초록 열기/닫기 버튼
In A Portrait Stephen Dedalus as a protagonist is a developing artistic consciousness, from his earliest childhood recollections to his moment of self-imposed exile when he finally invokes his mythical namesake and leaves for a life of artistic freedom and creativity. In spite of its superficial conventionality of the Bildungsroman genre, however, A Portrait as modernist text transgresses the traditional norms of the genre. Joyce's work both makes use of and discredits its own genre conventions. Joyce's novel is a portrait, a representation, but only because it shows the becoming of the subject in writing. Rather than portraying the development of the well-rounded character, it shows the serial fading of the subject. A Portrait represents a Stephen Dedalus, not developing but devolving, not achieving selfhood but dissolving into a nameless fictional identity. A Portrait calls into question all the ways in which selfhood can be represented. Stephen's liberation and freedom becomes a function not of remembering a past identity but of continual self-deconstruction. It is not directed toward recovery of the past or toward reunification with an original identity, but toward uprooting its traditional foundations.
In A Portrait Stephen Dedalus as a protagonist is a developing artistic consciousness, from his earliest childhood recollections to his moment of self-imposed exile when he finally invokes his mythical namesake and leaves for a life of artistic freedom and creativity. In spite of its superficial conventionality of the Bildungsroman genre, however, A Portrait as modernist text transgresses the traditional norms of the genre. Joyce's work both makes use of and discredits its own genre conventions. Joyce's novel is a portrait, a representation, but only because it shows the becoming of the subject in writing. Rather than portraying the development of the well-rounded character, it shows the serial fading of the subject. A Portrait represents a Stephen Dedalus, not developing but devolving, not achieving selfhood but dissolving into a nameless fictional identity. A Portrait calls into question all the ways in which selfhood can be represented. Stephen's liberation and freedom becomes a function not of remembering a past identity but of continual self-deconstruction. It is not directed toward recovery of the past or toward reunification with an original identity, but toward uprooting its traditional foundations.
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A Portrait of the Artist as a Young Man, subject, Bildungsroman, postmodern, deconstruction, liberation, signification
