Abstract This paper analyzes Stephen Daedalus' struggle for freedom in "A Portrait of the Artist as a Young Man", by James Joyce. It evaluates whether Stephen strives for and gains freedom, how and why he achieves his freedom, and focuses upon the master/servant relationships in the novel.
A paper which compares the characters of Stephen Daedalus in James Joyce's "A Portrait of the Artist as a Young Man" and Andrea del Sarto in the poem of the same name by Robert Browning.
Abstract The paper shows that for both Stephen Dedalus in James Joyce's novel "A Portrait of the Artist as a Young Man" and Andrea del Sarto in the poem of the same name by Robert Browning, art is a means of self-expression and achieved when the artist satisfies himself. It discusses how art comes from within and satisfies an inner craving - others may enjoy what is produced, but it is essential that the artist does. The paper shows that for both characters, their medium is how they relate to the world, how they understand the world, and how they shape the world, and all this constitutes a definition of art.
From the Paper "For Andrea del Sarto as for Stephen Dedalus, many of the things of this world stand in the way of the artist, whether that be the need for money, frustration with religion, political realities, interpersonal relationships, or similar concerns. Both artists are also faced with the reality of learning to master their media. Even then, as with Andrea del Sarto, this may not be enough if that spark that sets the artist apart is not present or is not as effective as for some other artist. Art for both is also a rivalry with other artists, and that in itself is both a spur and in some ways a barrier preventing the complete freeing of the inner artist."
Abstract This paper examines how author, James Joyce makes up for lack of plot with the use of symbolism in his autobiographical novel "A Portrait of the Artist as a Young Man". 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 family and to set off to Paris to become a writer. The paper shows that Joyce's use of symbolism is far more important in conveying what he has to say about these themes than what actually happens in the plot.
From the Paper "While it might be tempting to view the image of the bird in Stephen's life (and in the novel) as a relatively straightforward one of liberation and of the release of the authentic self from social bounds, in fact (as Thornton argues) it is a complex and to some extent contradictory one that contains at least three different elements. These are first the threat of punishment (regardless of specific guilt on Stephen?s, although given the way in which the novel is embedded in Catholicism, certainly not regardless of the general sin of all humanity in the echoes of the fall of the species from grace); secondly, the metaphor and reality of sight; and thirdly the bird itself, the real birds that appear in Stephen's life and the mythical one that appears in his name (after Thornton)."
Abstract This paper will discuss how, in Chapter one of James Joyces' "Portrait of the Artist as a Young Man", Stephen Daedalus' feelings about religion develop or change within the scope of Joyce's vision. This will tell us the nature of the main character's direction on a theological level and will give us an understanding of Joyce's concept of religion through this medium.
Abstract This paper examines the lessons that can be learned from many of the stories in Ovid's "Metamorphosis". The paper explains how these stories, based on myths and mythical characters, can still provide insight into the human psyche and, if we learn from the examples of some of these characters, we can avoid some of the tragedies that they experienced.
From the Paper "Another story that operates on two levels is ?The Story of Echo and Narcissus.? In this story, Echo is punished for helping Jove meet with the nymphs on the mountains. Narcissus is punished for not only spurning Echo, but other that he "had visited frustration" (69). Echo's lesson for us story is to always tell the truth. Narcissus? lesson for us is to avoid self-love, for Narcissus "wanted himself" (70) and, as result, died trying to kiss his image in the water."
Abstract The paper focuses on the motif of birds and their association with flight and explores the use and development of this theme throughout Joyce's novel "A Portrait of the Artist as a Young Man". The paper points out that the prevalent motif of birds and their association with flight directs the reader toward Stephen Dedalus' own artistic flight, which is essentially a mirror for Joyce's own departure from Ireland.
From the Paper "The motif of flight is presented to the reader at the novel's outset and is initially communicated through allusion. Joyce, and other writers besides, have used allusion to reference works with which the reader is assumed or expected to be familiar. "By drawing attention to it the author establishes a kind of parallel situation in which both the present work and the work alluded to illuminate each other" (Ramsey 11). The Latin epigraph which follows the book's title, "Et ignotas animum dimittit in Artes" (Joyce 6), is derived from the first century Roman poet, Ovid, and may be translated as "and he sets his mind to work upon unknown arts" (Ramsey 11). The source of the quote, Metamorphoses, is the well-known classical story of Daedalus. Daedalus is a mythological figure, a renowned craftsman who designs the famed Labyrinth of Crete for King Minos."
Abstract This paper examines James Joyce's "Portrait of an Artist as a Young Man" and discusses how through his novel literary techniques Joyce is trying to redefine literature so that it becomes relevant to the modern age characterized by fragmentation and alienation. The paper looks at how the protagonist in the novel is trying do discover his artistic self but, in the process, discovers loneliness, because everything that society has to offer is outmoded and redundant. The paper also discusses how, apart from the strained techniques, the novel is also worthy for its rich symbolism, which exists on many planes, and for the significant allusions to literature and culture.
From the Paper "The novel describes the several stages by which it protagonist Stephen Dedalus discovers himself as an artist. In the process he takes refuge in the conventional identities provided by society in the various stages of his growing up. But Stephen is meant for greatness, and the conventional identities are only refuges for mediocrity, and this is what he discovers time and time again. The transition from one stage to the next is marked by epiphanies - sudden bouts of realization that transform the inner self. Apart from the many minor epiphanies that accompany the growing young man, there are two major such occasions. The first is his discovery of conventional faith. The second occurs when he comes to realize that the Church is a restricting influence, and that he must escape if he is to express himself as an artist. It occurs when he must make a choice between training to be a Catholic priest, or to enter the secular domain of university."
Abstract This paper analyzes Virgina Woolf's "Mrs. Dalloway" and James Joyce's "A Portrait of the Artist as a Young Man". The paper relates that both works are modernist works that depict the struggle between the world and the individual, between knowledge and consciousness. The paper further relates that the conflicts that the novels' protagonists, Clarissa and Stephen, experience represent this struggle and that these struggles are marked by the opposition between "freedom" and "imprisonment". Freedom is associated with the expression of individuality and imprisonment is connected to the demands of society. The paper substantiates the points made by describing the life experiences of the protagonists and the conclusions they come to about the lives they lead.
From the Paper "In A Portrait of the Artist as a Young Man, Stephen Dedalus goes through the same conflict as Clarissa but his conclusion is different in the end. From childhood, Stephen is conscious of the restrictions that the world places on his individual form of expression. Later in life, he likens those restrictions to chains that hold him from flying. The standards of society, derived from patriotism, culture and religion, constitute hindrances to free individual manifestations. Since Stephen is an artist, this reality affects him deeply, placing him in an equivocal position and creating a conflict between the values and beliefs of society and the values and beliefs of art. Social codes are challenged by the freedom that art inspires and by its vast scope and multiple possibilities. Thus, social values are seen as imprisoning and art as liberating. Stephen's conflict is marked by the sudden change from one extreme to the other. "
