RESEARCH PAPER ON “A POTRAIT OF THE ARTIST AS A YOUNG MAN” Over period of last hundred years, A Portrait of the Artist as a Young Man has attracted a multiplicity of interpretations. At times, critics have tended to focus primarily on the stylistic distinctions of this novel over the richness of plot and thematic significances. Harry Leviniiisees ‘A Portrait’ in the tradition of Kiinstlerroman. Others have attempted to find a close relationship between this novel and Joyce’s attempts to justify his own past. Reflecting this view, Richard Elmann writes, “To write A Portrait of the Artist as a Young Man Joyce plunged back into his own past, mainly to justify, but also to expose it”.
Harold Bloom notes " 'A Portrait of the Artist as a Young Man,' of course, is autobiographyâ€¦Joyce is turning himself inside out, spilling forth all the jangled moods that lie deep in artistic consciousness"(Bloom 38). Joyce brings himself out in Stephen. Instead of letting the reader know all about himself through an original autobiography, he simply lets Stephen be his alter ego and tells his life through Stephen. He lets all his thoughts and ideas go through Stephen. It was a troubling time for Joyce when he first tried to write his life story.... ... middle of paper ... ..., one of the most drastic changes of Stephen's life took place when he met a prostitute.
As the book progresses, Huckleberry gains a deeper understanding of how to take a step back and not think in terms of what society says is true, but what his heart tells him. Huckleberry’s distaste for society is what ultimately pushed him to look deeper into what he himself wanted with his life. He figures out that sometimes, society has it all wrong, and that at times you just have to follow your heart. In The Adventures of Huckleberry Finn by Mark Twain, we find that what is honorable is to follow your natural moral instincts, not what society and civilization say is moral.
The events leading up the conclusion of Chapter 1 lead Stephen to question to omniscient correctness of his religious overseers in Clongowes, and by extension, the Catholic Church. When he is unfairly accused and punished for breaking his glasses, Stephen responds with confusion. Dante taught Stephen as a child that the priests were always correct, since they represented the Church, and "God and religion [should come] before everything" (282). Dante's philosophy is that "The bishops and priest of Ireland have spoken and they must be obeyed" (274). However, the situation that Stephen becomes embroiled in when the priest unjustly "pandies" Stephen's hands seems to completely contradict all the dogma of the infallible Church that Dante preaches to Stephen throughout his early childhood.
Interpretation of an authors scriptures comes with the querrie that trying to analyze ones work comes with the understanding that you know his backround equally expressive thus being able to figure out his work. The Potrait of an Artist as a Young Man regards a fictional portrait of the author himself. Through the book he moves from one geographical and spiritual orbit to another, walking in lengthening radius until he is ready to take up flight therefor presenting his past, a reflection of his first 20 or so years of his life. This autobiography places it’s main emphasis on emotional and intellectual development of the young artist. Writing from his mouth he states that maturity is just an extension of ones childhood drawing from his past the events, the chronicles of his life.
His sister, Laurine, introduced young Aaron to ragtime, opera and was his first piano teacher. At the age of seven, he was making up tunes at the piano and was notating short pieces at twelve years old. Aaron’s first formal piano lessons were under the instruction of Leopold Wolfsohn (1913-17) and later he studied under Victor Wittgenstein (1917-19) and Clarence Adler (1919-21) (Pollack, 1:Life). However, lessons in composition and music theory were under the tutelage of Rubin Goldmark, “an old-fashioned teacher...against whom Copland rebelled” (naxos.com). During this time, Aaron was enamored with Scriabin, Debussy and Ives (which Goldmark called “dangerous”) and he scoured New York’s public libraries for the latest American and European scores.
By comparing these two stories, the two writers present their stories in totally different ways. The ¡§Boys¡¨ is narrated in a chronology linear to give readers the process of growing up, and the ¡§Orientation¡¨ is using traditional structure with humor factor to reflect the office life. In his story¡¨Boys,¡¨ Rick Moody narrates the process of growing up of boys. The author mentions every single outcome that most of the boys are likely to encounter in their lives. Boys grow up by experiencing some major incidents.
Perry grew Ralph’s musical knowledge and had a certain love of english choral music, which Ralph relied upon later in his life. In 1892, Ralph went to Trinity College, Cambridge to st... ... middle of paper ... ... an Honorary Degree of Doctor of Music at Oxford. In 1914, Ralph finished his first Opera, Hugh the Drover, a work he had begun writing in 1910. It is a romantic ballad with words by Harold Child charting the love-at-first-sight relationship of Hugh and Mary, the constable's daughter. Vaughan Williams wanted to write a "musical" about English life.
A Portrait of the Artist as a Young Man Silence, exile, and cunning. "- these are weapons Stephen Dedalus chooses in A Portrait of the Artist as a Young Man. And these, too, were weapons that its author, James Joyce, used against a hostile world. Like his fictional hero, Stephen, the young Joyce felt stifled by the narrow interests, religious pressures, and political squabbles of turn-of-the-century Ireland. In 1904, when he was twenty-two, he left his family, the Roman Catholic Church, and the "dull torpor" of Dublin for the European continent to become a writer.
When he lived with his grandparents he started his musical career. At the age of ten, he had piano lessons from Vinot, local organist from St. Catherine’s church. According to Rollo H. Myers’s book of Erik Satie, there are two prominent figures in Erik’s life, his uncle Adrien who, like his nephew, had an odd character and his first piano teacher Vinot. After his grandmother passed away in 1878, Erik and his brother were sent to live with their father, Alfred Satie, whom one year later, married Mademoiselle Eugénie Barnetsche who was a pianist and teacher. Erik took quite a dislike to his new stepmother when she tried to teach Satie what she believed to be the correct and more traditional way to learn music.