Personae in A Portrait Through the Use of Language

• Název práce v češtině: Personae v Portrétu v použitém jazyku
• Název v anglickém jazyce: Personae in A Portrait Through the Use of Language
• Klíčová slova: peronae, language, Joyce, A Portrait, Stephen Dedalus, child, romantic, the Church, artist
• Klíčová slova anglicky: peronae, language, Joyce, A Portrait, Stephen Dedalus, child, romantic, the Church, artist
• Akademický rok vypsání: 2008/2009
• Typ práce: bakalářská práce
• Jazyk práce: angličtina
• Ústav: Ústav anglofonních literatur a kultur (21-UALK)
• Vedoucí / školitel: Louis Armand, Ph.D.
• Řešitel: skrytý - zadáno a potvrzeno stud. odd.
• Datum přihlášení: 16.11.2010
• Datum zadání: 16.11.2010
• Schválení administrátorem: zatím neschvalováno
• Datum a čas obhajoby: 12.09.2011 00:00
• Datum odevzdání elektronické podoby: 21.08.2011
• Datum proběhlé obhajoby: 12.09.2011
• Odevzdaná/finalizovaná: odevzdaná studentem a finalizovaná
• Oponenti: Mgr. David Vichnar, Ph.D.

Zásady pro vypracování

Stephen Dedalus as he appears in Joyce's A portrait of the Artist as a Young Man poses significant difficulties when handling as a coherent literary figure which leads to many opposing and contradictory views. This thesis tries to discuss Stephen from the point of his different stages, called personae, and how these can be seen in the language employed. Four main phases and four main linguistic styles can be traced: Stephen the child, Stephen the romantic, Stephen the Church-goer and Stephen of the last chapter. However, it should be clear that, apart from the first one, which seems more straightforward, the personae of A Portrait are not that clearly separated. The romantic and religious phases shift from one to the other, reflecting Stephen’s emotional turmoil and struggle. The last stage of his development is a mixture of new techniques and both left-over and reworked language attempts, encountered in the earlier phases. The linguistic properties themselves are manifested through repetition, childish expressions, use of modality and questions in the first persona. The romantic one then draws Byronic and other 19^th-century parallels, for instance overuse of adjectives, elevated metaphors and frequent occurrence of standard poetic tropes. The language of the Church is reflected in sermon-like repetition, archaic words, biblical expressions and heavy diction. The last phase tries to use precise technical terms in an imitation of Thomist and other scholastic texts and manages to incorporate many of the previous elements as well, although often in a self-mocking way. It points to a new development of Stephen where he seems to be in more and above all conscious control over the text. At the same time due to the insistence of the language on itself, the environment and surrounding of Stephen withdraws before his first true artistic proclamations. In general, such treatment of A Portrait realised in detail examination of the language and styles Joyce uses creates many possibilities for further discussions and reveals that the fact that it is productive and meaningful to have a certain disagreement between the form and the content.

Seznam odborné literatury

Bibliography

By Joyce:
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---. Stephen Hero. New York: New Directions Books, 1963.
---. “A Portrait of the Artist.” A Portrait of the Artist as a Young Man. Ed. Chester G. Anderson. New York: Viking Penguin Inc., 1977.

Joyce-related:
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Blamires, Harry. York Notes on A Portrait of the Artist as a Young Man. Harlow: Longman York Press, 1988.
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---. Eminent Domain. New York: Oxford University Press, 1970.
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Kenner, Hugh. Dublin’s Joyce. New York: Columbia University Press, 1987.
---. Joyce's Voices. Rochester: Dalkey Archive, 2007.
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