Portrait of the Artist as a Young Man sunandmike
Chapter One of James Joyce's A Portrait of the Artist as a Young Man traces Stephen Dedalus's early childhood experiences from his toddler years through his first term at boarding school. As a baby, Stephen's world is a collage of sensations. His first memories are of his father reading him a story, his parent's distinct smells, and the colors of Dante's brushes. The young Stephen is acutely aware of heat, cold and other tactile sensations. These sensations are initially Stephen's main way of understanding and interpreting the outside world. Yet beyond his physical impressions of the world around him, Stephen forms an immature worldview based on his impressions of religion, politics, and relationships. Stephen's world is shaken up by his first semester at Clongowes, during which he is bullied, homesick, and physically ill. Through several key events, Stephen is forced to…...

Symbolism in Portrait of the Artist
If we were to concern ourselves strictly with plot, we might well say of James Joyce's A Portrait of the Artist as a Young Man that there is no there. Not a great deal actually happens in this essentially autobiographical tale of Stephen Dedalus, and the narrative follows no clear single trajectory of cause and effect. Rather, in one of the first important uses of stream of consciousness, Joyce tells us in this short novel about Stephen's growing self-awareness as a person and as an artist, a growing self-awareness that will cause him by the end of the book to cast off the nationalism, the Catholicism and the sense of clannishness that defines other members of his father and to set off to Paris to become a writer. Joyce's use of symbolism is far more important in conveying what he has to say about these…...

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Works Cited

Joyce, James. Portrait of the Artist as a Young Man,  http://www.bibliomania.com/0/0/29/62/frameset.html .

Symbolism in "A Portrait of the Artist as a Young Man"
In "A Portrait of the Artist as a Young Man," James Joyce utilizes symbolism to help readers understand Stephen's character development. From a confused young boy to a confident man, Stephen transforms and certain symbols allow us to see this transition to occur. Joyce also uses symbolism to help readers comprehend the setting I which Stephen lives, which influences many of his choices. Symbols allow us to identify with the character and grasp his world.

The kiss early in the novel symbolizes Stephen's youth. When his schoolmates ask him if he kisses his mother goodnight, he realizes something different between them. Stephen desires to be esteemed in the schoolyard primarily because of experiences like this. The question troubles him and he can feel "his whole body hot and confused" (Joyce 14) because he does not know how to answer it. He…...

Portrait of the Artist of a Young Man by James Joyce traces the development of Stephen Dedulas as a writer from infancy to young adulthood. While Joyce shows the maturation of Stephen Deduals, he is also painting a vivid image of Dublin, Ireland and Stephen Dedulas' world. One literary device that Joyce uses throughout his novel is the repetitious appearance of numerous images. Stephen's fascination with women, both real and imaginary, is prevalent from childhood and is used by Joyce as a common strain of imagery throughout the novel.
Stephen's main love interest in the novel is Emma Clere. Emma is a girl who has such an effect on Stephen's life that he relates many events of his life back to Emma. For instance, Stephen feels guilty for his involvement with prostitutes not because it is immoral, but because of what Emma would think of him if she found out.…...

Portrait of the Artist as a Young Man
James Joyce's A Portrait of the Artist as a Young Man tells the story of Stephen Dedalus as he grows from an introspective and conscious young man into a rebellious and disaffected adult. For much of the novel, young Stephen is trying to figure out exactly who he is and what it is that he values in life. It is a stream-of-consciousness story wherein the internal thoughts and feeling, no matter how insignificant they may seem are written in their entirety so as to represent in a fictional work how a real human being's thought processes guide their life. As an Irish youth, it is expected that Stephen will follow the orders of his parents and honor his father and mother, and that he will live and behave according to the Catholic tradition of his family members and his community. Religion and the…...

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Works Cited:

Joyce, James. A Portrait of the Artist as a Young Man. New York, NY: Dover, 1994. Print.

Youth: A Portrait of the Artist as a Young Man
In James Joyce's A Portrait of the Artist as a Young Man, the main character Stephen says that great art carries the qualities of Wholeness, Harmony, and Radiance. Yet Stephen is making this statement as an adolescent, one who is not yet whole nor harmonious, but one who is still developing and adapting to himself and his world. As literary art, the problem this leads to is how an adult reader can create an adolescent character honestly, a character less developed then they are. The reader then has the same challenge, to read about this character and judge them on who they are, without directing their own biases on the character. The writer and the reader can both be guilty of viewing the adolescent character either condescendingly or sentimentally. As well as this, the writer and reader either creating or…...

Descriptions of women are primarily if not entirely based on mundane physical appearances: stockings, legs, and other features rather than character. The lack of strong female characters impedes the novel from exploring truly liberating themes, and there is a nearly complete lack of social justice issues in the novel. Historical and literary allusions omit the presence of female from the cultural canon. Joyce remains solidly concerned with the male coming of age and personal development experience, and women are but ancillary characters in supporting roles.
Still, The Portrait of the Artist as a Young Man does not pretend to be anything but a coming-of-age story that centers on an Irish male protagonist. Moreover, Joyce does paint Dedalus's portrait as a man who has trouble escaping the shackles of his past and his culture. Dedalus's upbringing had a powerful influence on his socialization and his perception of gender. His father is…...

As Brivic points out, the labeling of females as hysterical is another means by which a patriarchal society genders certain behaviors. Behaviors related to emotionality are notably gendered, as males and females are socialized to react and communicate according to gender norms. Occasionally in Joycean narratives, discourse related to gender is overt, rather than covert. For instance, in A Portrait of the Artist as a Young Man, Stephen does not take offense at his father's calling him a "bitch" and instead mocks him: "He has a curious idea of genders if he thinks a bitch is masculine," (Chapter 5). Awareness of the futility of gender norms and gendered identities fuel Stephen Dedalus's character in both Ulysses and in A Portrait of the Artist as a Young Man.
Feminist discourse is deliberately subversive in both James Joyce's Ulysses and Portrait of the Artist as a Young Man. Male characters are central…...

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Works Cited

Al-Hamdani, Mohammad H. "Joyce and Feminism." Literary Paritantra (Systems). Vol 1 Nos 1 & 2 Basant (Spring) 2009, 104-109.

Brivic, Sheldon. "Gender Dissonance, Hysteria, and History in James Joyce's A Portrait of the Artist as a Young Man. James Joyce Quarterly 39(3) (Spring 2002). Pp. 457-476.

Johnson, Jeri. "Joyce and Feminism." Chapter 10 in The Cambridge Companion to James Joyce. Ed. Derek Attridge. Cambridge University Press, 2004. Cambridge Collections Online. Cambridge University Press. 16 November 2011 DOI:10.1017/CCOL0521837103.010

Mullin, Katherine. "True Manliness': Policing masculinity in A Portrait of the Artist as a Young Man. Chapter 3 in James Joyce, Sexuality, and Social Purity. Cambridge University Press.

Mulligan keenly notices features of Stephen's obsession when he mockingly calls him "O, shade of Kinch the elder! Japhet in search of father!" Partially, his argument for Shakespeare's autobiographical tendencies is seeded by his own frustration in his search for paternal links.
Out of this, Stephen's rejection of the Irish renaissance is significant because he wishes to judge himself against the backdrop of classical standards. "In our case, Stephen has 'entered into a competition' with Shakespeare by making himself a companion to the model of Shakespeare and placing himself, as much as he can by means of lecturing, next to the model of Shakespeare." So the contention that Shakespeare's plays are autobiographical, by being a particularly unique argument, if successful, would forever attach the name Dedalus to Shakespeare -- thus, his intellectual roots would be fundamentally defined to the external world. Notably, this would remain true regardless of Stephen's recognition…...

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Works Cited

Conrad, Joseph. Heart of Darkness and the Secret Sharer. New York: Bantam Books, 1981.

Ellman, Richard. James Joyce. New York: Oxford University Press, 1983.

Jones, William Powell. Stephen Hero, a Part of the First Draft of a Portrait of the Artist as a Young Man. New York: New Directions, 1944.

Joyce, James. A Portrait of the Artist as a Young Man. New York: Penguin Books, 1993.

This literary parallel also underlined in the final description of the portrait of what Dorian Gray has become at the end of the book, Chapter 20: "The thing was still loathsome -- more loathsome, if possible, than before -- and the scarlet dew that spotted the hand seemed brighter, and more like blood newly spilled. Then he trembled. Had it been merely vanity that had made him do his one good deed? Or the desire for a new sensation, as Lord Henry had hinted, with his mocking laugh?"
Again, there is scarlet, but this is the scarlet of blood letting, not an innocent blush of the young Dorian's lips. Once again, at the words of Lord Henry, even the older and more jaded Dorian is moved to tremble. He blanches at the sight of the picture, but for a different reason, because he can see the monster he has become,…...

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Works Cited

Wilde, Oscar. The Picture of Dorian Gray. Full e-text available 3 Nov 2007 at  http://www.upword.com/wilde/dorgray.html#3

Filtered Water
James Joyce's autobiographical novel, Portrait of the Artist as a Young Man, is a multi-layered story. The author uses many techniques to indicate his surroundings, his attitudes, his maturity and his development. From styles of writing reminiscent of his infancy to youthful diatribes on the validity of the priesthood, Joyce takes us through his youth and his changing mindset. Furthermore, this intricate novel can be read from many different perspectives simultaneously. These perspectives include religious rebellion, sexual confusion, artistic freedom, political conviction, and family influence. It is a maze of vivid images and lucid dreams that define and describe Joyce's early years. It is my opinion that his water imagery most effectively expresses the complexity of Joyce's youthful composition

One of the most intense water images was the first one. The water is dark and dirty and cold. Another student, Welles, whose name is suggestive of water, throws Stephen into…...

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Bibliography

1

Joyce, James, A Portrait of the Artist as a Young Man, 11

2

Joyce, 14

Suddenly I receive a Titian to hang on my wall -- a Greek bas-relief to stick over my chimney-piece." (James in: Phelan-Cox, 2004)
Through the analogies of alph, the reader is able to view the manner in which "male pleasure in spectatorship with interconnected with Western aesthetics generally." (Phelan-Cox, 2004) it is the argument of Laura Mulvey that the film of Hollywood is structured around "the voyeurism and scopopophilia of the male gaze by denying the existence of other viewing positions." (Phelan-Cox, 2004) James veritably denied other ways to view through his description of the scene "by consciously omitting Isabel's own perception of herself in that setting or any objective description of the scene that might include observations about alph." (Phelan-Cox, 2004)

VII. Portrait and the Implications

The title of this story is even misleading as noted by Phelan-Cox the word 'portrait' "implies that the novel is to be a neutral or…...

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References

Ascari, M. (nd) Three Aesthetes in Profile: Gilbert Osmond, Mark Ambient, and Gabriel Nash. RSA Journal 7.

Braden, HE (2011) Lily Bart and Isabel Archer: Women Free to Choose Lifestyle of Victims of Fate? University of New Orleans. 4 Aug 2011. Retrieved from:  http://scholarworks.uno.edu/cgi/viewcontent.cgi?article=1247&context=td 

Brown, B. (2001) Thing Theory. Critical Inquiry. Vo. 28, No. 1 Autumn 2001.

Gilmore, MT (1986) the Commodity World of the Portrait of a Lady. The New England Quarterly, Vo. 59, No. 1. Mar, 1986.

). Indeed, when Dix exhibited Der Krieg in Berlin in 1924, he was criticized by the right wing press and eventually when Hitler came into power in 1933, Dix was fired based upon pressure from Hitler's government that contended that his paintings were antimilitary. According to Dix's dismissal letter from the Dresden Academy, his artwork "threatened to sap the will of the German people to defend themselves." To add insult to injury, Hitler's assault upon Dix did not end there. The Nazis also destroyed several of his paintings not long after he was dismissed from the Academy (Id.). Dix, however, did not let this injustice destroy his creative spirit. In 1933, he used oil and tempura on wood to paint The Seven Deadly Sins, an allegorical painting that represented Germany's political situation under Hitler. In this painting, Dix utilized the figure of the lazy Sloth because Dix blamed the German…...

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Works Cited

Apel, Dora. "Heroes and Whores: the Politics of Gender in Weimar Antiwar

Imagery." The Art Bulletin 79.3 (1997): 366+. Questia. Web. 20 Apr. 2010.

Avgikos, Jan. "Max Beckmann and Otto Dix: Neue Galerie." Artforum International Oct.

2005: 275. Questia. Web. 20 Apr. 2010.

Icons and Early Modern Portraits" adds a fascinating new twist to the investigation of the material culture of the Renaissance, which may be brought to bear directly on the study of Renaissance art. Nagel is concerned here with a question of artistic influence, which he sees being transmitted through a lively trade in Greek and other eastern religious icons. To a certain extent, this fact is self-evident but Nagel persuasively argues for several reasons that it has been underemphasized in discussion of the subject.
Nagel first notes that contemporary Renaissance viewers of these icons made several erroneous assumptions about them, which may have obscured the inability of contemporary art scholars today to view these pieces through the eyes of the Renaissance, as it were. Nagel notes from papers related to acquisition and provenance dating from the early modern period that the antiquity of these objects was greatly exaggerated, and on…...

in "Piaf," Pam Gems provides a view into the life of the great French singer and arguably the greatest singer of her generation -- Edith Piaf. (Fildier and Primack, 1981), the slices that the playwright provides, more than adequately trace her life. Edith was born a waif on the streets of Paris (literally under a lamp-post). Abandoned by her parents -- a drunken street singer for a mother and a circus acrobat father -- Edith learns to fend for herself from the very beginning. As a natural consequence of her surroundings, she makes the acquaintance of several ne'er do wells. She rises above the lifestyles of the girls she grows up with who prostitute themselves for a living in the hope that they will eventually meet a benefactor with whom they can settle. Edith has a talent for singing and she indulges this interest by singing loudly in the streets.…...

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Bibliography

Beauvoir, Simone de, and Parshley, H.M. The Second Sex. New York: Alfred A. Knopf, 1993.pp. lv, 786

Eisenstein, Zillah R. The Radical Future of Liberal Feminism. The Northeastern Series in Feminist Theory. Northeastern University Press ed. Boston: Northeastern University Press, 1986.pp. xi, 260

Engels, Fredrick. "The Development of Utopian Socialism." Trans. Lafargue, Paul. Marx/Engels Selected Works. Revue Socialiste. Ed. Basgen, Brian. Vol. 3. New York: Progress Publishers, 1880. 95-151.

Origins of the Family, Private Property, and the State. 1894. Retrieved April 10, 2003 from. http://csf.colorado.edu/psn/marx/Archive/1884-Family/