A Portrait of the Artist as a Young Man
A boy becomes a writer by refusing family, church and country. Lacan read the beating scene as the ego letting go.
I will not serve that in which I no longer believe, whether it call itself my home, my fatherland, or my church.
A Portrait of the Artist as a Young Man follows Stephen Dedalus from a child's fragmentary impressions through Jesuit schooling, a stretch of guilt and religious fervour, and a slow turn toward art and leaving Ireland. The prose grows up with him, moving from infant cadences to the argued positions of a young man setting terms with those around him.
For a clinician the interest lies in watching a self assemble under pressure and hold together by refusal. What Stephen turns away from has also formed him, so his independence reads less as a clean break than as a managed tension with the claims he disowns. The novel is precise about how Stephen negotiates with authority while remaining bound to it, and about what that stance costs.
An early scene in which Stephen is struck and feels his anger drain away offers an unusually close account of affect subsiding without resolution, a small study of how feeling fastens to an image of oneself before it comes loose.
About the author
James Joyce
James Joyce was an Irish writer whose fiction reshaped the modern novel. Born in Dublin, he spent most of his adult life abroad, in Trieste, Zurich, and Paris, and drew continually on the city he had left. He is known for A Portrait of the Artist as a Young Man and Ulysses, and for his use of interior monologue and restless stylistic invention. Jacques Lacan devoted his 1975 to 1976 seminar, Le sinthome, to Joyce and the concept of the sinthome.
Details
- 1916