James Joyce:A Portrait of the Artist
Few people, if any, in the twentieth century have inspired as much careful study and criticism as James Joyce. His work represents a great labyrinth which many have entered but none have returned from the same. Joyce himself is a paradoxical figure, ever the artist, ever the commoner. He has been called the greatest creative genius of our century and, by some, the smartest person in all of history. His most famous novel, Ulysses, is considered by many to be the greatest novel ever written. Beyond all of these superlatives lies a perfect case study in the creative mind and process.
Joyce was born in a Dublin suburb on February 2, 1882 to John Stanislaus Joyce and Mary Jane Joyce. He was the first born of ten children and, as the family grew, their financial situation worsened. With each new child John was forced to mortgage another of his inherited properties until there was nothing left. Despite his predicament, John remained a very witty man, and often used his wit to undermine that which was bothering him at the time, whether it was the church, the government or his wife's family. This distinctive trait would also be adopted by his eldest and most dear son James in later years. In September of 1888 young James was enrolled in Clongowes Wood College, a Jesuit school of some prestige, but was withdrawn in June of 1891 because of his father's poor finances. This period is significant, however, since this was the first that he was separated from his supportive family for any length of time. Some of his experiences at Clongowes would later be recounted in A Portrait of the Artist as a Young Man. The rigorous Jesuit training he received appears to have been a turn off to the young Joyce and ...
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...ver 100,000 copies a year. In 1993 Joyce's picture along with the opening paragraph of Finnegans Wake was printed on the Irish ten pound note and every year more careful study of his work is done. In the end, Joyce was devastated at the poor reception of his last work, but if he had lived he would have seen his star rise to greater heights than any writer of our century.
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Joyce, James. A Portrait of the Artist as a Young Man. The Viking Press, New York: 1964.
Joyce, James. Ulysses. Random House, New York: 1990.
Magalaner, Marvin and Richard Kain. Joyce: The man, the Work, the Reputation. New York University Press, New York: 1956.
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http://aristotle.algonet.se/artbin/pjoyces.html
AP Joyce, James. A Portrait of the Artist as a Young Man. Viking Press : New York, 1968.
...e modafinil’s increasing widespread use among populations exploiting its effects as a stimulant and a performance enhancer. The neurotransmitters dopamine and glutamate seem to participate in its mechanism of action and have also been shown to engage in pathways of addiction. Through DAT inhibition, the above research states that modafinil may increase dopamine levels in the brain’s reward center, which suggests the possibility of addictive behavior. Glutamate also seems to play a role in addiction. However, the action of glutamate in modafinil pharmacology is unclear. Previously stated evidence makes one speculate that the presence of extracellular glutamate in the brain supports the potential for addiction. Unfortunately, modafinil’s mechanism of action remains elusive. For now, popular research overpowers the argument against its large-scale abuse.
Fairhall, James. James Joyce and the Question of History. Cambridge University Press. New York, New York: 1993.
James Joyce was a renowned Irish author and poet, most known for writing the book Ulysses, which parallels the events of The Odyssey in a variety of writing styles. Although Ulysses is considered his magnum opus, his other works including Dubliners, A portrait of the Artist as a Young Man, and Finnegans Wake are held in high esteem by many.
Alongside the dawn of the twentieth century appeared an author by the name of James Joyce. Joyce introduced the idea that language can be manipulated and transformed into a new original meaning. 'Some critics considered the work a masterpiece, though many readers found it incomprehensible' (The Literature 1). Joyce’s stories were not welcomed with open, inviting arms; instead they were undesired by publishers and his books were immensely misunderstood by the majority who gave them a glance. “Ulysses was barred from the United States as obscene for 15 years, and was seized by U.S Postal Authorities in 1918 and 1930” (Ockerbloom 1). “He has no conception of the word obedience, and he bends the knee neither to God nor man” (Collins 1). James Joyce depicted his rebellious view about the Catholic Church in his writing particularly in the story “Araby”.
Joyce, James. The Portrait of the Artist as a Young Man. New York: The Viking Press, Inc., 1958.
James Joyce was a famous writer, what lead him to be a great writer the books he wrote were extravaganza and intense books he wrote.
James Joyce emerged as a radical new narrative writer in modern times. Joyce conveyed this new writing style through his stylistic devices such as the stream of consciousness, and a complex set of mythic parallels and literary parodies. This mythic parallel is called an epiphany. “The Dead” by Joyce was written as a part of Joyce’s collection called “The Dubliners”. Joyce’s influence behind writing the short story was all around him. The growing nationalist Irish movement around Dublin, Ireland greatly influences Joyce’s inspiration for writing “The Dubliners”. Joyce attempted to create an original portrayal of Irish middle class life in and around Dublin at the end of the 19th century and beginning of the 20th century. The historical context for Joyce’s written work was the tense times before the Irish-English civil war broke out. An examination of his writing style reveals his significance as a modern writer.
Joyce, James. Dubliners. Portrait of the Artist as a Young Man. The Portable James Joyce. Harry Levin, ed. Penguin. 1976, New York. Ulysses. Vintage, New York. 1961.
James Augustine Aloysius Joyce, the author of A Portrait of an Artist as a Young Man, was once described by a friend, Constantine Curran, as "a man of unparalleled vituperative power, a virtuoso in speech with unique control of the vernacular." While Constantine viewed Joyce's quality of verbal abuse "powerful," and praised his "control" of the language, many viewed this expressive and unrestrained style of writing as inappropriate and offensive. A dramatic new step for modernism, Joyce used language, style, and descriptions of previously unwritten thoughts and situations which stirred the cultural norm, thus sparking controversy over what was necessary and acceptable in literature.
Joyce, James, A Portrait of the Artist as a Young Man. The Viking Press: New York, 1916.
Joyce, James. A Portrait of the Artist as a Young Man. New York: Viking, 1964. Epub.
Joyce, James. A Portrait of the Artist as a Young Man. New York: Bantam Books, 1992.
Joyce, James. A Portrait of the Artist as a Young Man. 1916. New York: Penguin,1993.
Joyce, James. A Portrait of the Artist as a Young Man. New York: New American Library, 1991.