A Portrait of the Artist as a Young Man

750:

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.

282: 696:, 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: 875:, 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." 685:(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 34: 432: 669: 381: 3573: 477:, 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. 842:

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.

649:, which drive wedges between members of his family, leaving Stephen with doubts over which social institutions he can place his faith in. 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 329:), where he taught English. In March 1905, Joyce was transferred to the Berlitz School In Trieste, presumably because of threats of spies in Austria. There Nora gave birth to their children, Giorgo in 1905 and Lucia in 1907, and Joyce wrote fiction, signing some of his early essays and stories "Stephen Daedalus". The short stories he wrote made up the collection 576:. 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 893:. 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. 965:

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 more carefully as the product of the craftsmanship, mind and imagination of an artist".

1051:

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

600:

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

488:

has been characterized as a radical, uncompromising act of refinement: “the 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

964:

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 interest and attention", and he approved of the rendering of the period and the

921:

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

552:

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

292:

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

3576: 841:

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

749:

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

636:

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

850:

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

645:, 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 828:, 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". 601:

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.

597:– 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. 906:, 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. 1020:) 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." 297:

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.

1008:

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."

1197:

A friend of Stephen's from university. Davin is a countryman, with a simple but solid character. Stephen appreciates him for his athletic abilities, but does not share his blind faith in the Irish patriotic cause, into which his friend tries to convert

420:. 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 660:

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

934:—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. 583:

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

1063:, arguing that he "does not become an artist at all... but an aesthete" and "to take him seriously is very hard indeed". Kenner lamented, "t is painful to be invited to close the book with an indigestibly Byronic hero stuck in our throats." 217:'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 1155:

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.

999:

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."

740:

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

2651:

A publisher rejected in 1916 for being "discursive, formless, unrestrained" and needing to be "pulled into shape". It had cost Joyce years of effort to pull it out of the shape in which the unfinished first version

901:

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

855:

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

590:

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

33: 4205: 773:'s three criteria of beauty, wholeness, harmony, and radiance: when the object "seems to us radiant, achieves its epiphany". The term isn't used when Stephen Dedalus explains his aesthetic theory in 680:

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

1003:

The following year Pound wrote, " 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, "

753:

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.

665:, 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. 617:

Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo ...

1084:

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

1092:", 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". 653:. 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 313:

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

4343: 1073:

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

410:. 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 1052:

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

428:, 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. 400:, 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, 930:. 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 3115: 1100: 245:

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

917:

wrote that Joyce "recognized his theme, the portrait of the renegade Catholic artist as hero". Critics have examined his debt to the Church theologian

1816: 388:

At the request of its editors, Joyce submitted a work of philosophical fiction entitled "A Portrait of the Artist" to the Irish literary magazine

3992: 700:... I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. 536:

There was difficulty finding a British publisher for the finished novel, so Pound arranged for its publication by an American publishing house,

4333: 3928: 816:

has noted that other critics have applied the three forms differently, some finding all Joyce's works dramatic, one finding all three forms in

20: 2921: 689:

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.

2186:

Conde-Parrilla, M Angeles. “Hiberno-English and Identity in Joyce’s A Portrait.” Language & Literature. 22.1 (2013): 102. Print.

4308: 4005: 887:

has parallels in the structure of the novel, and gives Stephen his surname, as well as the epigraph containing a quote from Ovid's

796:

Stephen Dedalus's aesthetic theory identifies three forms of literary art: lyric, epic, and dramatic. The Canadian scholar

4303: 3626: 3522: 3507: 3482: 3467: 3452: 3437: 3408: 3393: 3371: 3356: 3341: 3326: 3311: 3234: 3213: 3181: 3127: 3104: 3043: 3022: 2999: 2731: 2644: 2393: 2374: 1422: 1388: 1247: 972:

wrote that "one believes in Stephen Dedalus as one believes in few characters in fiction", while warning readers of Joyce's "

4338: 3537: 2958: 2097: 2528: 2872: 2468: 1971: 1845: 3837: 3296: 3278: 2681: 2288:“A Portrait of the Artist as a Young Man: James Joyce, the Myth of Icarus, and the Influence of Christopher Marlowe." 2163: 1781: 1432: 1398: 540:, which issued it on 29 December 1916. The Egoist Press republished it in the United Kingdom on 12 February 1917 and 2552: 2338:"A Portrait of the Artist as a Young Man: James Joyce, the Myth of Icarus, and the Influence of Christopher Marlowe" 995:"will remain a permanent part of English literature." He went on to further praise Joyce for writing in accord with 4212: 3349:

The Ordeal of Stephen Dedalus: The Conflict of Generations in James Joyce's A Portrait of the Artist as a Young Man

927: 864: 4051: 2847: 2557:. Lewisburg, London and Toronto: Bucknell University Press, Associated University Presses. pp. 19–20, 50–51. 2493: 2683:"At Last the Novel Appears." Pound/Joyce; the letters of Ezra Pound to James Joyce, with Pound's essays on Joyce 4328: 3261: 2562: 523:

to Pound, who was so taken with it that he pressed to have the work serialised in the London literary magazine

455:

Joyce recycled the two earlier attempts at explaining his aesthetics and youth, "A Portrait of the Artist" and

3430:

Twentieth Century Interpretations of A Portrait of the Artists as a Young Man: A Collection of Critical Essays

721:, which allows both identification with and distance from Stephen. The narrator refrains from judgement. The 309:

for the first time walking along Nassau Street. Their first date was on June 16, the same date that his novel

4323: 3763: 587:

Mary Dedalus – Stephen's mother who is very religious and often argues with Stephen about attending services.

3319:

Pathologies of Desire: The Vicissitudes of the Self in James Joyce's A Portrait of the Artist as a Young Man

2634: 657:, Father Conmee, who assures him there will be no such recurrence, leaving Stephen with a sense of triumph. 4137: 4036: 4031: 3798: 3334:

The Woman in the Portrait: The Transforming Female in James Joyce's A Portrait of the Artist as a Young Man

868: 604:

Dante (Mrs. Riordan) – The governess of the Dedalus children. She is very intense and a dedicated Catholic.

132: 3195:

The Workshop of Daedalus: James Joyce and the Raw Materials for "A Portrait of the Artist as a Young Man.

760:

introduce many of the novel's key motifs, and have been shown to "enact the entire action in microcosm".

241:—a projected 63-chapter autobiographical novel in a realistic style. After 25 chapters, Joyce abandoned 4087: 2897: 2759: 2706: 2609: 1276: 793:

that "in at least three instances an epiphany helps Stephen decide on the future courses of this life".

713:

and captures the essence of character growth and understanding of the world around him. The novel mixes

335:(1914), which took about eight years to be published due to its controversial nature. While waiting for 4293: 3777: 3742: 3423:

The Workshop of Daedalus: James Joyce and the Raw Materials for A Portrait of the Artist as a Young Man

3092: 3054: 1996: 1908: 923: 650: 4318: 4176: 4117: 3952: 3700: 3619: 1148: 693: 397: 4313: 1520:

Brockman, William S. (June 2004). ""A Portrait of the Artist as a Young Man" in the Public Domain".

4152: 824:"with more justification from the text perhaps". Tindall has speculated on how they might apply to 347:, published in 1916, a year after he had moved back to Zürich in the midst of the First World War. 4198: 2784: 4182: 3596: 2432:

Conde-Parrilla, M Ángeles (February 2013). "Hiberno-English and identity in Joyce's A Portrait".

646: 594: 525: 255: 249:

that allows the reader to peer into Stephen's developing consciousness. American modernist poet

623:

He was baby tuckoo. The moocow came down the road where Betty Byrne lived: she sold lemon platt.

3968: 3882: 737: 714: 642: 620:

His father told him that story: his father looked at him through a glass: he had a hairy face.

281: 89: 3096: 3086: 1066:

A later version of Kenner's 1948 essay appeared in his first book on Joyce published in 1955.

4245: 4191: 4157: 3707: 852: 800: sees the three forms of literary art as a progression that applies to his novels, with 1563: 1119:

plays Father Arnall, the priest whose lengthy sermon on Hell terrifies the teenage Stephen.

922:

begetting of the Son, the Word, and His activity in time: the Creation (soul and body), the

789:. One critic has identified four distinct epiphany techniques in Joyce's fiction, saying of 4298: 4147: 4127: 4082: 3944: 3912: 3612: 3515:

Joyce & Jung: The "Four Stages of Eroticism" in A Portrait of the Artist as a Young Man

3488: 3201: 1070: 813: 718: 448: 246: 202: 438:

In 1911, Joyce flew into a fit of rage over the continued refusals by publishers to print

431: 8: 4269: 4261: 4122: 4046: 3987: 3936: 3920: 3791: 3728: 3562: 1123: 946: 722: 474: 2946: 1144:. It was first produced at the Gate Theatre during the Dublin Theatre Festival of 1962. 519:. Pound wrote to Joyce, and in 1914 Joyce submitted the first chapter of the unfinished 4026: 3749: 3735: 3158: 2821: 2449: 2260: 2209: 2134: 2071: 2033: 1945: 1882: 1545: 1537: 1468: 977: 872: 314: 75: 2639:(Rev ed.). Baltimore and London: The Johns Hopkins University Press. p. 13. 4021: 3960: 3556: 3518: 3503: 3478: 3463: 3448: 3433: 3404: 3389: 3367: 3352: 3337: 3322: 3307: 3292: 3274: 3257: 3230: 3209: 3177: 3149: 3123: 3100: 3039: 3018: 2995: 2989: 2640: 2558: 2524: 2453: 1777: 1549: 1428: 1394: 1243: 662: 654: 446:

into the fire. It was saved by a "family fire brigade" including his sister Eileen.

4253: 4097: 3566: 3173:

Pound/Joyce; the Letters of Ezra Pound to James Joyce: With Pound's Essays on Joyce

2441: 2349: 2316: 1529: 988: 777:. Joyce critics, however, have used it freely when discussing the novel as well as 729:

informs the reader as Stephen sets out to write "some pages of sorry verse", while

682: 549: 294: 143: 424:. By 1909 the work had taken shape and Joyce showed some of the draft chapters to 197: 70: 4077: 4067: 3890: 3665: 3542: 3224: 3171: 3078: 3033: 2985: 2518: 914: 903: 779: 569: 554: 469:

is written from the point of view of an omniscient third-person narrator, but in

326: 219: 214: 206: 172: 3587: 4102: 4092: 3845: 3784: 3756: 3714: 3673: 3266: 3190: 1533: 957: 918: 785: 770: 460: 225: 3401:

Reframing A Portrait of the Artist: Joyce and the Phenomenological Imagination

4287: 4229: 4206:

Our Exagmination Round His Factification for Incamination of Work in Progress

4142: 4072: 3874: 3818: 2445: 2321: 2300: 2233:

Güneş, Ali. "Crisis of Identity in A Portrait of the Artist as a Young Man".

1177: 1112: 1104: 1059:

Kenner, writing in 1948, was critical of Stephen Dedalus, the protagonist of

1024: 1013: 889: 745:

aesthetic theory in an extended dialogue. According to Sanders, "… it is the

710: 541: 537: 515: 306: 260: 108: 39: 3035:

Critical Companion to James Joyce: A Literary Reference to His Life and Work

4011: 3866: 3721: 3284: 3082: 1181: 1129: 1116: 765: 545: 402: 237: 159: 973: 607:

Lynch – Stephen's friend from university who has a rather dry personality.

4237: 4107: 3635: 3010: 2354: 2337: 1108: 1048: 969: 797: 668: 498: 425: 285: 192: 188: 51: 3304:

Critical Essays on James Joyce's A Portrait of the Artist as a Young Man

2075: 2059: 2037: 2021: 1541: 1472: 1456: 4132: 3591: 3162: 2825: 2809: 2264: 2248: 2213: 2197: 2138: 2122: 1949: 1933: 1886: 1870: 984: 686: 673: 506: 250: 2157: 2155: 533:

in twenty-five installments from 2 February 1914 to 1 September 1915.

406:, which incorporated aspects of the aesthetic philosophy expounded in 380: 4112: 4016: 3692: 2418:

Conde-Parrilla, M. Angeles. "Hiberno-English and Identity in Joyce's

976:

obsession", his insistence on the portrayal of bodily functions that

945:

won Joyce a reputation for his literary skills, as well as a patron,

746: 733:

gives only Stephen's attempts, leaving the evaluation to the reader.

459:, as well as his notebooks from Trieste concerning the philosophy of 412: 331: 269: 3551: 3475:

The Antimodernism of Joyce's A Portrait of the Artist as a Young Man

3079:"Composition and publishing history of the major works: an overview" 1729: 1705: 1669: 1645: 956:

In 1916, in his reader's report to Duckworth & Co., Publishers,

318: 273:(1914) earned Joyce a place at the forefront of literary modernism. 3770: 3582: 3254:

A Portrait of the Artist as a Young Man:Text, Criticism, and Notes.

2152: 1312: 1256: 884: 577: 210: 205:

style, it traces the religious and intellectual awakening of young

1355: 1353: 1351: 1302: 1300: 1298: 1296: 3500:

James Joyce's A Portrait of the Artist as a Young Man: A Casebook

3226:

James Joyce's A Portrait of the Artist as a Young Man: A Casebook

1152: 1122:

The first stage version was produced by Léonie Scott-Matthews at

996: 857: 742: 638: 510: 322: 1741: 1717: 1693: 1681: 1657: 1633: 1621: 1609: 2342:

Electronic Journal of the Spanish Association for Irish Studies

1348: 1324: 1293: 85: 3604: 557:

released a "copy text" edition by Hans Walter Gabler in 1993.

4041: 3147:

Kenner, Hugh (Summer 1948). "The 'Portrait' in Perspective".

339:

to be published, Joyce reworked the core themes of the novel

3416:

Portraits of an Artist: A Casebook on James Joyce's Portrait

2422:". Language & Literature. 22.1 (2013): 102. Print. pp. 2 1027:

criticized Joyce's diction in a sentence from chapter 2 of

529:. Joyce hurried to complete the novel, and it appeared in 463:; they all came together in five carefully paced chapters. 369: 343:

he had begun in Ireland in 1904 and abandoned in 1907 into

3032:

Fargnoli, A. Nicholas; Gillespie, Michael Patrick (2006).

2362: 1382: 1380: 1147:

As of 2017 computer scientists and literature scholars at

253:

had the novel serialised in the English literary magazine

144: 3386:

Portrait of the Artist as a Young Man: Voices of the Text

2309:

Online Journal of the Faculty of Arts and Social Sciences

1753: 1564:"A Portrait of the Artist as a Young Man: Character List" 1172:

The story is sometimes erroneously repeated as involving

3056:

The Classical Temper: A Study of James Joyce's "Ulysses"

2899:

The Classical Temper: A Study of James Joyce's "Ulysses"

1998:

The Classical Temper: A Study of James Joyce's "Ulysses"

1242:. New York, NY: Farrar, Straus and Giroux. p. 219. 1184:

in 1935, and was included in Herbert Gorman's biography

1103:

adapted for the screen by Judith Rascoe and directed by

209:, Joyce's fictional alter ego, whose surname alludes to 3136: 2922:"A Portrait of the Artist as a Young Man - Pentameters" 1503: 1501: 1377: 4177:

Hamlet and the New Poetic: James Joyce and T. S. Eliot

3493:

James Joyce: His Way of Interpreting the Modern World.

3462:. Pittsburgh: University of Pittsburgh Press, 1976. 2661: 1776:. New York: Oxford University Press Inc. p. 539. 4344:

Works originally published in The Egoist (periodical)

3445:

James Joyce's A Portrait of the Artist as a Young Man

3289:

James Joyce's A Portrait of the Artist as a Young Man

2590: 2578: 2381: 1424:

Introduction. A Portrait of the Artist as a Young Man

1390:

Introduction. A Portrait of the Artist as a Young Man

259:

in 1914 and 1915, and published as a book in 1916 by

3425:. Evanston, IL: Northwestern University Press, 1965. 3122:. Oxford world's classics. Oxford University Press. 1522:

The Papers of the Bibliographical Society of America

1498: 3366:. Gainesville: University Press of Florida, 2000. 1180:. The error was first publicised by Joyce's patron 3403:. Champaign, IL: Common Ground Publishing, 2015. 3379:Word Index to James Joyce's Portrait of the Artist 2400: 1043:his back hair and brushed and put on his tall hat. 1039:to his outhouse but not before he had greased and 987:wrote, "James Joyce produces the nearest thing to 452:, a book of Joyce's poems, was published in 1907. 3031: 2959:"A Digital Portrayal of James Joyce's 'Portrait'" 1747: 1735: 1723: 1711: 1699: 1687: 1675: 1663: 1651: 1639: 1627: 1615: 1486: 1365: 1359: 1330: 1318: 1306: 1262: 4285: 3414:Morris, William E. and Clifford A. Nault, eds. 2614:. London: Faber and Faber. 1966. pp. 371–72 1341: 1339: 672:Stephen Dedalus has an aesthetic epiphany along 3197:" Northwestern University Press, 1965. pp 56-68 38:Front cover of the first edition, published by 3017:. Cambridge University Press. pp. 47–62. 2852:. London: Chatto & Windus. pp. 109–33 2520:"Thomist Joyce." Joyce, Aristotle, and Aquinas 2431: 1799: 1774:The Short Oxford History of English Literature 763:Joyce introduced the concept of "epiphany" in 580:, who also engaged in a struggle for autonomy. 21:A Portrait of the Artist as a Young Man (film) 3620: 3458:Staley, Thomas F. and Bernard Benstock, ed. 2945:Irish Playography, Stephen D by Hugh Leonard 1336: 293:her pleas, the impious Joyce and his brother 3517:. 2nd edition. New York: Peter Lang, 2022. 3351:. Carbondale: Southern Illinois UP, 1971. 3064:Hendry, Irene (1946). "Joyce's Epiphanies". 2902:. London: Chatto and Windus. pp. 109–10 2789:. University of California Press. p. 17 2516: 2168:. London: Thames and Hudson. pp. passim 2001:. London: Chatto and Windus. pp. passim 1976:. London: Thames and Hudson. pp. passim 3336:. San Bernardino, CA: Borgo Press, 1997. 1850:. London: Thames and Hudson. pp. 86–93 1393:. Oxford University Press. pp. xviii. 544:took over its publication in 1924. In 1964 364:("And he turned his mind to unknown arts.") 357: 3627: 3613: 3502:. Oxford and New York: Oxford UP, 2003. 3460:Approaches to Joyce's Portrait: Ten Essays 3421:Scholes, Robert and Richard M. Kain, eds. 3381:. Carbondale: Southern Illinois UP, 1967. 3245: 2392:sfn error: no target: CITEREFLercaro1959 ( 2373:sfn error: no target: CITEREFLercaro1959 ( 2102:. New York: B. W. Huebsch. pp. 251–52 1814: 1427:. Oxford University Press. pp. xvii. 1126:in 2012 using an adaptation by Tom Neill. 32: 3302:Brady, Philip and James F. Carens, eds. 3222: 3015:The Cambridge Introduction to James Joyce 2994:. Wordsworth Editions. pp. i–xxxii. 2667: 2353: 2320: 1817:"A Portrait of the Artist as a Young Man" 301:Joyce made his first attempt at a novel, 4006:United States v. One Book Called Ulysses 3447:. New York: St. Martin's Press, 1992. 3052: 2983: 2895: 2764:. London: Chatto and Windus. p. 126 2303:A Portrait of the Artist as a Young Man. 1994: 1759: 1519: 1035:Every morning, therefore, uncle Charles 667: 430: 379: 280: 27:A Portrait of the Artist as a Young Man 3930:A Portrait of the Artist as a Young Man 3658:A Portrait of the Artist as a Young Man 3598:A Portrait of the Artist as a Young Man 3578:A Portrait of the Artist as a Young Man 3552:A Portrait of the Artist as a Young Man 3538:A Portrait of the Artist as a Young Man 3495:New York: Charles Scribner's Sons, 1950 3120:A Portrait of the Artist as a Young Man 3113: 3076: 2991:A Portrait of the Artist as a Young Man 2877:. London: Thames and Hudson. p. 50 2870: 2729: 2466: 2387: 2368: 2335: 2161: 2099:A Portrait of the Artist as a Young Man 1969: 1843: 1771: 1603:A Portrait of the Artist as a Young Man 1507: 1420: 1386: 1138:A Portrait of the Artist as a Young Man 1006:A Portrait of the Artist as a Young Man 993:A Portrait of the Artist as a Young Man 962:A Portrait of the Artist as a Young Man 630:A Portrait of the Artist as a Young Man 574:A Portrait of the Artist as a Young Man 548:issued a corrected version overseen by 422:A Portrait of the Artist as a Young Man 374:A Portrait of the Artist as a Young Man 184:A Portrait of the Artist as a Young Man 4286: 3271:The Cambridge Companion to James Joyce 3146: 3063: 3008: 2845: 2807: 2782: 2711:. London: Faber and Faber. p. 412 2708:"Joyce." Literary Essays of Ezra Pound 2632: 2491: 2246: 2195: 2120: 2057: 2019: 1931: 1868: 1454: 1237: 1016:wrote, " has shown (especially in the 492: 4334:Novels first published in serial form 3608: 3477:. Syracuse, NY: Syracuse UP, 1994. 2757: 2704: 2679: 2283: 2281: 2095: 1906: 1600: 1596: 1594: 1592: 1590: 1588: 1586: 1584: 1274: 937: 509:, who was assembling an anthology of 3273:, 2nd edition, Cambridge UP, 2004. 3169: 2596: 2584: 2550: 2406: 2298: 1913:. London: Jonathan Cape. p. 216 1492: 1371: 1233: 1231: 1229: 1227: 1225: 1223: 1221: 1219: 1217: 1215: 991:prose that we now have in English." 960:wrote that, to make it publishable, 736:The novel is written primarily as a 359:Et ignotas animum dimittit in artes. 3563:Digitized copy of the first edition 3291:. New York: Chelsea House, 1988. 3200: 1824:Cambridge Introduction to Modernism 878: 560: 13: 3208:. Syracuse University Press.1995. 2301:"Religion and Identity in Joyce's 2278: 1581: 1107:was released in 1977. It features 305:, in early 1904. That June he saw 19:For the 1977 film adaptation, see 14: 4355: 3530: 2739:. New York: Harcourt. p. 199 1212: 896: 321:before settling for ten years in 263:of New York. The publication of 4213:A Skeleton Key to Finnegans Wake 3571: 3321:. New York: Peter Lang, 2008. 3306:. New York: G. K. Hall, 1998. 2611:Letters of James Joyce Volume II 4309:Irish novels adapted into films 3634: 3206:A Reader's Guide to James Joyce 2951: 2939: 2914: 2889: 2874:A Reader's Guide to James Joyce 2864: 2839: 2810:"The 'Portrait' in Perspective" 2801: 2776: 2751: 2723: 2698: 2673: 2626: 2602: 2544: 2523:. University Press of Florida. 2510: 2485: 2470:A Reader's Guide to James Joyce 2460: 2425: 2412: 2329: 2292: 2249:"The 'Portrait' in Perspective" 2240: 2227: 2198:"The 'Portrait' in Perspective" 2189: 2180: 2165:A Reader's Guide to James Joyce 2123:"The "Portrait" in Perspective" 2114: 2089: 2051: 2013: 1988: 1973:A Reader's Guide to James Joyce 1963: 1934:"The 'Portrait' in Perspective" 1925: 1900: 1871:"The 'Portrait' in Perspective" 1862: 1847:A Reader's Guide to James Joyce 1837: 1808: 1790: 1765: 1556: 1513: 1448: 1414: 1278:"A Portrait of the Artist" 1904 1191: 267:and the short story collection 3432:. Englewood Cliffs, NJ, 1968. 3157:(3). Kenyon College: 361–381. 2976: 2871:Tindall, William York (1959). 2467:Tindall, William York (1959). 2348:. Estudios Irlandeses: 16–22. 2162:Tindall, William York (1959). 1970:Tindall, William York (1959). 1844:Tindall, William York (1959). 1605:. New York, NY: B. W. Huebsch. 1268: 1166: 1095: 350: 1: 4304:Irish autobiographical novels 4052:Zürich James Joyce Foundation 3764:Ivy Day in the Committee Room 3176:. New Directions Publishing. 2984:Belanger, Jacqueline (2001). 1748:Fargnoli & Gillespie 2006 1736:Fargnoli & Gillespie 2006 1724:Fargnoli & Gillespie 2006 1712:Fargnoli & Gillespie 2006 1700:Fargnoli & Gillespie 2006 1688:Fargnoli & Gillespie 2006 1676:Fargnoli & Gillespie 2006 1664:Fargnoli & Gillespie 2006 1652:Fargnoli & Gillespie 2006 1640:Fargnoli & Gillespie 2006 1628:Fargnoli & Gillespie 2006 1616:Fargnoli & Gillespie 2006 1360:Fargnoli & Gillespie 2006 1331:Fargnoli & Gillespie 2006 1319:Fargnoli & Gillespie 2006 1307:Fargnoli & Gillespie 2006 1263:Fargnoli & Gillespie 2006 1205: 1176:and Joyce's common-law wife, 926:—the Word made flesh—and the 909: 416:, Joyce continued to work on 276: 4037:Museum of Literature Ireland 4032:James Joyce Tower and Museum 3143:. Chatto & Windus, 1955. 3059:. London: Chatto and Windus. 2808:Kenner, Hugh (Summer 1948). 2247:Kenner, Hugh (Summer 1948). 2196:Kenner, Hugh (Summer 1948). 2121:Kenner, Hugh (Summer 1948). 1932:Kenner, Hugh (Summer 1948). 1869:Kenner, Hugh (Summer 1948). 1275:Joyce, James (21 May 1965). 1240:James Joyce: A New Biography 867:" refers both to the act of 442:and threw the manuscript of 7: 4339:Novels set in Dublin (city) 3581:public domain audiobook at 3418:. New York: Odyssey, 1962. 3229:. Oxford University Press. 3223:Wollaeger, Mark A. (2003). 3170:Read, Forrest, ed. (1967). 845: 836: 769:to preface a discussion of 611: 10: 4360: 3388:. Boston: Twayne, 1989. 3252:Anderson, Chester G., ed. 3093:Cambridge University Press 2554:"Ulysses" nd the Irish God 2551:Lang, Frederick K (1993). 2235:Doğuş Üniversitesi Dergisi 1534:10.1086/pbsa.98.2.24295781 1081:seem preliminary sketch." 949:, the business manager of 820:, another finding them in 694:University College, Dublin 18: 4222: 4166: 4060: 3980: 3905: 3856: 3829: 3810: 3684: 3649: 3642: 3498:Wollaeger, Mark A., ed. 3428:Schutte, William M., ed. 3193:and Richard M. Kain eds. 1149:University College Dublin 980:had banished from print. 831: 167: 154: 142: 130: 122: 114: 104: 96: 81: 65: 57: 47: 31: 16:1916 novel by James Joyce 4088:Francisco García Tortosa 3696:(1914, written 1904–07) 3077:Herbert, Stacey (2009). 3053:Goldberg, S. L. (1963). 2896:Goldberg, S. L. (1963). 2446:10.1177/0963947012469750 2322:10.21533/epiphany.v1i1.3 2299:Akca, Catherine (2008). 1995:Goldberg, S. L. (1963). 1772:Sanders, Andrew (1994). 1159: 928:Consecration in the Mass 704: 628:James Joyce, Opening to 572:– The main character of 195:, published in 1916. A 3384:Harkness, Marguerite. 3246:Further reading (Books) 3038:. Infobase Publishing. 2758:Lewis, Wyndham (1927). 2730:Forster, E. M. (1927). 2517:O'Rourke, Fran (2022). 2434:Language and Literature 1238:Bowker, Gordan (2011). 1111:as Stephen Dedalus and 860:in its rebelliousness. 756:The first two pages of 647:Charles Stewart Parnell 595:Charles Stewart Parnell 4246:John Stanislaus Joyce 3970:Waywords and Meansigns 3954:James Joyce's The Dead 3883:The Cats of Copenhagen 3601:at the British Library 3364:Joyce's Comic Portrait 3114:Johnson, Jeri (2000). 3088:James Joyce in Context 2336:Cañadas, Ivan (2006). 2058:Hendry, Irene (1946). 2020:Hendry, Irene (1946). 1455:Hendry, Irene (1946). 1421:Johnson, Jeri (2000). 1387:Johnson, Jeri (2000). 1045: 1018:Portrait of the Artist 738:third-person narrative 715:third-person narrative 702: 677: 643:Clongowes Wood College 634: 435: 385: 378: 358: 289: 235:began life in 1904 as 90:Clongowes Wood College 4329:Novels by James Joyce 4192:James Joyce Quarterly 4158:Ernst von Glasersfeld 3489:Tindall, William York 3332:Empric, Julienne H. 3202:Tindall, William York 3009:Bulson, Eric (2006). 2948:retrieved 7 July 2013 2846:Kenner, Hugh (1955). 2783:Kenner, Hugh (1978). 2633:Kenner, Hugh (1987). 2492:Kenner, Hugh (1955). 2096:Joyce, James (1916). 1907:Joyce, James (1944). 1601:Joyce, James (1916). 1033: 808: epic, and 698: 671: 615: 434: 383: 354: 284: 4324:Novels about writers 4262:Stephen James Joyce 4148:William York Tindall 4128:C. George Sandulescu 4083:Alan Warren Friedman 3914:Ulysses in Nighttown 3347:Epstein, Edmund L. 2926:London Theatre Guide 2761:Time and Western Man 2733:Aspects of the Novel 2705:Pound, Ezra (1935). 2680:Pound, Ezra (1965). 2656:, had implicated it. 2355:10.24162/EI2006-1247 2060:"Joyce's Epiphanies" 2022:"Joyce's Epiphanies" 1457:"Joyce's Epiphanies" 1136:is an adaptation of 1071:William York Tindall 1041:brushed scrupulously 814:William York Tindall 719:free indirect speech 480:The transition from 247:free indirect speech 4270:Mary Gertrude Joyce 4153:José María Valverde 4123:William H. Quillian 4047:Volta Cinematograph 3993:Obscenity trial of 3988:Harriet Shaw Weaver 3473:Thornton, Weldon. 3399:McLaren, Stephen. 3362:Gottfried, Roy K. 2371:, pp. 104–105. 1738:, pp. 142–143. 1714:, pp. 141–142. 1678:, pp. 139–140. 1654:, pp. 138–139. 1321:, pp. 134–135. 1265:, pp. 136–137. 1124:Pentameters Theatre 1047:Fifty years later, 947:Harriet Shaw Weaver 885:Daedalus and Icarus 723:omniscient narrator 651:corporal punishment 493:Publication history 475:free indirect style 392:on 7 January 1904. 384:James Joyce in 1915 317:, first staying in 28: 4027:James Joyce Centre 3736:The Boarding House 3513:Yoshida, Hiromi. 3377:Hancock, Leslie. 3317:Doherty, Gerald. 3066:The Sewanee Review 2064:The Sewanee Review 2026:The Sewanee Review 1461:The Sewanee Review 1115:as Simon Dedalus. 978:Victorian morality 938:Critical reception 873:transubstantiation 804:being lyric, 678: 505:by James Joyce to 436: 386: 315:continental Europe 290: 26: 4294:1916 debut novels 4281: 4280: 4273: 4265: 4257: 4254:Stanislaus Joyce 4249: 4241: 4233: 4022:James Joyce Award 3999:The Little Review 3972:(2015–2017 audio) 3901: 3900: 3557:Project Gutenberg 3523:978-1-43-318028-6 3508:978-0-19-515075-9 3483:978-0-8156-2587-2 3468:978-0-82-293331-1 3453:978-0-312-08426-4 3438:978-0-136-86147-8 3409:978-1-6122-9540-4 3394:978-0-8057-8125-0 3372:978-0-8130-1782-2 3357:978-0-8093-0485-1 3342:978-0-89370-193-2 3327:978-0-8204-9735-8 3312:978-0-7838-0035-6 3236:978-0-19-515076-6 3215:978-0-8156-0320-7 3183:978-0-8112-0159-9 3150:The Kenyon Review 3129:978-0-19-283998-5 3106:978-0-521-88662-8 3045:978-1-4381-0848-3 3024:978-0-521-84037-8 3001:978-1-85326-006-3 2814:The Kenyon Review 2646:978-0-8018-3384-7 2599:, pp. 57–58. 2587:, pp. 51–54. 2498:. pp. 134–57 2473:. pp. 94–100 2253:The Kenyon Review 2202:The Kenyon Review 2127:The Kenyon Review 1938:The Kenyon Review 1875:The Kenyon Review 1249:978-0-374-17872-7 1069:Writing in 1959, 863:In Catholicism, " 687:Dollymount Strand 674:Dollymount Strand 663:Belvedere College 473:Joyce adopts the 180: 179: 4351: 4319:Modernist novels 4271: 4263: 4255: 4247: 4239: 4231: 4098:Adaline Glasheen 3940:(1982 broadcast) 3647: 3646: 3629: 3622: 3615: 3606: 3605: 3575: 3574: 3567:Internet Archive 3559: 3240: 3219: 3187: 3166: 3133: 3110: 3073: 3060: 3049: 3028: 3005: 2970: 2969: 2967: 2965: 2955: 2949: 2943: 2937: 2936: 2934: 2932: 2918: 2912: 2911: 2909: 2907: 2893: 2887: 2886: 2884: 2882: 2868: 2862: 2861: 2859: 2857: 2843: 2837: 2836: 2834: 2832: 2805: 2799: 2798: 2796: 2794: 2780: 2774: 2773: 2771: 2769: 2755: 2749: 2748: 2746: 2744: 2738: 2727: 2721: 2720: 2718: 2716: 2702: 2696: 2695: 2693: 2691: 2686:. New Directions 2677: 2671: 2665: 2659: 2658: 2630: 2624: 2623: 2621: 2619: 2606: 2600: 2594: 2588: 2582: 2576: 2575: 2573: 2571: 2548: 2542: 2541: 2539: 2537: 2514: 2508: 2507: 2505: 2503: 2489: 2483: 2482: 2480: 2478: 2464: 2458: 2457: 2429: 2423: 2416: 2410: 2404: 2398: 2397: 2385: 2379: 2378: 2366: 2360: 2359: 2357: 2333: 2327: 2326: 2324: 2296: 2290: 2285: 2276: 2275: 2273: 2271: 2244: 2238: 2237:, 2002/6, 37-49. 2231: 2225: 2224: 2222: 2220: 2193: 2187: 2184: 2178: 2177: 2175: 2173: 2159: 2150: 2149: 2147: 2145: 2118: 2112: 2111: 2109: 2107: 2093: 2087: 2086: 2084: 2082: 2055: 2049: 2048: 2046: 2044: 2017: 2011: 2010: 2008: 2006: 1992: 1986: 1985: 1983: 1981: 1967: 1961: 1960: 1958: 1956: 1929: 1923: 1922: 1920: 1918: 1904: 1898: 1897: 1895: 1893: 1866: 1860: 1859: 1857: 1855: 1841: 1835: 1834: 1832: 1830: 1821: 1815:Pericles Lewis. 1812: 1806: 1805:Bulson (2006:50) 1803: 1797: 1796:Bulson (2006:51) 1794: 1788: 1787: 1769: 1763: 1762:, p. xviii. 1757: 1751: 1745: 1739: 1733: 1727: 1721: 1715: 1709: 1703: 1697: 1691: 1685: 1679: 1673: 1667: 1661: 1655: 1649: 1643: 1637: 1631: 1625: 1619: 1613: 1607: 1606: 1598: 1579: 1578: 1576: 1574: 1560: 1554: 1553: 1517: 1511: 1505: 1496: 1490: 1484: 1483: 1481: 1479: 1452: 1446: 1445: 1443: 1441: 1418: 1412: 1411: 1409: 1407: 1384: 1375: 1369: 1363: 1357: 1346: 1345:Bulson (2006:47) 1343: 1334: 1328: 1322: 1316: 1310: 1304: 1291: 1290: 1288: 1286: 1281:. pp. 60–74 1272: 1266: 1260: 1254: 1253: 1235: 1199: 1195: 1189: 1170: 970:H. G. Wells 879:Myth of Daedalus 812: dramatic. 692:As a student at 683:Four Last Things 632: 561:Major characters 553:used this text. 550:Chester Anderson 376: 361: 191:of Irish writer 168:Followed by 155:Preceded by 146: 100:29 December 1916 36: 29: 25: 4359: 4358: 4354: 4353: 4352: 4350: 4349: 4348: 4284: 4283: 4282: 4277: 4218: 4168: 4162: 4078:Richard Ellmann 4068:Anthony Burgess 4056: 3976: 3897: 3858: 3852: 3825: 3806: 3680: 3638: 3633: 3572: 3549: 3543:Standard Ebooks 3533: 3528: 3267:Attridge, Derek 3256:Penguin, 1968. 3248: 3243: 3237: 3216: 3191:Scholes, Robert 3184: 3130: 3107: 3046: 3025: 3002: 2979: 2974: 2973: 2963: 2961: 2957: 2956: 2952: 2944: 2940: 2930: 2928: 2920: 2919: 2915: 2905: 2903: 2894: 2890: 2880: 2878: 2869: 2865: 2855: 2853: 2844: 2840: 2830: 2828: 2820:(3): 369, 380. 2806: 2802: 2792: 2790: 2781: 2777: 2767: 2765: 2756: 2752: 2742: 2740: 2736: 2728: 2724: 2714: 2712: 2703: 2699: 2689: 2687: 2678: 2674: 2666: 2662: 2647: 2631: 2627: 2617: 2615: 2608: 2607: 2603: 2595: 2591: 2583: 2579: 2569: 2567: 2565: 2549: 2545: 2535: 2533: 2531: 2515: 2511: 2501: 2499: 2490: 2486: 2476: 2474: 2465: 2461: 2430: 2426: 2417: 2413: 2405: 2401: 2391: 2386: 2382: 2372: 2367: 2363: 2334: 2330: 2297: 2293: 2286: 2279: 2269: 2267: 2245: 2241: 2232: 2228: 2218: 2216: 2194: 2190: 2185: 2181: 2171: 2169: 2160: 2153: 2143: 2141: 2119: 2115: 2105: 2103: 2094: 2090: 2080: 2078: 2056: 2052: 2042: 2040: 2018: 2014: 2004: 2002: 1993: 1989: 1979: 1977: 1968: 1964: 1954: 1952: 1930: 1926: 1916: 1914: 1905: 1901: 1891: 1889: 1867: 1863: 1853: 1851: 1842: 1838: 1828: 1826: 1819: 1813: 1809: 1804: 1800: 1795: 1791: 1784: 1770: 1766: 1758: 1754: 1746: 1742: 1734: 1730: 1722: 1718: 1710: 1706: 1698: 1694: 1686: 1682: 1674: 1670: 1662: 1658: 1650: 1646: 1638: 1634: 1626: 1622: 1614: 1610: 1599: 1582: 1572: 1570: 1562: 1561: 1557: 1518: 1514: 1506: 1499: 1491: 1487: 1477: 1475: 1453: 1449: 1439: 1437: 1435: 1419: 1415: 1405: 1403: 1401: 1385: 1378: 1370: 1366: 1358: 1349: 1344: 1337: 1329: 1325: 1317: 1313: 1305: 1294: 1284: 1282: 1273: 1269: 1261: 1257: 1250: 1236: 1213: 1208: 1203: 1202: 1196: 1192: 1171: 1167: 1162: 1098: 940: 915:Richard Ellmann 912: 904:Hiberno-English 899: 881: 848: 839: 834: 725:of the earlier 709:The novel is a 707: 633: 627: 614: 570:Stephen Dedalus 563: 513:verse entitled 495: 377: 368: 363: 353: 327:Austria-Hungary 279: 215:Greek mythology 207:Stephen Dedalus 135: 118:Print: hardback 115:Media type 43: 24: 17: 12: 11: 5: 4357: 4347: 4346: 4341: 4336: 4331: 4326: 4321: 4316: 4311: 4306: 4301: 4296: 4279: 4278: 4276: 4275: 4267: 4259: 4251: 4243: 4235: 4230:Nora Barnacle 4226: 4224: 4220: 4219: 4217: 4216: 4209: 4202: 4195: 4188: 4180: 4172: 4170: 4164: 4163: 4161: 4160: 4155: 4150: 4145: 4140: 4135: 4130: 4125: 4120: 4115: 4110: 4105: 4103:Michael Groden 4100: 4095: 4093:Stuart Gilbert 4090: 4085: 4080: 4075: 4070: 4064: 4062: 4058: 4057: 4055: 4054: 4049: 4044: 4039: 4034: 4029: 4024: 4019: 4014: 4009: 4002: 3990: 3984: 3982: 3978: 3977: 3975: 3974: 3966: 3958: 3956:(1999 musical) 3950: 3942: 3934: 3926: 3918: 3909: 3907: 3903: 3902: 3899: 3898: 3896: 3895: 3887: 3879: 3871: 3862: 3860: 3854: 3853: 3851: 3850: 3846:Pomes Penyeach 3842: 3833: 3831: 3827: 3826: 3824: 3823: 3814: 3812: 3808: 3807: 3805: 3804: 3803: 3802: 3795: 3788: 3785:A Little Cloud 3781: 3774: 3767: 3760: 3757:A Painful Case 3753: 3746: 3739: 3732: 3725: 3718: 3715:After the Race 3711: 3704: 3688: 3686: 3682: 3681: 3679: 3678: 3674:Finnegans Wake 3670: 3662: 3653: 3651: 3644: 3640: 3639: 3632: 3631: 3624: 3617: 3609: 3603: 3602: 3594: 3585: 3569: 3560: 3547: 3545: 3532: 3531:External links 3529: 3527: 3526: 3511: 3496: 3486: 3471: 3456: 3443:Seed, David. 3441: 3426: 3419: 3412: 3397: 3382: 3375: 3360: 3345: 3330: 3315: 3300: 3282: 3264: 3249: 3247: 3244: 3242: 3241: 3235: 3220: 3214: 3198: 3188: 3182: 3167: 3144: 3141:Dublin's Joyce 3134: 3128: 3116:"Introduction" 3111: 3105: 3074: 3061: 3050: 3044: 3029: 3023: 3006: 3000: 2986:"Introduction" 2980: 2978: 2975: 2972: 2971: 2950: 2938: 2913: 2888: 2863: 2849:Dublin's Joyce 2838: 2800: 2786:Joyce's Voices 2775: 2750: 2722: 2697: 2672: 2668:Wollaeger 2003 2660: 2645: 2625: 2601: 2589: 2577: 2563: 2543: 2530:978-0813072234 2529: 2509: 2495:Dublin's Joyce 2484: 2459: 2424: 2411: 2399: 2380: 2361: 2328: 2291: 2277: 2239: 2226: 2188: 2179: 2151: 2113: 2088: 2050: 2012: 1987: 1962: 1944:(3): 361–381. 1924: 1899: 1881:(3): 361–365. 1861: 1836: 1807: 1798: 1789: 1782: 1764: 1752: 1750:, p. 143. 1740: 1728: 1726:, p. 142. 1716: 1704: 1702:, p. 141. 1692: 1690:, p. 140. 1680: 1668: 1666:, p. 139. 1656: 1644: 1642:, p. 138. 1632: 1630:, p. 136. 1620: 1618:, p. 137. 1608: 1580: 1568:SparkNotes.com 1555: 1528:(2): 191–207. 1512: 1497: 1485: 1447: 1433: 1413: 1399: 1376: 1364: 1362:, p. 155. 1347: 1335: 1333:, p. 154. 1323: 1311: 1309:, p. 134. 1292: 1267: 1255: 1248: 1210: 1209: 1207: 1204: 1201: 1200: 1190: 1164: 1163: 1161: 1158: 1132:'s stage work 1101:A film version 1097: 1094: 1077:, which makes 958:Edward Garnett 939: 936: 919:Thomas Aquinas 911: 908: 898: 897:Irish identity 895: 880: 877: 847: 844: 838: 835: 833: 830: 810:Finnegans Wake 786:Finnegans Wake 771:Thomas Aquinas 706: 703: 625: 613: 610: 609: 608: 605: 602: 598: 592: 588: 585: 581: 562: 559: 503:I Hear an Army 501:sent the poem 494: 491: 461:Thomas Aquinas 426:Ettore Schmitz 372:, Epigraph to 366: 352: 349: 278: 275: 226:Finnegans Wake 178: 177: 169: 165: 164: 156: 152: 151: 148: 140: 139: 136: 131: 128: 127: 124: 120: 119: 116: 112: 111: 106: 102: 101: 98: 94: 93: 83: 79: 78: 67: 63: 62: 59: 55: 54: 49: 45: 44: 37: 15: 9: 6: 4: 3: 2: 4356: 4345: 4342: 4340: 4337: 4335: 4332: 4330: 4327: 4325: 4322: 4320: 4317: 4315: 4314:Künstlerroman 4312: 4310: 4307: 4305: 4302: 4300: 4297: 4295: 4292: 4291: 4289: 4274: 4268: 4266: 4260: 4258: 4252: 4250: 4244: 4242: 4236: 4234: 4228: 4227: 4225: 4221: 4215: 4214: 4210: 4208: 4207: 4203: 4201: 4200: 4196: 4194: 4193: 4189: 4187: 4185: 4181: 4179: 4178: 4174: 4173: 4171: 4165: 4159: 4156: 4154: 4151: 4149: 4146: 4144: 4143:Ronald Symond 4141: 4139: 4136: 4134: 4131: 4129: 4126: 4124: 4121: 4119: 4116: 4114: 4111: 4109: 4106: 4104: 4101: 4099: 4096: 4094: 4091: 4089: 4086: 4084: 4081: 4079: 4076: 4074: 4073:Frank Delaney 4071: 4069: 4066: 4065: 4063: 4059: 4053: 4050: 4048: 4045: 4043: 4040: 4038: 4035: 4033: 4030: 4028: 4025: 4023: 4020: 4018: 4015: 4013: 4010: 4008: 4007: 4003: 4001: 4000: 3996: 3991: 3989: 3986: 3985: 3983: 3979: 3973: 3971: 3967: 3965: 3963: 3959: 3957: 3955: 3951: 3949: 3947: 3943: 3941: 3939: 3935: 3933: 3931: 3927: 3925: 3923: 3919: 3917: 3915: 3911: 3910: 3908: 3904: 3893: 3892: 3888: 3885: 3884: 3880: 3877: 3876: 3875:Giacomo Joyce 3872: 3869: 3868: 3864: 3863: 3861: 3855: 3848: 3847: 3843: 3840: 3839: 3838:Chamber Music 3835: 3834: 3832: 3828: 3821: 3820: 3816: 3815: 3813: 3809: 3800: 3796: 3793: 3789: 3786: 3782: 3779: 3775: 3772: 3768: 3765: 3761: 3758: 3754: 3751: 3747: 3744: 3740: 3737: 3733: 3730: 3726: 3723: 3719: 3716: 3712: 3709: 3705: 3702: 3698: 3697: 3695: 3694: 3690: 3689: 3687: 3685:Short stories 3683: 3676: 3675: 3671: 3668: 3667: 3663: 3660: 3659: 3655: 3654: 3652: 3648: 3645: 3641: 3637: 3630: 3625: 3623: 3618: 3616: 3611: 3610: 3607: 3600: 3599: 3595: 3593: 3589: 3586: 3584: 3580: 3579: 3570: 3568: 3564: 3561: 3558: 3554: 3553: 3548: 3546: 3544: 3540: 3539: 3535: 3534: 3524: 3520: 3516: 3512: 3509: 3505: 3501: 3497: 3494: 3490: 3487: 3484: 3480: 3476: 3472: 3469: 3465: 3461: 3457: 3454: 3450: 3446: 3442: 3439: 3435: 3431: 3427: 3424: 3420: 3417: 3413: 3410: 3406: 3402: 3398: 3395: 3391: 3387: 3383: 3380: 3376: 3373: 3369: 3365: 3361: 3358: 3354: 3350: 3346: 3343: 3339: 3335: 3331: 3328: 3324: 3320: 3316: 3313: 3309: 3305: 3301: 3298: 3297:1-55546-020-8 3294: 3290: 3286: 3285:Bloom, Harold 3283: 3280: 3279:0-521-54553-6 3276: 3272: 3268: 3265: 3263: 3259: 3255: 3251: 3250: 3238: 3232: 3228: 3227: 3221: 3217: 3211: 3207: 3203: 3199: 3196: 3192: 3189: 3185: 3179: 3175: 3174: 3168: 3164: 3160: 3156: 3152: 3151: 3145: 3142: 3138: 3135: 3131: 3125: 3121: 3117: 3112: 3108: 3102: 3098: 3094: 3090: 3089: 3084: 3083:McCourt, John 3080: 3075: 3071: 3067: 3062: 3058: 3057: 3051: 3047: 3041: 3037: 3036: 3030: 3026: 3020: 3016: 3012: 3007: 3003: 2997: 2993: 2992: 2987: 2982: 2981: 2960: 2954: 2947: 2942: 2927: 2923: 2917: 2901: 2900: 2892: 2876: 2875: 2867: 2851: 2850: 2842: 2827: 2823: 2819: 2815: 2811: 2804: 2788: 2787: 2779: 2763: 2762: 2754: 2735: 2734: 2726: 2710: 2709: 2701: 2685: 2684: 2676: 2669: 2664: 2657: 2655: 2648: 2642: 2638: 2637: 2629: 2613: 2612: 2605: 2598: 2593: 2586: 2581: 2566: 2560: 2556: 2555: 2547: 2532: 2526: 2522: 2521: 2513: 2497: 2496: 2488: 2472: 2471: 2463: 2455: 2451: 2447: 2443: 2439: 2435: 2428: 2421: 2415: 2409:, p. 18. 2408: 2403: 2395: 2390:, p. 79. 2389: 2384: 2376: 2370: 2365: 2356: 2351: 2347: 2343: 2339: 2332: 2323: 2318: 2314: 2310: 2306: 2304: 2295: 2289: 2284: 2282: 2266: 2262: 2258: 2254: 2250: 2243: 2236: 2230: 2215: 2211: 2207: 2203: 2199: 2192: 2183: 2167: 2166: 2158: 2156: 2140: 2136: 2132: 2128: 2124: 2117: 2101: 2100: 2092: 2077: 2073: 2069: 2065: 2061: 2054: 2039: 2035: 2032:(3): 449–67. 2031: 2027: 2023: 2016: 2000: 1999: 1991: 1975: 1974: 1966: 1951: 1947: 1943: 1939: 1935: 1928: 1912: 1911: 1903: 1888: 1884: 1880: 1876: 1872: 1865: 1849: 1848: 1840: 1825: 1818: 1811: 1802: 1793: 1785: 1783:0-19-811202-5 1779: 1775: 1768: 1761: 1760:Belanger 2001 1756: 1749: 1744: 1737: 1732: 1725: 1720: 1713: 1708: 1701: 1696: 1689: 1684: 1677: 1672: 1665: 1660: 1653: 1648: 1641: 1636: 1629: 1624: 1617: 1612: 1604: 1597: 1595: 1593: 1591: 1589: 1587: 1585: 1569: 1565: 1559: 1551: 1547: 1543: 1539: 1535: 1531: 1527: 1523: 1516: 1509: 1504: 1502: 1494: 1489: 1474: 1470: 1466: 1462: 1458: 1451: 1436: 1434:9780199536443 1430: 1426: 1425: 1417: 1402: 1400:9780199536443 1396: 1392: 1391: 1383: 1381: 1373: 1368: 1361: 1356: 1354: 1352: 1342: 1340: 1332: 1327: 1320: 1315: 1308: 1303: 1301: 1299: 1297: 1280: 1279: 1271: 1264: 1259: 1251: 1245: 1241: 1234: 1232: 1230: 1228: 1226: 1224: 1222: 1220: 1218: 1216: 1211: 1194: 1187: 1183: 1179: 1178:Nora Barnacle 1175: 1169: 1165: 1157: 1154: 1150: 1145: 1143: 1139: 1135: 1131: 1127: 1125: 1120: 1118: 1114: 1113:T. P. McKenna 1110: 1106: 1105:Joseph Strick 1102: 1093: 1091: 1087: 1082: 1080: 1076: 1072: 1067: 1064: 1062: 1057: 1055: 1050: 1044: 1042: 1038: 1032: 1030: 1026: 1025:Wyndham Lewis 1021: 1019: 1015: 1014:E. M. Forster 1010: 1007: 1001: 998: 994: 990: 986: 981: 979: 975: 971: 966: 963: 959: 954: 952: 948: 944: 935: 933: 929: 925: 920: 916: 907: 905: 894: 892: 891: 890:Metamorphoses 886: 876: 874: 870: 866: 861: 859: 854: 843: 829: 827: 823: 819: 815: 811: 807: 803: 799: 794: 792: 788: 787: 782: 781: 776: 772: 768: 767: 761: 759: 754: 751: 748: 744: 739: 734: 732: 728: 724: 720: 716: 712: 711:Bildungsroman 701: 697: 695: 690: 688: 684: 675: 670: 666: 664: 658: 656: 652: 648: 644: 640: 631: 624: 621: 618: 606: 603: 599: 596: 593: 589: 586: 584:relationship. 582: 579: 575: 571: 568: 567: 566: 558: 556: 551: 547: 543: 542:Jonathan Cape 539: 538:B. W. Huebsch 534: 532: 528: 527: 522: 518: 517: 516:Des Imagistes 512: 508: 504: 500: 490: 487: 483: 478: 476: 472: 468: 464: 462: 458: 453: 451: 450: 449:Chamber Music 445: 441: 433: 429: 427: 423: 419: 415: 414: 409: 405: 404: 399: 395: 391: 382: 375: 371: 365: 362: 360: 348: 346: 342: 338: 334: 333: 328: 324: 320: 316: 312: 308: 307:Nora Barnacle 304: 299: 296: 287: 283: 274: 272: 271: 266: 262: 261:B. W. Huebsch 258: 257: 252: 248: 244: 240: 239: 234: 230: 228: 227: 222: 221: 216: 212: 208: 204: 201:written in a 200: 199: 198:Künstlerroman 194: 190: 186: 185: 176: 174: 170: 166: 163: 161: 157: 153: 149: 147: 145:LC Class 141: 137: 134: 133:Dewey Decimal 129: 125: 121: 117: 113: 110: 109:B. W. Huebsch 107: 103: 99: 95: 91: 87: 84: 80: 77: 73: 72: 71:Künstlerroman 68: 64: 60: 56: 53: 50: 46: 41: 40:B. W. Huebsch 35: 30: 22: 4238:Lucia Joyce 4211: 4204: 4197: 4190: 4183: 4175: 4138:John Simpson 4118:David Norris 4012:Bellsybabble 4004: 3998: 3994: 3969: 3961: 3953: 3945: 3937: 3929: 3921: 3913: 3891:Finn's Hotel 3889: 3881: 3873: 3867:Stephen Hero 3865: 3859:publications 3844: 3836: 3817: 3778:Two Gallants 3743:Counterparts 3722:An Encounter 3691: 3672: 3664: 3657: 3656: 3597: 3577: 3550: 3536: 3514: 3499: 3492: 3474: 3459: 3444: 3429: 3422: 3415: 3400: 3385: 3378: 3363: 3348: 3333: 3318: 3303: 3288: 3270: 3253: 3225: 3205: 3194: 3172: 3154: 3148: 3140: 3137:Kenner, Hugh 3119: 3087: 3072:(3): 449–67. 3069: 3065: 3055: 3034: 3014: 2990: 2962:. Retrieved 2953: 2941: 2929:. Retrieved 2925: 2916: 2904:. Retrieved 2898: 2891: 2879:. Retrieved 2873: 2866: 2854:. Retrieved 2848: 2841: 2829:. Retrieved 2817: 2813: 2803: 2791:. Retrieved 2785: 2778: 2766:. Retrieved 2760: 2753: 2741:. Retrieved 2732: 2725: 2713:. Retrieved 2707: 2700: 2688:. Retrieved 2682: 2675: 2670:, p. 4. 2663: 2654:Stephen Hero 2653: 2650: 2635: 2628: 2616:. Retrieved 2610: 2604: 2592: 2580: 2568:. Retrieved 2553: 2546: 2534:. Retrieved 2519: 2512: 2500:. Retrieved 2494: 2487: 2475:. Retrieved 2469: 2462: 2437: 2433: 2427: 2419: 2414: 2402: 2388:Lercaro 1959 2383: 2369:Lercaro 1959 2364: 2345: 2341: 2331: 2312: 2308: 2302: 2294: 2287: 2268:. Retrieved 2256: 2252: 2242: 2234: 2229: 2217:. Retrieved 2205: 2201: 2191: 2182: 2170:. Retrieved 2164: 2142:. Retrieved 2130: 2126: 2116: 2104:. Retrieved 2098: 2091: 2079:. Retrieved 2067: 2063: 2053: 2041:. Retrieved 2029: 2025: 2015: 2003:. Retrieved 1997: 1990: 1978:. Retrieved 1972: 1965: 1953:. Retrieved 1941: 1937: 1927: 1915:. Retrieved 1910:Stephen Hero 1909: 1902: 1890:. Retrieved 1878: 1874: 1864: 1852:. Retrieved 1846: 1839: 1827:. Retrieved 1823: 1810: 1801: 1792: 1773: 1767: 1755: 1743: 1731: 1719: 1707: 1695: 1683: 1671: 1659: 1647: 1635: 1623: 1611: 1602: 1571:. Retrieved 1567: 1558: 1525: 1521: 1515: 1510:, p. 7. 1508:Herbert 2009 1495:, p. 1. 1488: 1476:. Retrieved 1464: 1460: 1450: 1438:. Retrieved 1423: 1416: 1404:. Retrieved 1389: 1374:, p. 2. 1367: 1326: 1314: 1283:. Retrieved 1277: 1270: 1258: 1239: 1193: 1185: 1182:Sylvia Beach 1174:Stephen Hero 1173: 1168: 1146: 1142:Stephen Hero 1141: 1137: 1133: 1130:Hugh Leonard 1128: 1121: 1117:John Gielgud 1099: 1089: 1085: 1083: 1078: 1074: 1068: 1065: 1060: 1058: 1053: 1046: 1040: 1036: 1034: 1028: 1022: 1017: 1011: 1005: 1002: 992: 982: 967: 961: 955: 950: 942: 941: 932:Stephen Hero 931: 913: 900: 888: 883:The myth of 882: 869:Consecration 862: 849: 840: 825: 821: 817: 809: 805: 801: 795: 790: 784: 778: 774: 766:Stephen Hero 764: 762: 757: 755: 752: 735: 730: 727:Stephen Hero 726: 708: 699: 691: 679: 659: 635: 629: 622: 619: 616: 573: 564: 546:Viking Press 535: 530: 524: 520: 514: 502: 496: 485: 482:Stephen Hero 481: 479: 470: 467:Stephen Hero 466: 465: 457:Stephen Hero 456: 454: 447: 443: 439: 437: 421: 418:Stephen Hero 417: 411: 407: 403:Stephen Hero 401: 393: 389: 387: 373: 356: 355: 344: 341:Stephen Hero 340: 336: 330: 310: 303:Stephen Hero 302: 300: 291: 268: 264: 254: 243:Stephen Hero 242: 238:Stephen Hero 236: 232: 231: 224: 218: 196: 183: 182: 181: 171: 160:Stephen Hero 158: 69: 4299:1916 novels 4186:(biography) 4184:James Joyce 4169:works about 4108:Hugh Kenner 4061:Scholars of 3964:(2003 film) 3948:(1987 film) 3932:(1977 film) 3924:(1967 film) 3916:(1958 play) 3906:Adaptations 3701:The Sisters 3636:James Joyce 3588:Study guide 3095:. pp. 2977:Works cited 2931:24 December 1186:James Joyce 1109:Bosco Hogan 1096:Adaptations 1049:Hugh Kenner 989:Flaubertian 924:Incarnation 798:Hugh Kenner 747:eucharistic 499:W. B. Yeats 398:W. K. Magee 351:Composition 286:James Joyce 223:(1922) and 193:James Joyce 189:debut novel 82:Set in 52:James Joyce 4288:Categories 4264:(grandson) 4240:(daughter) 4133:Fritz Senn 3857:Posthumous 3592:SparkNotes 3262:0140155031 2564:0838751504 2420:A Portrait 2259:(3): 363. 2208:(3): 362. 2133:(3): 368. 2070:(3): 454. 1573:4 November 1467:(3): 455. 1206:References 1079:A Portrait 1061:A Portrait 1029:A Portrait 985:Ezra Pound 951:The Egoist 943:A Portrait 910:The artist 853:Dr Faustus 826:A Portrait 818:A Portrait 802:A Portrait 791:A Portrait 775:A Portrait 758:A Portrait 731:A Portrait 531:The Egoist 526:The Egoist 507:Ezra Pound 489:essence.” 486:A Portrait 471:A Portrait 408:A Portrait 396:s editor, 345:A Portrait 295:Stanislaus 277:Background 265:A Portrait 256:The Egoist 251:Ezra Pound 233:A Portrait 150:PR6019 .O9 92:, c. 1890s 4256:(brother) 4199:Joysprick 4113:Ira Nadel 4017:Bloomsday 3693:Dubliners 2964:7 January 2636:"Ulysses" 2597:Lang 1993 2585:Lang 1993 2454:145174245 2440:: 32–44. 2407:Lang 1993 2315:(1): 52. 1550:193060122 1493:Read 1967 1372:Read 1967 1134:Stephen D 865:Eucharist 497:In 1913, 440:Dubliners 413:Dubliners 337:Dubliners 332:Dubliners 325:(then in 270:Dubliners 203:modernist 105:Publisher 97:Published 76:modernism 4272:(sister) 4248:(father) 4167:Academic 3946:The Dead 3799:The Dead 3771:A Mother 3583:LibriVox 2906:13 March 2881:13 March 2856:13 March 2831:14 March 2270:14 March 2219:14 March 2172:14 March 2144:12 March 2106:16 March 2081:14 March 2076:27537675 2043:14 March 2038:27537675 2005:14 March 1980:14 March 1955:14 March 1917:11 March 1892:14 March 1854:14 March 1542:24295781 1478:14 March 1473:27537675 1440:16 March 1406:16 March 1188:(1939). 1086:Portrait 1037:repaired 1023:In 1927 1012:In 1927 983:In 1917 968:In 1917 846:Religion 837:Identity 626:— 612:Synopsis 578:Daedalus 565:Source: 521:Portrait 444:Portrait 367:— 229:(1939). 211:Daedalus 58:Language 3995:Ulysses 3981:Related 3938:Ulysses 3922:Ulysses 3708:Eveline 3666:Ulysses 3163:4332957 3085:(ed.). 2826:4332957 2793:2 March 2768:2 March 2743:2 March 2715:1 March 2690:1 March 2618:2 March 2570:6 March 2536:6 March 2502:4 March 2477:4 March 2265:4332957 2214:4332957 2139:4332957 1950:4332957 1887:4332957 1285:4 March 1153:Ireland 1090:Ulysses 1075:Ulysses 1054:Ulysses 997:Imagist 974:cloacal 858:Lucifer 822:Ulysses 806:Ulysses 780:Ulysses 743:Thomist 555:Garland 511:Imagist 323:Trieste 311:Ulysses 288:in 1915 220:Ulysses 187:is the 173:Ulysses 138:823.912 61:English 42:in 1916 4232:(wife) 4223:Family 3894:(2013) 3886:(2012) 3878:(1968) 3870:(1944) 3849:(1927) 3841:(1907) 3830:Poetry 3822:(1918) 3819:Exiles 3677:(1939) 3669:(1922) 3661:(1916) 3650:Novels 3521: 3506: 3481: 3466: 3451: 3436: 3407: 3392: 3370: 3355: 3340: 3325: 3310: 3295: 3277: 3269:, ed. 3260: 3233: 3212: 3180: 3161: 3126: 3103: 3042: 3021: 2998: 2824: 2643: 2561: 2527: 2452: 2263: 2212: 2137: 2074: 2036: 1948: 1885: 1780: 1548: 1540: 1471: 1431: 1397: 1246: 832:Themes 655:rector 639:Jesuit 319:Zürich 175: 162: 86:Dublin 48:Author 4042:Quark 3962:Bloom 3792:Grace 3729:Araby 3643:Works 3590:from 3565:from 3159:JSTOR 3081:. In 2822:JSTOR 2737:(PDF) 2450:S2CID 2261:JSTOR 2210:JSTOR 2135:JSTOR 2072:JSTOR 2034:JSTOR 1946:JSTOR 1883:JSTOR 1829:8 May 1820:(PDF) 1546:S2CID 1538:JSTOR 1469:JSTOR 1160:Notes 871:, or 717:with 705:Style 641:-run 591:well. 394:Dana' 123:Pages 66:Genre 3811:Play 3750:Clay 3519:ISBN 3504:ISBN 3479:ISBN 3464:ISBN 3449:ISBN 3434:ISBN 3405:ISBN 3390:ISBN 3368:ISBN 3353:ISBN 3338:ISBN 3323:ISBN 3308:ISBN 3293:ISBN 3275:ISBN 3258:ISBN 3231:ISBN 3210:ISBN 3178:ISBN 3124:ISBN 3101:ISBN 3097:3–16 3040:ISBN 3019:ISBN 2996:ISBN 2966:2017 2933:2016 2908:2024 2883:2024 2858:2024 2833:2024 2795:2024 2770:2024 2745:2024 2717:2024 2692:2024 2641:ISBN 2620:2024 2572:2024 2559:ISBN 2538:2024 2525:ISBN 2504:2024 2479:2024 2394:help 2375:help 2272:2024 2221:2024 2174:2024 2146:2024 2108:2024 2083:2024 2045:2024 2007:2024 1982:2024 1957:2024 1919:2024 1894:2024 1856:2024 1831:2012 1778:ISBN 1575:2021 1480:2024 1442:2024 1429:ISBN 1408:2024 1395:ISBN 1287:2024 1244:ISBN 1198:him. 1140:and 1088:and 783:and 390:Dana 370:Ovid 88:and 3997:in 3555:at 3541:at 3287:. 3011:"3" 2442:doi 2350:doi 2317:doi 1530:doi 1056:." 484:to 126:299 4290:: 3491:. 3204:. 3155:10 3153:. 3139:. 3118:. 3099:. 3091:. 3070:54 3068:. 3013:. 2988:. 2924:. 2818:10 2816:. 2812:. 2649:. 2448:. 2438:22 2436:. 2344:. 2340:. 2311:. 2307:. 2280:^ 2257:10 2255:. 2251:. 2206:10 2204:. 2200:. 2154:^ 2131:10 2129:. 2125:. 2068:54 2066:. 2062:. 2030:54 2028:. 2024:. 1942:10 1940:. 1936:. 1879:10 1877:. 1873:. 1822:. 1583:^ 1566:. 1544:. 1536:. 1526:98 1524:. 1500:^ 1465:54 1463:. 1459:. 1379:^ 1350:^ 1338:^ 1295:^ 1214:^ 1151:, 1031:: 953:. 213:, 74:, 3801:" 3797:" 3794:" 3790:" 3787:" 3783:" 3780:" 3776:" 3773:" 3769:" 3766:" 3762:" 3759:" 3755:" 3752:" 3748:" 3745:" 3741:" 3738:" 3734:" 3731:" 3727:" 3724:" 3720:" 3717:" 3713:" 3710:" 3706:" 3703:" 3699:" 3628:e 3621:t 3614:v 3525:. 3510:. 3485:. 3470:. 3455:. 3440:. 3411:. 3396:. 3374:. 3359:. 3344:. 3329:. 3314:. 3299:. 3281:. 3239:. 3218:. 3186:. 3165:. 3132:. 3109:. 3048:. 3027:. 3004:. 2968:. 2935:. 2910:. 2885:. 2860:. 2835:. 2797:. 2772:. 2747:. 2719:. 2694:. 2622:. 2574:. 2540:. 2506:. 2481:. 2456:. 2444:: 2396:) 2377:) 2358:. 2352:: 2346:1 2325:. 2319:: 2313:1 2305:" 2274:. 2223:. 2176:. 2148:. 2110:. 2085:. 2047:. 2009:. 1984:. 1959:. 1921:. 1896:. 1858:. 1833:. 1786:. 1577:. 1552:. 1532:: 1482:. 1444:. 1410:. 1289:. 1252:. 676:. 23:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.