe. This radical repudiation of despair and nihilism is closely bound up with his concept of an artist. Camus conceives of art as a way of embracing a consciousness of the absurdity of man's existential plight. But art becomes a means of negating that absurdity because the artist reconstructs the reality, endowing it with unity, endurance and perfection. By taking elements from reality that confirms the absurd existence, an artist attempts to correct the world by words and redistribution. Thus the artist never provides a radical transformation of reality but a fundamental reinterpretation of what already exists. He provides a new angle of vision of perceiving reality. That is why, for Camus, an artist is a recreator of myth. He teaches humanity that contemporary man must abandon the old myths that have become otiose, though once defined his existence. The artist liberates man to live in his world by redefining both man and the condition in which he exists. In this regard, it is important to point out that, for Camus, the traditional opposition between art and philosophy is arbitrary. It is because they together become most effective to create the redefinition: the philosophy awakens the consciousness and the art, propelled by such a radical discovery, ...
As the young boy grew, he began to have a love for art and wanted to become an artist, but his father, however, did not have a care of his son’s dreams, but instead wanted him to grow up, following in his footsteps; in which Adolf rebelled against.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
...dom and power of his soul, as the great artificer whose name he bore, a living thing, new and soaring and beautiful, impalpable, imperishable". (Joyce, 433) Stephen is now fully able to create from within himself, without being dependent on others to feel whole. This is accentuated by Joyce’s description of the beach scene— "He was alone. He was unheeded, happy and near to the wild heart of life". (Joyce, 433) Stephen the artist is alone and needs to be alone, not to search in vein for companionship that, even if attained, could only drag him from his newfound freedom. This realization of self-fulfillment and self-control is the single defining point in Stephen’s education; it is the brushstroke that completes the "Portrait of the Artist as a Young Man."
In James Joyce's A Portrait of An Artist As A Young Man, the main character, Stephen Dedalus, struggles between his natural instincts, or what Bakhtin calls the "internally persuasive discourse" that "[is not] backed up by [an] authority at all", and his learned response, reinforced by the "authoritative discourse" of religion. To Stephen's "internally persuasive discourse", his natural sex drive is not 'wrong'. It is only after he succumbs to the "authoritative discourse" of religion that he learns that such a natural human drive is 'bad'. Thus, he learns that it is wrong to succumb to sex: he does not think that it is bad on his own. In this case, the "authoritative discourse" that considers sexual drive to be 'bad' becomes Stephen's "internally persuasive discourse". He learns that his natural urges are wrong and, as a result, he learns to deny them and pretend them to be nonexistent. This is how the "authoritative discourse" becomes Stephen's "internally persuasive discourse".
Just like most Irish folk, Stephen Dedalus is a devout Catholic. Catholicism dominates Stephen's life and completely controls his emotions, thoughts and actions. From an early age Stephen was in the grasp of Catholicism. While attending Clongowes Wood College Stephen prays before he goes to bed “so that he might not go to hell when he [dies].”(15) Even after the praying, just to go to sleep he would have to console himself saying “he would not go to hell when he died; and the shaking would stop.”(15) To be this fearful as a child because of religion would be a substantial reason to move away from it. Stephen was probably eight years old at this time and for a child, this level of fear is unreasonable and possibly hurtful to his mental health.
As the great Philosopher Nietzsche proclaims boys always resembles their father. Thus I have analyzed the similarities and the traces of parents on their off-springs. And literary creations of them seem to me that they are the mirrors of their real selves. As Oscar Wilde reveals in De Profundis: "Art is a symbol, because man is a symbol." (93) so art symbolizes man. And his art is the symbol of his personality just as Marius the Epicurian is the symbol of Walter Pater's. Consequently, art harbours not only readers and life but also the creators of them. In fiction, Words speak two times; one reveals plot, the other reveals author; whatever a literary men writes, he writes himself but nothing else...
The Artist in Joyce's A Portrait of the Artist as A Young Man and Pink Floyd's The Wall
As Stephen grows, he slowly but inexorably distances himself from religion. His life becomes one concerned with pleasing his friends and family. However, as he matures he begins to feel lost and hopeless, stating, "He saw clearly too his own futile isolation. He had not gone one step nearer the lives he had sought to approach nor bridged the restless shame and rancor that divided him from mother and brother and sister." It is this very sense of isolation and loneliness that leads to Stephen's encounter with the prostitute, where, "He wanted to sin with another of his kind, to force another being to sin with him and to exult with her in sin.
A Portrait of the Artist as a Young Man, by James Joyce, exemplifies the model of art it proposes as it also offers the reader on how to read that very art. Following the main character, Stephen Dedalus, through life, Joyce uses Stephen’s immediate perception to convey how an artist views the world. The reader witnesses Stephen encountering everyday aspects of life as art—the words of a language lesson as poetry or the colors of a rose as beautiful. Through Stephen’s voyage and words, Joyce introduces the theory that “beauty” as a label for an object is not born from the actual physical object itself, but rather lies within the process one goes through when encountering the object. Joyce’s theory is also experienced by the reader as he or she encounters Stephen’s perceptions as well as the beauty of the poetic language and vivid description within Joyce’s narrative. The rhythmic patterns and stylistic sentences create a multitude of authorial voices that blend at various points in the novel involving Joyce, Stephen, and the reader.
Stephen's relationship with the opposite sex begins to develop early in his life. Within the first few pages of the novel lie hints of the different roles women will...
The novel, A Portrait of the Artist as a Young Man is an autobiography of James Joyce who delivers the influential aspects in his life and his artistic development to the reader through the eyes of the fictional character of Stephen Dedalus. In the novel, Stephen's journey to maturation and to become an artist is influenced by his religion, sexuality and education. Yet, Stephen is able to overcome the obstacles result from these aspects and experience his life to its fullest.