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= A_Portrait_of_the_Artist_as_a_Young_Man =
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Introduction
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'A Portrait of the Artist as a Young Man' is the second book and first
novel of Irish writer James Joyce, published in 1916. A
'Künstlerroman' written in a modernist style, it traces the religious
and intellectual awakening of young Stephen Dedalus, Joyce's fictional
alter ego, whose surname alludes to Daedalus, Greek mythology's
consummate craftsman. Stephen questions and rebels against the
Catholic and Irish conventions under which he has grown, culminating
in his self-exile from Ireland to Europe. The work uses techniques
that Joyce developed more fully in 'Ulysses' (1922) and 'Finnegans
Wake' (1939).
'A Portrait' began life in 1904 as 'Stephen Hero'--a projected
63-chapter autobiographical novel in a realistic style. After 25
chapters, Joyce abandoned 'Stephen Hero' in 1907 and set to reworking
its themes and protagonist into a condensed five-chapter novel,
dispensing with strict realism and making extensive use of free
indirect speech that allows the reader to peer into Stephen's
developing consciousness. American modernist poet Ezra Pound had the
novel serialised in the English literary magazine 'The Egoist' in 1914
and 1915, and published as a book in 1916 by B. W. Huebsch of New
York. The publication of 'A Portrait' and the short story collection
'Dubliners' (1914) earned Joyce a place at the forefront of literary
modernism.
Background
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Born into a middle-class family in Dublin, Ireland, James Joyce
(1882-1941) excelled as a student, graduating from University
College, Dublin, in 1902. He moved to Paris to study medicine, but
soon gave it up. He returned to Ireland at his family's request as his
mother was dying of cancer. Despite her pleas, the impious Joyce and
his brother Stanislaus refused to make confession or take communion,
and when she passed into a coma they refused to kneel and pray for
her. After a stretch of failed attempts to get published and launch
his own newspaper, Joyce then took jobs teaching, singing and
reviewing books.
Joyce made his first attempt at a novel, 'Stephen Hero', in early
1904. That June he saw Nora Barnacle for the first time walking along
Nassau Street. Their first date was on June 16, the same date that his
novel 'Ulysses' takes place. Almost immediately, Joyce and Nora were
infatuated with each other and they bonded over their shared
disapproval of Ireland and the Church. Nora and Joyce eloped to
continental Europe, first staying in Zürich before settling for ten
years in Trieste (then in Austria-Hungary), where he taught English.
There Nora gave birth to their children, Giorgio in 1905 and Lucia in
1907, and Joyce wrote fiction, signing some of his early essays and
stories "Stephen ". The short stories he wrote made up the collection
'Dubliners' (1914), which took about eight years to be published due
to its controversial nature. While waiting for 'Dubliners' to be
published, Joyce reworked the core themes of the novel 'Stephen Hero'
he had begun in Ireland in 1904 and abandoned in 1907 into 'A
Portrait', published in 1916, a year after he had moved back to Zürich
in the midst of the First World War.
Composition
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At the request of its editors, Joyce submitted a work of philosophical
fiction entitled "A Portrait of the Artist" to the Irish literary
magazine 'Dana' on 7 January 1904. 'Dana's' editor, W. K. Magee,
rejected it, telling Joyce, "I can't print what I can't understand."
On his 22nd birthday, 2 February 1904, Joyce began a realist
autobiographical novel, 'Stephen Hero', which incorporated aspects of
the aesthetic philosophy expounded in 'A Portrait'. He worked on the
book until mid-1905 and brought the manuscript with him when he moved
to Trieste that year. Though his main attention turned to the stories
that made up 'Dubliners', Joyce continued to work on 'Stephen Hero'.
At 914 manuscript pages, Joyce considered the book about
half-finished, having completed 25 of its 63 intended chapters. In
September 1907, however, he abandoned it, and began a complete
revision of the text and its structure, producing what became 'A
Portrait of the Artist as a Young Man'. By 1909 the work had taken
shape and Joyce showed some of the draft chapters to Ettore Schmitz,
one of his language students, as an exercise. Schmitz, himself a
respected writer, was impressed and with his encouragement Joyce
continued to work on the book.thumb
In 1911, Joyce flew into a fit of rage over the continued refusals by
publishers to print 'Dubliners' and threw the manuscript of 'Portrait'
into the fire. It was saved by a "family fire brigade" including his
sister Eileen. 'Chamber Music', a book of Joyce's poems, was published
in 1907.
Joyce recycled the two earlier attempts at explaining his aesthetics
and youth, "A Portrait of the Artist" and 'Stephen Hero', as well as
his notebooks from Trieste concerning the philosophy of Thomas
Aquinas; they all came together in five carefully paced chapters.
'Stephen Hero' is written from the point of view of an omniscient
third-person narrator, but in 'A Portrait' Joyce adopts the free
indirect style, a change that reflects the moving of the narrative
centre of consciousness firmly and uniquely onto Stephen. Persons and
events take their significance from Stephen, and are perceived from
his point of view. Characters and places are no longer mentioned
simply because the young Joyce had known them. Salient details are
carefully chosen and fitted into the aesthetic pattern of the novel.
The transition from 'Stephen Hero' to 'A Portrait' has been
characterized as a radical, uncompromising act of refinement: "[T]he
original elements of Joyce's first novel, particularly the characters,
are subjected to a process of compression and distillation that
rejects all irrelevancies, all particularities and ambiguities, and
leaves only their pure essence."
Publication history
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In 1913, W. B. Yeats sent the poem 'I Hear an Army' by James Joyce to
Ezra Pound, who was assembling an anthology of Imagist verse entitled
'Des Imagistes'. Pound wrote to Joyce, and in 1914 Joyce submitted the
first chapter of the unfinished 'Portrait' to Pound, who was so taken
with it that he pressed to have the work serialised in the London
literary magazine 'The Egoist'. Joyce hurried to complete the novel,
and it appeared in 'The Egoist' in twenty-five installments from 2
February 1914 to 1 September 1915.
There was difficulty finding a British publisher for the finished
novel, so Pound arranged for its publication by an American publishing
house, B. W. Huebsch, which issued it on 29 December 1916. The Egoist
Press republished it in the United Kingdom on 12 February 1917 and
Jonathan Cape took over its publication in 1924. In 1964 Viking Press
issued a corrected version overseen by Chester Anderson that drew upon
Joyce's manuscript, list of corrections, and marginal corrections to
proof sheets. This edition is "Widely regarded as reputable and the
'standard' edition." As of 2004, the fourth printing of the Everyman's
Library edition, the Bedford edition, and the Oxford World's Classics
edition used this text. Garland released a "copy text" edition by Hans
Walter Gabler in 1993.
Major characters
======================================================================
Source:
* Stephen Dedalus - The main character of 'A Portrait of the Artist as
a Young Man'. Growing up, Stephen goes through long phases of hedonism
and deep religiosity. He eventually adopts a philosophy of
aestheticism, greatly valuing beauty and art. Stephen is essentially
Joyce's alter ego, and many of the events of Stephen's life mirror
events from Joyce's own youth. His surname is taken from the ancient
Greek mythical figure Daedalus, who also engaged in a struggle for
autonomy.
* Simon Dedalus - Stephen's father, an impoverished former medical
student with a strong sense of Irish nationalism. Sentimental about
his past, Simon Dedalus frequently reminisces about his youth. Loosely
based on Joyce's own father and their relationship.
* Mary Dedalus - Stephen's mother who is very religious and often
argues with Stephen about attending services.
* Emma Clery - Stephen's beloved, the young girl to whom he is
fiercely attracted over the course of many years. Stephen constructs
Emma as an ideal of femininity, even though (or because) he does not
know her well.
* Charles Stewart Parnell - An Irish political leader who is not an
actual character in the novel, but whose death influences many of its
characters. Parnell had powerfully led the Irish Parliamentary Party
until he was driven out of public life after his affair with a married
woman was exposed.
* Cranly - Stephen's best friend at university, in whom he confides
some of his thoughts and feelings. In this sense Cranly represents a
secular confessor for Stephen. Eventually Cranly begins to encourage
Stephen to conform to the wishes of his family and to try harder to
fit in with his peers, advice that Stephen fiercely resents. Towards
the conclusion of the novel he bears witness to Stephen's exposition
of his aesthetic philosophy. It is partly due to Cranly that Stephen
decides to leave, after witnessing Cranly's budding (and reciprocated)
romantic interest in Emma.
* Dante (Mrs. Riordan) - The governess of the Dedalus children. She is
very intense and a dedicated Catholic.
* Lynch - Stephen's friend from university who has a rather dry
personality.
Synopsis
======================================================================
The childhood of Stephen Dedalus is recounted using vocabulary that
changes as he grows, in a voice not his own but sensitive to his
feelings. The reader experiences Stephen's fears and bewilderment as
he comes to terms with the world in a series of disjointed episodes.
Stephen attends the Jesuit-run Clongowes Wood College, where the
apprehensive, intellectually gifted boy suffers the ridicule of his
classmates while he learns the schoolboy codes of behaviour. While he
cannot grasp their significance, at a Christmas dinner he is witness
to the social, political and religious tensions in Ireland involving
Charles Stewart Parnell, which drive wedges between members of his
family, leaving Stephen with doubts over which social institutions he
can place his faith. Back at Clongowes, word spreads that a number of
older boys have been caught "smugging" (the term refers to the secret
homosexual horseplay that five students were caught at); discipline is
tightened, and the Jesuits increase use of corporal punishment.
Stephen is strapped when one of his instructors believes he has broken
his glasses to avoid studying, but, prodded by his classmates, Stephen
works up the courage to complain to the rector, Father Conmee, who
assures him there will be no such recurrence, leaving Stephen with a
sense of triumph.
Stephen's father gets into debt and the family leaves its pleasant
suburban home to live in Dublin. Stephen realises that he will not
return to Clongowes. However, thanks to a scholarship obtained for him
by Father Conmee, Stephen is able to attend Belvedere College, where
he excels academically and becomes a class leader. Stephen squanders a
large cash prize from school, and begins to see prostitutes, as
distance grows between him and his drunken father.
As Stephen abandons himself to sensual pleasures, his class is taken
on a religious retreat, where the boys sit through sermons. Stephen
pays special attention to those on pride, guilt, punishment and the
Four Last Things (death, judgement, Hell, and Heaven). He feels that
the words of the sermon, describing horrific eternal punishment in
hell, are directed at himself and, overwhelmed, comes to desire
forgiveness. Overjoyed at his return to the Church, he devotes himself
to acts of ascetic repentance, though they soon devolve to mere acts
of routine, as his thoughts turn elsewhere. His devotion comes to the
attention of the Jesuits, and they encourage him to consider entering
the priesthood. Stephen takes time to consider, but has a crisis of
faith because of the conflict between his spiritual beliefs and his
aesthetic ambitions. Along Dollymount Strand he spots a girl wading,
and has an epiphany in which he is overcome with the desire to find a
way to express her beauty in his writing.
As a student at University College, Dublin, Stephen grows increasingly
wary of the institutions around him: Church, school, politics and
family. In the midst of the disintegration of his family's fortunes
his father berates him and his mother urges him to return to the
Church. An increasingly dry, humourless Stephen explains his
alienation from the Church and the aesthetic theory he has developed
to his friends, who find that they cannot accept either of them.
Stephen concludes that Ireland is too restrictive to allow him to
express himself fully as an artist, so he decides that he will have to
leave. He sets his mind on self-imposed exile, but not without
declaring in his diary his ties to his homeland:
Style
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The novel is a Bildungsroman and captures the essence of character
growth and understanding of the world around him. The novel mixes
third-person narrative with free indirect speech, which allows both
identification with and distance from Stephen. The narrator refrains
from judgement. The omniscient narrator of the earlier 'Stephen Hero'
informs the reader as Stephen sets out to write "some pages of sorry
verse", while 'A Portrait' gives only Stephen's attempts, leaving the
evaluation to the reader.
The novel is written primarily as a third-person narrative with
minimal dialogue until the final chapter. This chapter includes
dialogue-intensive scenes alternately involving Stephen, Davin and
Cranly. An example of such a scene is the one in which Stephen posits
his complex Thomist aesthetic theory in an extended dialogue.
According to Sanders, "… it is the eucharistic theology of Thomas
Aquinas that most determines the complex aesthetics that Stephen
expounds. Although his faith is replaced by scrupulous doubt, Stephen
retains an insistent Jesuit authoritarianism in his arguments about
definitions of beauty. As the latter stages of the story affirm,
Stephen assumes a new priesthood, that of the artist". Joyce employs
first-person narration for Stephen's diary entries in the concluding
pages of the novel, perhaps to suggest that Stephen has finally found
his own voice and no longer needs to absorb the stories of others.
Joyce fully employs the free indirect style to demonstrate Stephen's
intellectual development from his childhood, through his education, to
his increasing independence and ultimate exile from Ireland as a young
man. The style of the work progresses through each of its five
chapters, as the complexity of language and Stephen's ability to
comprehend the world around him both gradually increase. The book's
opening pages communicate Stephen's first stirrings of consciousness
when he is a child. Throughout the work language is used to describe
indirectly the state of mind of the protagonist and the subjective
effect of the events of his life.
The writing style is notable also for Joyce's omission of quotation
marks: he indicates dialogue by beginning a paragraph with a dash, as
is commonly used in French, Spanish or Russian publications.
The first two pages of 'A Portrait' introduce many of the novel's key
motifs, and have been shown to "enact the entire action in microcosm".
Joyce introduced the concept of "epiphany" in 'Stephen Hero' to
preface a discussion of Thomas Aquinas's three criteria of beauty,
wholeness, harmony, and radiance: when the object "seems to us
radiant, [it] achieves its epiphany". The term is not used when
Stephen Dedalus explains his aesthetic theory in 'A Portrait'.
Joyce critics, however, have used it freely when discussing the novel
as well as 'Ulysses' and 'Finnegans Wake'. One critic has identified
four distinct epiphany techniques in Joyce's fiction, saying of 'A
Portrait' that "in at least three instances an epiphany helps Stephen
decide on the future courses of this life".
Stephen Dedalus's aesthetic theory identifies three forms of literary
art: lyric, epic, and dramatic. The Canadian scholar Hugh
Kenner saw the three forms of literary art as a progression that
applies to his novels, with 'A Portrait' being
lyric, 'Ulysses' epic, and 'Finnegans
Wake' dramatic. William York Tindall has noted that other critics
have applied the three forms differently, some finding all Joyce's
works dramatic, one finding all three forms in 'A Portrait', another
finding them in 'Ulysses' "with more justification from the text
perhaps". Tindall has speculated on how they might apply to 'A
Portrait', Stephen being "lyric in his attitude toward himself", Joyce
being dramatic in his attitude toward Stephen, so that at times "he is
the author of a dramatic book about a lyric hero", while at other
times he is an ironist and so "seems epic... standing between audience
and victim".
Identity
==========
As a narrative which depicts a character throughout his formative
years, M. Angeles Conde-Parrilla posits that identity is possibly the
most prevalent theme in the novel. Towards the beginning of the novel,
Joyce depicts the young Stephen's growing consciousness, which is said
to be a condensed version of the arc of Dedalus' entire life, as he
continues to grow and form his identity. Stephen's growth as an
individual character is important because through him Joyce laments
Irish society's tendency to force individuals to conform to types,
which some say marks Stephen as a modernist character. Themes that run
through Joyce's later novels find expression there.
Religion
==========
As Stephen transitions into adulthood, he leaves behind his Catholic
religious identity, which is closely tied to the national identity of
Ireland. His rejection of this dual identity is also a rejection of
constraint and an embrace of freedom in identity. Furthermore, the
references to Dr Faustus throughout the novel conjure up something
demonic in Stephen renouncing his Catholic faith. When Stephen stoutly
refuses to serve his Easter duty later in the novel, his tone mirrors
characters like Faust and Lucifer in its rebelliousness.
In Catholicism, "Eucharist" refers both to the act of Consecration, or
transubstantiation, and its product, the body and blood of Christ
under the appearances of bread and wine. It is the Church's central
sacrament. Stephen uses it to dramatize his apostasy. He refuses to
take communion during Easter time, every Catholic's duty, to show he
is a Catholic no longer. He notes that the Eucharist is "a symbol
behind which are massed twenty centuries of authority and veneration".
Stephen parallels the literary artist with the Catholic priest and
literary art with the Eucharist, both the act and the product. He sees
himself as "The priest of eternal imagination transmuting the daily
bread of experience into the radiant body of everliving life."
Myth of Daedalus
==================
The myth of Daedalus and Icarus has parallels in the structure of the
novel, and gives Stephen his surname, as well as the epigraph
containing a quote from Ovid's 'Metamorphoses'. According to Ivan
Canadas, the epigraph may parallel the heights and depths that end and
begin each chapter, and can be seen to proclaim the interpretive
freedom of the text. Stephen's surname being connected to Daedalus may
also call to mind the theme of going against the status quo, as
Daedalus defies the King of Crete.
Irish identity
================
Stephen's struggle to find identity in the novel parallels the Irish
struggle for independence during the early twentieth century. He
rejects any outright nationalism, and is often prejudiced toward those
that use Hiberno-English, which was the marked speech patterns of the
Irish rural and lower-class. However, he is also heavily concerned
with his country's future and understands himself as an Irishman,
which then leads him to question how much of his identity is tied up
in said nationalism.
The artist
============
Richard Ellmann wrote that Joyce "recognized his theme, the portrait
of the renegade Catholic artist as hero". Critics have examined his
debt to the Church theologian Thomas Aquinas for Stephen Dedalus's
aesthetic theory. It's been argued that the theory also draws upon
Catholicism's central doctrines in each of its two parts: the first
concerned with the artist's intellect, the second with his
imagination. Catholic theology distinguishes between God's activity in
eternity, His begetting of the Son, the Word, and His activity in
time: the Creation (soul and body), the Incarnation--the Word made
flesh--and the Consecration in the Mass. Stephen uses Aquinas's
application of the three criteria of beauty to the Son of God in
eternity to model the artist's act of understanding--"epiphany" in
'Stephen Hero'--and then uses the Creation to model the artist's act
of (re)embodiment. In his reveries later, Stephen completes his
aesthetic theory by also likening the artist to God at the Incarnation
and, in the person of His priest, at the Consecration.
Critical reception
======================================================================
'A Portrait' won Joyce a reputation for his literary skills, as well
as a patron, Harriet Shaw Weaver, the business manager of 'The
Egoist'.
In 1916, in his reader's report to Duckworth & Co., Publishers,
Edward Garnett wrote that, to make it publishable, 'A Portrait of the
Artist as a Young Man' needed to undergo extensive revision,
especially at the beginning and the end. The public would call the
book "as it stands at present, realistic, unprepossessing,
unattractive". He said it was "ably written" and "arouse[d] interest
and attention", and he approved of the rendering of the period and the
characterizations. But he found the novel "too discursive, formless,
unrestrained, and ugly things, ugly words, are too prominent". He
concluded that the "author shows us he has art, strength and
originality", but needed "to shape [his novel] more carefully as the
product of the craftsmanship, mind and imagination of an artist".
In 1917 H. G. Wells wrote that "one believes in Stephen Dedalus as one
believes in few characters in fiction", while warning readers of
Joyce's "cloacal obsession", his insistence on the portrayal of bodily
functions that Victorian morality had banished from print.
In 1917 Ezra Pound wrote, "James Joyce produces the nearest thing to
Flaubertian prose that we now have in English." 'A Portrait of the
Artist as a Young Man' "will remain a permanent part of English
literature." He went on to further praise Joyce for writing in accord
with Imagist standards: "Apart from Mr. Joyce's realism... apart from,
or a piece with, all this is style, the actual writing: hard
clear-cut, with no waste of words, no bungling up of useless phrases,
no filling in with pages of slosh."
The following year Pound wrote, "[Joyce] has his scope beyond that of
the novelists his contemporaries, in just so far as whole stretches of
his keyboard are utterly outside of their compass." He continued,
"[In] 'A Portrait of the Artist as a Young Man' there is no omission;
there is nothing in life so beautiful that Joyce cannot touch it
without profanation--without, above all, the profanations of sentiment
and sentimentality--and there is nothing so sordid that he cannot
treat it with metallic exactitude."
In 1927 E. M. Forster wrote, "[Joyce] has shown (especially in the
'Portrait of the Artist') an imaginative grasp of evil. But he
undermines the universe in too work-manlike a manner, looking round
for this tool or that: in spite of all his internal looseness he is
too tight, he is never vague except after due deliberation; it is
talk, talk, never song."
In 1927 Wyndham Lewis criticized Joyce's diction in a sentence from
chapter 2 of 'A Portrait':
Fifty years later, Hugh Kenner used Lewis's criticism to formulate
what he called the Uncle Charles Principle. "Repaired" and "brushed
scrupulously" are words Uncle Charles himself would use to describe
what he was doing. Kenner argued, "This is apparently new in fiction,
the normally neutral narrative vocabulary invaded by little clouds of
idioms which a character might use if he were managing the narrative.
In Joyce's various extensions of this device we have one clue to the
manifold styles of 'Ulysses'."
Kenner, writing in 1948, was critical of Stephen Dedalus, the
protagonist of 'A Portrait', arguing that he "does not become an
artist at all... but an aesthete" and "to take him seriously is very
hard indeed". Kenner lamented, "[I]t is painful to be invited to close
the book with an indigestibly Byronic hero stuck in our throats."
A later version of Kenner's 1948 essay appeared in his first book on
Joyce published in 1955.
Writing in 1959, William York Tindall was also critical of Stephen
Dedalus, saying "he never sees himself entirely". Tindall regretted
Stephen's "failure to realize himself", adding that "this is attended
to in 'Ulysses', which makes 'A Portrait' seem preliminary sketch."
In 1963 S. L. Goldberg took issue with Kenner's negative appraisal of
Stephen, conceding that "Mr. Kenner is certainly right in pointing to
the irony with which Joyce views him in both the 'Portrait' and
'Ulysses'", but faulting him for concluding that in doing so Joyce is
rejecting Stephen himself. For Goldberg, Joyce's "irony is a
qualifying criticism, which does not imply a total rejection".
Adaptations
======================================================================
A film version adapted for the screen by Judith Rascoe and directed by
Joseph Strick was released in 1977. It features Bosco Hogan as Stephen
Dedalus and T. P. McKenna as Simon Dedalus. John Gielgud plays Father
Arnall, the priest whose lengthy sermon on Hell terrifies the teenage
Stephen.
The first stage version was produced by Léonie Scott-Matthews at
Pentameters Theatre in 2012 using an adaptation by Tom Neill.
Hugh Leonard's stage work 'Stephen D' is an adaptation of 'A Portrait
of the Artist as a Young Man' and 'Stephen Hero'. It was first
produced at the Gate Theatre during the Dublin Theatre Festival of
1962.
As of 2017 computer scientists and literature scholars at University
College Dublin, Ireland are in a collaboration to create the
multimedia version of this work, by charting the social networks of
characters in the novel. Animations in the multimedia editions express
the relation of every character in the chapter to the others.
Works cited
=============
*
*
*
*
*
*
*
* [
http://Hugh%20Kenner Kenner, Hugh]. 'Dublin's Joyce'. Chatto &
Windus, 1955.
*
*
* Scholes, Robert and Richard M. Kain eds. 'The Workshop of Daedalus:
James Joyce and the Raw Materials for "A Portrait of the Artist as a
Young Man.'" Northwestern University Press, 1965. pp 56-68
*
*
Further reading
======================================================================
* Anderson, Chester G., ed. 'A Portrait of the Artist as a Young
Man:Text, Criticism, and Notes.' Penguin, 1968.
* Attridge, Derek, ed. 'The Cambridge Companion to James Joyce', 2nd
edition, Cambridge UP, 2004. .
* Bloom, Harold. 'James Joyce's A Portrait of the Artist as a Young
Man'. New York: Chelsea House, 1988. .
* Brady, Philip and James F. Carens, eds. 'Critical Essays on James
Joyce's A Portrait of the Artist as a Young Man'. New York: G. K.
Hall, 1998. .
* Doherty, Gerald. 'Pathologies of Desire: The Vicissitudes of the
Self in James Joyce's A Portrait of the Artist as a Young Man'. New
York: Peter Lang, 2008. .
* Empric, Julienne H. 'The Woman in the Portrait: The Transforming
Female in James Joyce's A Portrait of the Artist as a Young Man'. San
Bernardino, CA: Borgo Press, 1997. .
* Epstein, Edmund L. 'The Ordeal of Stephen Dedalus: The Conflict of
Generations in James Joyce's A Portrait of the Artist as a Young Man'.
Carbondale: Southern Illinois UP, 1971. .
* Gottfried, Roy K. 'Joyce's Comic Portrait'. Gainesville: University
Press of Florida, 2000. .
* Hancock, Leslie. 'Word Index to James Joyce's Portrait of the
Artist'. Carbondale: Southern Illinois UP, 1967.
* Harkness, Marguerite. 'Portrait of the Artist as a Young Man:
Voices of the Text'. Boston: Twayne, 1989. .
* McLaren, Stephen. 'Reframing A Portrait of the Artist: Joyce and
the Phenomenological Imagination'. Champaign, IL: Common Ground
Publishing, 2015. .
* Morris, William E. and Clifford A. Nault, eds. 'Portraits of an
Artist: A Casebook on James Joyce's Portrait'. New York: Odyssey,
1962.
* Scholes, Robert and Richard M. Kain, eds. 'The Workshop of Daedalus:
James Joyce and the Raw Materials for A Portrait of the Artist as a
Young Man'. Evanston, IL: Northwestern University Press, 1965.
* Schutte, William M., ed. 'Twentieth Century Interpretations of A
Portrait of the Artists as a Young Man: A Collection of Critical
Essays'. Englewood Cliffs, NJ, 1968. .
* Seed, David. 'James Joyce's A Portrait of the Artist as a Young
Man'. New York: St. Martin's Press, 1992. .
* Staley, Thomas F. and Bernard Benstock, ed. 'Approaches to Joyce's
Portrait: Ten Essays'. Pittsburgh: University of Pittsburgh Press,
1976. .
* Thornton, Weldon. 'The Antimodernism of Joyce's A Portrait of the
Artist as a Young Man'. Syracuse, NY: Syracuse UP, 1994. .
*Tindall, William York. 'James Joyce: His Way of Interpreting the
Modern World.' New York: Charles Scribner's Sons, 1950
* Wollaeger, Mark A., ed. 'James Joyce's A Portrait of the Artist as
a Young Man: A Casebook'. Oxford and New York: Oxford UP, 2003. .
* Yoshida, Hiromi. 'Joyce & Jung: The "Four Stages of Eroticism"
in A Portrait of the Artist as a Young Man'. 2nd edition. New York:
Peter Lang, 2022. .
External links
======================================================================
*
*
* [
https://archive.org/details/portraitofartist00joycrich Digitized
copy of the first edition] from Internet Archive
*
* [
http://www.sparknotes.com/lit/portraitartist/ Study guide] from
SparkNotes
* [
http://www.bl.uk/works/a-portrait-of-the-artist-as-a-young-man 'A
Portrait of the Artist as a Young Man'] at the British Library
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