James Joyce and the Life Cycle: The Unfolded Picture

Joyce in his fiction ambitiously attempted to capture the whole of the human life cycle “from infancy through maturity to decay,” as he graphically phrases it in Ulysses (697). Beginning with the child’s earliest memories in A Portrait of an Artist as a Young Man and progressing through the vicissitudes of childhood, recorded in that novel along with the early stories in Dubliners, Joyce went on to analyze adolescence and early adulthood in the middle storiesin Dubliners, as well as in the bulk of A Portrait of an Artist as a Young Man. He then memorably depicted the middle mature years in his portrait of Leopoldand Molly Bloom in Ulysses. Finally, he pictured the evening of life in “The Dead” and its end and re-beginning in Finnegans Wake. Joyce’s works taken asa whole from A Portrait of the Artist as a Young Man and Dubliners through Ulysses and Exiles to Finnegans Wake – embody Erik Erickson’s “meaningfulinterplay between beginning and end as well as some finite sense of summary and, possibly, a more active anticipation of dying.”Joyce in his fiction ambitiously attempted to capture the whole of the human life cycle “from infancy through maturity to decay,” as he graphically phrases it in Ulysses (697). Beginning with the child’s earliest memories in A Portrait of an Artist as a Young Man and progressing through the vicissitudes of childhood, recorded in that novel along with the early stories in Dubliners, Joyce went on to analyze adolescence and early adulthood in the middle storiesin Dubliners, as well as in the bulk of A Portrait of an Artist as a Young Man. He then memorably depicted the middle mature years in his portrait of Leopoldand Molly Bloom in Ulysses. Finally, he pictured the evening of life in “The Dead” and its end and re-beginning in Finnegans Wake. Joyce’s works taken asa whole from A Portrait of the Artist as a Young Man and Dubliners through Ulysses and Exiles to Finnegans Wake – embody Erik Erickson’s “meaningfulinterplay between beginning and end as well as some finite sense of summary and, possibly, a more active anticipation of dying.

Crisis of Identity in a Portrait of the Artist As a Young Man

Bu makale, James Joyce’un A Portrait of the Artist as a Young Man adlı romanında kimlik oluşumu ile ilgili iki zıt görüşü irdeler. Yazar, ilk önce sosyal kurumları, kültür, din ve politikayı toplum içinde bireyin davranışlarını etkileyen bir karmaşık ilişkiler bütünü olarak görür. Dolayısıyla, Joyce, romanın baş kahramanı Stephen Dedalus’un görüşlerini kullanarak bireylerin kendilerini özgürce ifade edebilmelerini engeleyen 19.yüzyıl İrlanda toplumundaki sosyal kurumları eleştirir. Makale, daha sonra Stephen Dedalus’un toplum ve kendi kmligi ile ilgili görüşlerinin değişmesine ve geleneksel kimliğinin ötesinde modernist bir kimlik kazanmasına yardımcı olan öznellik (subjectivity) görüşü üzerinde yoğunlaşır. Geleneksel dünya görüşünü kabul etmeyen Stephen Dedalus, sanatı kullanarak kendi kimliğini ve dünya görüşünü kendi kendine bulmaya çalışır.This paper examines two opposing views in terms of the construction of identity in James Joyce's A Portrait of the Artist as a Young Man. First, Joyce sees the complex sense of historical forces, social institutions, culture, religion and politics as influencing both the perception and behaviors of individuals in the late nineteenth-century Irish society. Through the views of his fictional character, Stephen Dedalus, therefore, Joyce criticizes the "nets" of the Irish society, which limit individuals, never letting them express themselves freely. Secondly, the paper focuses upon the shift in the sensibility and perception of Stephen Dedalus. This shift enables him to expand psychologically and transcend not only beyond the actual experience of the physical world for an ideal view of life but also beyond the fixity of the traditional perception of identity. The paper suggests that Stephen Dedalus is a modernist character: he seeks his own identity and meaning in the complexity of modern experience through art, rather than accepting the identity given to him by traditional society and culture

Crisis of Identity in a Portrait of the Artist As a Young Man

Bu makale, James Joyce’un A Portrait of the Artist as a Young Man adlı romanında kimlik oluşumu ile ilgili iki zıt görüşü irdeler. Yazar, ilk önce sosyal kurumları, kültür, din ve politikayı toplum içinde bireyin davranışlarını etkileyen bir karmaşık ilişkiler bütünü olarak görür. Dolayısıyla, Joyce, romanın baş kahramanı Stephen Dedalus’un görüşlerini kullanarak bireylerin kendilerini özgürce ifade edebilmelerini engeleyen 19.yüzyıl İrlanda toplumundaki sosyal kurumları eleştirir. Makale, daha sonra Stephen Dedalus’un toplum ve kendi kmligi ile ilgili görüşlerinin değişmesine ve geleneksel kimliğinin ötesinde modernist bir kimlik kazanmasına yardımcı olan öznellik (subjectivity) görüşü üzerinde yoğunlaşır. Geleneksel dünya görüşünü kabul etmeyen Stephen Dedalus, sanatı kullanarak kendi kimliğini ve dünya görüşünü kendi kendine bulmaya çalışır.This paper examines two opposing views in terms of the construction of identity in James Joyce's A Portrait of the Artist as a Young Man. First, Joyce sees the complex sense of historical forces, social institutions, culture, religion and politics as influencing both the perception and behaviors of individuals in the late nineteenth-century Irish society. Through the views of his fictional character, Stephen Dedalus, therefore, Joyce criticizes the "nets" of the Irish society, which limit individuals, never letting them express themselves freely. Secondly, the paper focuses upon the shift in the sensibility and perception of Stephen Dedalus. This shift enables him to expand psychologically and transcend not only beyond the actual experience of the physical world for an ideal view of life but also beyond the fixity of the traditional perception of identity. The paper suggests that Stephen Dedalus is a modernist character: he seeks his own identity and meaning in the complexity of modern experience through art, rather than accepting the identity given to him by traditional society and culture

Distance by Degrees: Translating A Portrait of the Artist as a Young Man

This article aims to present a personal view of the challenges involved in a new translation of Joyce’s first novel to Brazilian Portuguese, which will be the fifth to be published in Brazil since the pioneer work of JoséGeraldo Vieira in 1945. The category of “distance” will be employed to nuance the ideas of “domesticating” and “foreignizing” throughout the text, trying to demonstrate not only that the core of Joyce’s aesthetic project, as it can be seen in this novel, already questions stable positions and purely polar oppositions, but also that it posits possible solutions.Keywords: Translation; James Joyce; Lawrence Venut

I is an Other : An Exploration of the Development of Childhood and Adolescent Self-Concept

A multidisciplinary project that combines original empirical research with an analysis of two Modernist novels, The Waves by Virginia Woolf and A Portrait of the Artist as a Young Man by James Joyce