15.12.2022.
Prezentacija:
Priredila: Jana Savić 3/2
“This race and this country and this life produced me, he said. I shall express myself as I am.”
― James Joyce, A Portrait of the Artist as a Young Man
Dublin in the early 20th century |
Jana Savić 3/2
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In 1911 Dublin was the second city of the British Empire, and also the first city of nationalist Ireland. This was a city of genuine diversity. Rich and poor, nationalist and unionist, Catholic, Protestant, Jew and so many more were all bound together in the life of the city. Throughout the nineteenth century, the Protestant ascendancy was turning into an emerging Catholic elite. 1911 and the following years were known as the years in which Dublin changed the most. Many of the local events caused that change such as 1913 Lockout, 1916 Rising and 1919-21 War of Independence. But not all change was driven by local events. Many thousands of Dubliners fought in the trenches of Gallipoli, Flanders and the Somme during World War I. Dublin Castle, which was constructed in 1204 following the decision of King John, stood at the heart of the city and presented the focal point of British rule in Ireland. That castle as well as government offices which stood in the most prestigious streets of ...
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James Joyce and Ireland |
Nađa Nikolajev Ćirić 3/2
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James Joyce was a radical Irish writer that gave us a number of writing works which he will always be remembered by. At the moment, we will be focusing on his autobiographical novel, A Portrait of the Artist as a Young Man.
1. What is Joyce's point of view of Dublin and Ireland? James Joyce's relationship with Dublin was complex. After 1909, he never lived in Dublin, and after 1912 he never set foot in Ireland again, despite living until 1941. His reasons for leaving were both personal and reflective of social trends at that time. Despite Joyce’s will to break away from Ireland, his greatest work is rooted in that country. It seems as if the writer amassed the entirety of his inspiration there, where he had spent 22 years of his life growing up. The exceptional writing of A Portrait of the Artist as a Young Man comes as Joyce prepares to depart from his homeland. 2. What does the author write about? This novel is about the life of Stephen Dedalus from his earliest years until he decides to leave Ireland, and the crucial decisions he makes along the way. 3. What kind of similarities did Joyce and Stephen have? Like Stephen, Joyce experienced prostitutes during his teenage years and struggled with questions of faith. They were both sons of a religious mother and an incompetent father. He attended Jesuit schools, like Stephen, and left Ireland to pursue the life of a poet and writer. Stephen's education included not only his formal education but also his moral, emotional and intellectual development as he observed and reacted to the world around him. Stephen’s journey from a sheltered and religious upbringing to becoming a successful writer is a story of growth and self-discovery. The book's importance lies in its portrayal of a sensitive and complex young man, and in the use of autobiographical details. Stephen is trying to break through Irish cultural history and create an art that is free from foreign influence. From a very young age, he was aware of the conflict in Ireland because a violent quarrel that broke out at a family Christmas dinner and made a deep impression on him. This shows how the Irish view their own history and future. 4. How does Joyce critique Dublin and Irish society? Joyce saw a design of so called ,,nets” which purpose is to trap the writer himself, as he put it: When the soul of a man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets.(206)1 And it was in the act of fleeing those nets (of heading to Trieste, Zurich and Paris) that Joyce could write about Dublin.Great writing rarely emerges from settled, satisfied societies.Uneasiness provides far more fertile ground for creative impulses. Joyce’s writing offers a portrait of Ireland as if he had foreseen the great changes that took place between 1916 and 1922. One of his Dubliners stories, “Ivy Day at the Committee Room”, apprehends the political tension in Ireland during the 20th century. Language and native Irish games such as Gaelic football and hurling, had been revived in early decades of this century. You can also find the language and images of the Church throughout his work. However, the Catholic Church constrained Joyce’s imagination and his rejection of Ireland was a rejection of the Church. In his works, James Joyce criticizes Irish society's conservatism, devotement and blindfolded nationalism. His most famous critiques of Irish society can be found in A Portrait of the Artist as a Young Man: “ - Do you know what Ireland is? asked Stephen with cold violence. Ireland is the old sow that eats her farrow.”(184-85) * 5. Why is it important to talk about James Joyce? The origin of Joyce’s productiveness was probably the nature of social transitions the whole area went through ( e.g. strong-willed Catholic middle class began to emerge) and Joyce was the first person from this community to achieve significant fame and success in writing in English. Today, we honor James Joyce’s literary brilliance and the cultural and political diversity of Ireland of his time in this 106th year since the publication of A Portrait of the Artist as a Young Man. Joyce left Dublin, but in the course of a life spent thousands of miles from home, Dublin never left him. *Joyce, James. A Portrait of the Artist as a Young Man. New York: New American Library, 1991 |
Listen to the interview:
(Nadja & Vuk Jovanović )
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2-james_joyce_and_ireland.pdf | |
File Size: | 98 kb |
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Life and workWhat significance hides behind the title of the novel?
Portrait - it explores his life but also his personality and emotions he experiences on the way of becoming an artist. As a young man - implies that this implied time is already gone; he is no longer young but in return – as the first part of the title affirms – he has become the author of a self-portrait; that is, he has become an artist.
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Elena Janković 3/2
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poetika i autobiografija |
Vera Bursać 3/1
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Ključne reči i pojmovnik |
Dunja Mitić 3/1
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5-ključne_reči_-_pojmovnik.pdf | |
File Size: | 84 kb |
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Porodični kontekst |
Marija Gošić 3/2
Katarina Miković 3/2 Andrea Bugarić 3/1 |
Šta mislite koji od članova porodice ima najveći uticaj na Stivena?
Odnosi između članova zajednice Sajmon (otac) ima najveći uticaj na Stivena, koji prema njemu gaji isključivo strahopoštovanje.
“- O usput- reče iznenada Heron - video sam tvog oca kada je ušao. Sa Stivenovog lice iščeznuo je osmeh. Svako spominjanje njegovog oca od strane kojeg druga ili učitelja bi raspršilo na trenuak njegov mir.”
Njegov otac pokušava na sve načine da razvije ličnost svoga sina onako kako bi on to želeo, ne obazirući se na Stivenove želje. Stiven je postao sve ono što Sajmon nije želeo. Njih dvojica su veoma različite ličnosti. Koliko god je Stiven želeo da se odupre uticaju svoga oca, svesno ili nesvesno njegove misli su uvek bile tu (....Ipak je čuo očev glas”) Sajmon čak i nije svestan da njegovi postupci loše utiču na Stivena. On želi da njihov odnos bude prijateljski, ali uzalud.
“Ne mislim da sin treba da se plaši svog oca… Ne, ja postupam sa tobom kao što je i moj otac sa mnom.. Mi smo više bili kao braća…”
Odnosi između članova zajednice Sajmon (otac) ima najveći uticaj na Stivena, koji prema njemu gaji isključivo strahopoštovanje.
“- O usput- reče iznenada Heron - video sam tvog oca kada je ušao. Sa Stivenovog lice iščeznuo je osmeh. Svako spominjanje njegovog oca od strane kojeg druga ili učitelja bi raspršilo na trenuak njegov mir.”
Njegov otac pokušava na sve načine da razvije ličnost svoga sina onako kako bi on to želeo, ne obazirući se na Stivenove želje. Stiven je postao sve ono što Sajmon nije želeo. Njih dvojica su veoma različite ličnosti. Koliko god je Stiven želeo da se odupre uticaju svoga oca, svesno ili nesvesno njegove misli su uvek bile tu (....Ipak je čuo očev glas”) Sajmon čak i nije svestan da njegovi postupci loše utiču na Stivena. On želi da njihov odnos bude prijateljski, ali uzalud.
“Ne mislim da sin treba da se plaši svog oca… Ne, ja postupam sa tobom kao što je i moj otac sa mnom.. Mi smo više bili kao braća…”
Ceo tekst:
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Intertekstualnost |
Maša Mijatović 3/2
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istorija jedne mladalačke pobune |
Mina Zagorac 3/2
Iva Arsenijević 3/2 |
1.Zašto se roman može posmatrati kao istorija jedne mladalačke pobune?
Pobuna je nastala iz Stivenove želje da bude srećan i da upozna celovitost života. Njegova prva pobuna je bila u školi protiv profesora zbog koga je nepravedno dobio batine pred celim razredom. Ubrzo je usledilo i njegovo prvo seksualno iskustvo koje je zapravo pobuna protiv crkve i njenih propoveda o bezgrešnom životu na zemlji zarad nebeskog raja. Stiven nije želeo da služi nečemu u šta ne veruje, međutim on se time odvojio ne samo od crkve, već i od otadžbine i porordice. Njegova radoznalost nije mogla da odoli grehovima. On je doneo odluku da bude veran sam sebi.
„Reći ću vam šta ću, a šta neću. Neću služiti onome u šta više ne verujem, bilo da se zove moj dom, moja otadžbina ili moja crkva: i pokušaću da se izrazim u neki način života ili umetnosti što slobodnije mogu i što potpunije mogu, koristeći za svoju odbranu jedino oružje koje sebi dozvoljavam - ćutanje, izgnanstvo i lukavstvo."
Posle određenog vremena, osetio je grižu savest zbog svojih postupaka. Poželeo je da se vrati crkvi i Svetoj Trojici jer ga osećaj krivice nije napuštao. Krivica ga napušta tek kada krene svojim putem, putem kojim je njegov duh predodređen, a to je umetnost, tačnije pisanje. Kroz pisanje je mogao da se u potpunosti izrazi i osećao se mnogo slobodnije. „Predmet umetnika je stvaranje lepog. Šta je lepo, drugo je pitanje."
2.Da li je pobuna uspela?
Mladi Dedalus je uprkos svim preprekama ostvario svoj san i samim tim pronašao sebe. Majka ga je nagovarala da ostane veran crkvi dok su ga drugovi nagovarali da postane nacionalista i da zamrzi Engleze, ali on ostaje dosledan sebi i ne sluša nikoga. Iako je ostvario svoj krajnji cilj, mnogo toga je žrtvovao. Ostavio je porodicu i dom jako mlad što uopšte nije lako. To je bio put na kome se materija i duh uobličavaju zarad estetskog cilja. Na ovo pitanje bi naš odgovor bio "da", jer je spoznao sebe i svoje vrednosti. Veliki broj mladih ima isti problem, međutim nemaju toliko hrabrosti kao Stiven, pa se upravo zbog toga nikad ni ne ostvare u onome o čemu maštaju.
3.Da zaključimo...
Ovaj roman se može okarakterisati kao univerzalni, jer je Stivenova priča nešto sa čim se bori svaka mlada osoba njegovih godina. Sveznajući pripovedač koji je u svesti junaka nam još više pomaže da bolje razumemo misli i postupke glavnog junaka. Kraj dela uopšte nije kraj već je početak. Knjiga kulminira Stivenovim samonametnutim izgnanstvom iz Irske, napuštanjem svoje porodice, Crkve a između ostalog i svoje prošlosti. Stiven nije u stanju da se istinski posveti svom umetničkom pozivu sve dok ne odbaci veze svoje prošlosti i zaista doživi život kao nezavisna osoba. Njegove završne reči su:
Pobuna je nastala iz Stivenove želje da bude srećan i da upozna celovitost života. Njegova prva pobuna je bila u školi protiv profesora zbog koga je nepravedno dobio batine pred celim razredom. Ubrzo je usledilo i njegovo prvo seksualno iskustvo koje je zapravo pobuna protiv crkve i njenih propoveda o bezgrešnom životu na zemlji zarad nebeskog raja. Stiven nije želeo da služi nečemu u šta ne veruje, međutim on se time odvojio ne samo od crkve, već i od otadžbine i porordice. Njegova radoznalost nije mogla da odoli grehovima. On je doneo odluku da bude veran sam sebi.
„Reći ću vam šta ću, a šta neću. Neću služiti onome u šta više ne verujem, bilo da se zove moj dom, moja otadžbina ili moja crkva: i pokušaću da se izrazim u neki način života ili umetnosti što slobodnije mogu i što potpunije mogu, koristeći za svoju odbranu jedino oružje koje sebi dozvoljavam - ćutanje, izgnanstvo i lukavstvo."
Posle određenog vremena, osetio je grižu savest zbog svojih postupaka. Poželeo je da se vrati crkvi i Svetoj Trojici jer ga osećaj krivice nije napuštao. Krivica ga napušta tek kada krene svojim putem, putem kojim je njegov duh predodređen, a to je umetnost, tačnije pisanje. Kroz pisanje je mogao da se u potpunosti izrazi i osećao se mnogo slobodnije. „Predmet umetnika je stvaranje lepog. Šta je lepo, drugo je pitanje."
2.Da li je pobuna uspela?
Mladi Dedalus je uprkos svim preprekama ostvario svoj san i samim tim pronašao sebe. Majka ga je nagovarala da ostane veran crkvi dok su ga drugovi nagovarali da postane nacionalista i da zamrzi Engleze, ali on ostaje dosledan sebi i ne sluša nikoga. Iako je ostvario svoj krajnji cilj, mnogo toga je žrtvovao. Ostavio je porodicu i dom jako mlad što uopšte nije lako. To je bio put na kome se materija i duh uobličavaju zarad estetskog cilja. Na ovo pitanje bi naš odgovor bio "da", jer je spoznao sebe i svoje vrednosti. Veliki broj mladih ima isti problem, međutim nemaju toliko hrabrosti kao Stiven, pa se upravo zbog toga nikad ni ne ostvare u onome o čemu maštaju.
3.Da zaključimo...
Ovaj roman se može okarakterisati kao univerzalni, jer je Stivenova priča nešto sa čim se bori svaka mlada osoba njegovih godina. Sveznajući pripovedač koji je u svesti junaka nam još više pomaže da bolje razumemo misli i postupke glavnog junaka. Kraj dela uopšte nije kraj već je početak. Knjiga kulminira Stivenovim samonametnutim izgnanstvom iz Irske, napuštanjem svoje porodice, Crkve a između ostalog i svoje prošlosti. Stiven nije u stanju da se istinski posveti svom umetničkom pozivu sve dok ne odbaci veze svoje prošlosti i zaista doživi život kao nezavisna osoba. Njegove završne reči su:
„Dobro došao, živote! Idem da se po milioniti put susrećem sa stvarnošću iskustva i da iskujemu kovačnici svoje duše neostvarenu savest svog roda...Stari oče, stari majstore, budi uz mene sada i uvek i pomozi mi...“
9-_istorija_jedne_mladalačke_pobune.pdf | |
File Size: | 136 kb |
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Galerija:
Izvori:
- Radio Beograd, Biljana Dojčinović Nešić, U LAVIRINTU UMA: DžOJS, VULFOVA, FOKNER, http://www.radiobeograd.rs/download/Casopis/bdojcinovic.pdf
- E.Bulson, The Cambridge Introduction to James Joyce (Cambridge Introductions to Literature), Columbia University, New York, 2006
- D.Attridge,The Cambridge Companion to James Joyce, University of York, 2004
- Harold Bloom, Bloom’s Modern Critical Views: James Joyce, New Edition, 2009
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