Stephen, Emma and Irish Women: A Feminist Reading of A Portrait of the Artist as a Young Man and Stephen Hero

오길영 한국제임스조이스학회 2011 제임스조이스저널 Vol.17 No.2

This essay aims at finding a clue to answer the following question: Is Stephen Dedalus a misogynist? Stephen’s position toward Irish women is discussable against two premises. First, he surely falls into the pitfall of the binary opposition of virgin and harlot deduced from Catholicism, even though he consciously challenges it. Secondly, the tawdriness of his circumstantial reality in contrast with the idealized romantic view of women has a poignant significance to Joyce’s whole scheme. Stephen’s problematic thoughts on the woman question render his ambitious project of being a national writer questionable mainly due to Stephen’s self-centered ego. The narrator’s distance from the would-be young artist’s questionable position toward Irish women thus deserves our attention. The binary logic of the romantic ideal and sordid reality, plus Stephen’s tilt toward his dream typically appear in his perception of Irish women. The female characters are fairly two dimensional in Stephen’s thoughts. They are either perceived as threatening or enchanting, seductive or aloof. Their fictional portraits are largely contingent on Stephen’s narcissistic projections and misogynist frame of mind. Stephen’s resort to the dark slimy streets of Nighttown and his sexual affairs with prostitutes lead him to a troubled initiation into the question of sexuality. His submission to sexual desire brings about a sinful feeling in him. His religious education is instrumental in enforcing his sinful feeling. The female characters have their own individualities and voices in Stephen Hero. This marks a crucial difference between Stephen Hero and A Portrait. In A Portrait the female characters appear only as the social types who are deprived of their own individualities, which reflects Irish men’s general attitude toward the opposite sex. Women do not interest Irishmen except as streetwalkers or housekeepers. Stephen’s relationship with Emma is no exception. Stephen’s self-imposed exile at the end of A Portrait is thus risky in falling short of a real freedom from the soul-stifling Irish reality if he does not pay due attention to his contemporary Irish people, especially Irish women.

Stephen, Emma and Irish Women: A Feminist Reading of A Portrait of the Artist as a Young Man and Stephen Hero

( Gil Young Oh ) 한국제임스조이스학회 2011 제임스조이스저널 Vol.17 No.2

This essay aims at finding a clue to answer the following question: Is Stephen Dedalus a misogynist? Stephen`s position toward Irish women is discussable against two premises. First, he surely falls into the pitfall of the binary opposition of virgin and harlot deduced from Catholicism, even though he consciously challenges it. Secondly, the tawdriness of his circumstantial reality in contrast with the idealized romantic view of women has a poignant significance to Joyce`s whole scheme. Stephen`s problematic thoughts on the woman question render his ambitious project of being a national writer questionable mainly due to Stephen`s self-centered ego. The narrator`s distance from the would-be young artist`s questionable position toward Irish women thus deserves our attention. The binary logic of the romantic ideal and sordid reality, plus Stephen`s tilt toward his dream typically appear in his perception of Irish women. The female characters are fairly two dimensional in Stephen`s thoughts. They are either perceived as threatening or enchanting, seductive or aloof. Their fictional portraits are largely contingent on Stephen`s narcissistic projections and misogynist frame of mind. Stephen`s resort to the dark slimy streets of Nighttown and his sexual affairs with prostitutes lead him to a troubled initiation into the question of sexuality. His submission to sexual desire brings about a sinful feeling in him. His religious education is instrumental in enforcing his sinful feeling. The female characters have their own individualities and voices in Stephen Hero. This marks a crucial difference between Stephen Hero and A Portrait. In A Portrait the female characters appear only as the social types who are deprived of their own individualities, which reflects Irish men`s general attitude toward the opposite sex. Women do not interest Irishmen except as streetwalkers or housekeepers. Stephen`s relationship with Emma is no exception. Stephen`s self-imposed exile at the end of A Portrait is thus risky in falling short of a real freedom from the soul-stifling Irish reality if he does not pay due attention to his contemporary Irish people, especially Irish women.

『율리시스』에서 스티븐의 또 다른 자아로서의 멀리건

민태운 ( Taeun Min ) 한국근대영미소설학회 2019 근대 영미소설 Vol.26 No.3

This study examines how Mulligan can be Stephen’s alter ego in Ulysses, even though he appears to be exactly the opposite and an enemy of Stephen. For example, it is true that Stephen is angered by Mulligan’s charge of matricide, but in a sense Mulligan said what Stephen wanted to say but had repressed. Stephen himself feels that he is somehow to blame for his mother’s death; that is why he feels the pang of conscience and sees the ghost of his mother repeatedly. Similarly, Mulligan, in Stephen’s thought, derides Stephen’s fearfulness, and this is another way of saying that Stephen’s superego or other self is mocking his own cowardice. Mockery is Mulligan’s defining characteristic; he keeps mocking Stephen. However, Mulligan’s mocking words echo in Stephen’s mind and the former’s voice becomes indistinguishable from the latter’s voice. Therefore, Mulligan’s accusation toward Stephen comes to be Stephen’s own accusation toward himself. In their roles, Stephen and Mulligan foreshadow the emergence of Shem and Shaun in Finnegans Wake. It is worth noting that Shem and Shaun are also inseparable Doppelgängers, even if they are enemies. In this connection, it is significant that Stephen’s repeated thoughts of Cranly, Mulligan’s precursor, in association with Wilde’s unspeakable love shows his love for Cranly. Whenever Stephen thinks of Cranly, he remembers Cranly’s arm and that of Mulligan, and this part of the body carries a sexual charge. A male friend of man, according to Aristotle, is his alter ego. Interestingly, the inner dialogue in Stephen’s mind takes place between Philip Sober and Philip Drunk in the “Circe” episode. Stephen’s sober self and drunken self seem to reflect Bloom and Mulligan respectively, thus confirming the possibility that Mulligan can be Stephen’s alter ego.

현대 예술가 소설의 변용: 제임스 조이스의 『영웅 스티븐』과 『젊은 예술가의 초상』의 개작 연구

오길영 ( Gil Young Oh ) 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.1

This paper purposes to reassess James Joyce`s Stephen Hero and A Portrait of the Artist as a Young Man from a comparative approach, arguing that Hero is far from an incomplete forerunner of A Portrait. A Portrait has been acclaimed as an exemplary 20th Century Bildungsroman. Hero has been rarely discussed in the Joycean scholarship, for it is an incomplete project in terms not only of its formal structure but also of its artistic immaturity. With his deep dissatisfaction with the form and style of the forerunner, Joyce casts Hero into A Portrait with much modification of style and characterization. Joyce`s recasting is well paid off: a birth of 20th century Bildungsroman. Joyce`s reshaping of Hero into A Portrait, however, pays the price for modification In getting the benefit of economy in focusing on Stephen`s consciousness and his gradual and even arrogant growth of self-consciousness as a young national writer, Joyce loses the effects of the more realistic dramatization of characters in Hero. The inappropriate dominance of the monolithic narrative in A Portrait which focuses on Stephen`s consciousness is the most noticeable when compared with Dubliners, Stephen Hero and Ulysses. The narrator`s closeness to Stephen is prominent in the transformation of Stephen Hero into A Portrait. Every event is basically filtered through all-important Stephen`s consciousness in A Portrait. The more skillful use of free indirect style in A Portrait than Dubliners and Hero is effectively instrumental in making of the aspiring young artist`s self-consciousness and his development as a young artist. A Portrait is not a monolithic or homogeneous novel in the Bakhtinian terms, although it is a modified version of Bildungsroman that put an emphasis on a protagonist`s development as a `problematic figure` and his final adjustment to the world. Arguably, other characters` voices are almost deleted in A Portrait. The rare, but indisputable distance between the narrator and the hero illustrates sharply itself in Joyce`s careful insertion of the scenes of Stephen`s relationships with the female characters. Within this approach, Stephen`s evasion from the female characters lay bare his self-inflicted misogyny. Stephen`s misogyny is felt throughout A Portrait and Stephen Hero. His misogyny is typically touched in almost all the relationships with the female characters; the incessant refusal of his mother, the problematic relationship with Emma Clery, the deleted scene of his sister Isabel`s tragic death in Hero, and finally in the guilty consciousness toward his sisters` sacrifices for the eldest son`s education. I would say that his separation from his mother and sisters leaves a scar on his ideal of a true national artist.

스데반 이야기로 재구성해본 헬라파의 신학: 스데반에 대한 고발과 그의 설교를 중심으로

박성호(Sung-Ho Park) 감리교신학대학교 2022 신학과세계 Vol.- No.103

본 논문의 목적은 스데반을 둘러싼 사건, 곧 헬라파 유대인들의 회당 사람들과의 논쟁, 그들이 거짓 증인들을 앞세워서 제기한 고발과 이에 따른 공회에서의 재판 그리고 스데반의 연설로부터 헬라파의 신학을 재구성해보는 것이다. 헬라파의 신학에 주목하는 이유는 세 가지인데, 스데반에 대한 고발과 즉흥적 린치에 가까운 폭력으로 인한 순교, 헬라파의 선교적 열정 그리고 헬라파의 신학이 바울의 사상에 미친 영향 때문이다. 이를 위해 예루살렘에서 벌어진 스데반을 중심으로 한 헬라파의 사역과 그에 대한 고발이 제기된 상황을 서술하고, 스데반 이야기의 자료 문제를 간략하게 다룬 후에 스데반에 대한 고발의 내용(6:11, 13-14)과 스데반이 청중 앞에서 행한 연설(7:1-53)을 바탕으로 헬라파의 신학적 입장으로 생각될 수 있는 다섯 가지 요소를 설명하고자 한다. 첫째, 스데반을 포함한 헬라파는 율법에 대해 비판적이었다. 율법 자체의 폐기를 주장했는지는 알 수 없지만, 최소한 율법의 한 부분에 대해서 이의를 제기했던 것으로 보이는데, 스데반이 순교하게 된 것으로 볼 때, 본질적이고 민감한 부분이었음이 분명하다. 둘째, 성전에 대한 태도도 비판적이었다. 스데반에 대한 고발의 내용에서 매번 율법과 나란히 언급되었다는 점은 이러한 태도가 성전을 위해 예루살렘으로 귀환한 디아스포라 유대인들의 눈에 매우 부정적으로 보일 수밖에 없었음을 보여준다. 셋째, 율법 비판 및 성전 비판과 밀접하게 연결되는 열광주의적 영 이해도 중요한 역할을 했을 것이다. 넷째, 헬라파의 열광주의적 영 이해는 유대인들을 향한 고발로 이어지는데, 이때 스데반은 오랜 역사 속에서 이어져온 이스라엘의 불순종을 비판함으로써 오히려 그들이 선지자들과 그리스도를 죽인 살인자이자 율법 위반자가 되었다고 강하게 비판한다. 다섯째, 스데반 이야기만으로는 비유대인 선교에 대한 헬라파의 입장을 재구성하기에 한계가 있지만, 헬라파가 예루살렘을 떠난 뒤에 유대와 사마리아 지역과 시리아의 여러 도시들에서 활동한 것으로 볼 때 이에 대한 긍정적 입장을 넘어서 적극적인 사명으로 생각했던 것으로 보인다. 바울의 서신들을 통해서 우리는 초기 기독교의 복음이 바울의 선교신학에서 화려하게 꽃을 피웠다는 사실을 목격하게 된다. 헬라파에게서 확인되는 신학적 입장이 발전 또는 변형된 형태로 바울에게서도 나타난다는 사실은 결코 우연이 아니다. 예수에게서 바울로 넘어가는 가교 역할을 한 것은 스데반을 중심으로 한 일곱 지도자에 의해서 형성되었던 헬라파였다. 그런 점에서 그들이 바울의 ‘선구자’ 역할을 했다는 말은 과대평가가 아닐 것이다. The purpose of this paper is to reconstruct the theology of the Hellenists from the events surrounding Stephen, i.e. the disputes with the Jews from the Hellenistic synagogues, the accusations they raised in the face of false witnesses and the subsequent trial at the council, and Stephen’s speeches. There are three reasons for paying attention to the theology of the Hellenists: the martyrdom caused by the accusation against Stephen and violence close to spontaneous lynching, the missionary zeal of the Hellenists, and the influence of their theology on Paul’s thought. To this end, I describe the work of the Hellenists centered on Stephen in Jerusalem and the circumstances in which the charges against him were raised. And after briefly dealing with the material problem of the story of Stephen I would like to explain five factors that can be considered as the theological positions of the Hellenists based on the accusation against Stephen (6:11, 13-14) and the speeches given by him to the audience (7:1-53). First, the Hellenists, including Stephen, were critical of the Mosaic Law. It is not known whether they insisted on the repeal of the law itself, but it seems that at least one part of the law was objected, and it is clear that it was an essential and sensitive part, given that Stephen was martyred. Second, the attitude toward the temple was also critical. The fact that each time the accusations against Stephen were mentioned alongside the Mosaic Law, this attitude had to be seen very negatively in the eyes of the Diaspora Jews who had returned to Jerusalem for the temple. Third, the filling of the Holy Spirit, closely linked to the criticism of the law and the temple, may also have played an important role. Fourth, the filling of the Holy Spirit leads to accusations against the Jews. At this time, Stephen strongly criticizes Israels long history of disobedience, and rather strongly criticizes them as murderers and lawbreakers who killed the prophets and Christ. Fifth, although the story of Stephen alone is limited in reconstructing the position of the Hellenists on the non-Jewish missions, considering that the Hellenists were active in Judea and Samaria and various cities in Syria after leaving Jerusalem, a positive attitude toward this is evident. It seems that they thought of it as an active mission beyond that. Through Paul’s epistles, we witness that the gospel of early Christianity blossomed brilliantly in Paul’s theology. It is no coincidence that the theological positions identified in the Hellenists also appear in Paul in a developed or transformed form. The bridge from Jesus to Paul was the group of the Hellenists formed by the seven leaders centered on Stephen. In that respect, it would not be an overstatement to say that they acted as Pauls ‘forerunners’.

“Pulcra Sunt Quae Visa Placent”: Colonial Ambivalence, Third Space, and Altering Perception in Stephen Dedalus`s Aesthetic Theory

( Seong Hoon Kim ) 한국제임스조이스학회 2014 제임스조이스저널 Vol.20 No.2

James Joyce’s attitude toward Irish politics as developed in the character of Stephen Dedalus involves “postcolonial” ambivalence and third space, and is crucially represented in Stephen’s aesthetic theory and in the bird girl epiphany in A Portrait of the Artist as a Young Man and Stephen Hero. Stephen’s theory is not an apolitical aestheticism but a realistic manifesto that engages Irish coloniality, culture, and politics, which indicates a postcolonial strategy that is not subsumed into colonizing mission but which works toward the creation of a new Irish art. Particularly, the three phases of perception, integritas, consonantia, and claritas (or quidditas), in Stephen’s aesthetic theory serve to ground Stephen’s ambivalent position as such an Irish colonial subject searching for a third space in between Catholic tradition and colonial modernity. The epiphanic scene of the “bird girl” is where many important aspects of the theory appear-mimicry and ambivalence, subversion of gaze, and alternative perception-as a process of undermining colonial power and authority.

제임스 조이스의 율리시스에서 환대의 예술가 스티븐

박은숙 21세기영어영문학회 2019 영어영문학21 Vol.32 No.2

This study attempts to view Stephen Dedalus, James Joyce’s alter ego in Ulysses, as a promising artist despite his unfulfilled plan to establish himself abroad. Most scholars regard Stephen’s early return from Europe as a “symbol of failure” (Hayman 47). However this article argues that it furthers his artistic ambition and refines his attitude towards his people. This article mainly discusses the foot-and-mouth disease in Ireland at that time in relation with Stephen’s view on Irish history, politics and his literary plan. The plague also reveals the unionist Mr. Deasy’s double character—betrayer and patriot. He asks Stephen’s help in his attempt to cure this epidemic. Mr. Deasy personifies the Irish’s traditional morality as a self-betraying nation. Although Stephen sees Mr. Deasy’s contradiction, he participates in the old man’s cause for the Irish cows. Ultimately this decision predicts Stephen’s gradual change from a passive victim of betrayal into a subject of hospitality.

“Pulcra Sunt Quae Visa Placent”: Colonial Ambivalence, Third Space, and Altering Perception in Stephen Dedalus’s Aesthetic Theory

김성훈 한국제임스조이스학회 2014 제임스조이스저널 Vol.20 No.2

James Joyce’s attitude toward Irish politics as developed in the character of Stephen Dedalus involves “postcolonial” ambivalence and third space, and is crucially represented in Stephen’s aesthetic theory and in the bird girl epiphany in A Portrait of the Artist as a Young Man and Stephen Hero. Stephen’s theory is not an apolitical aestheticism but a realistic manifesto that engages Irish coloniality, culture, and politics, which indicates a postcolonial strategy that is not subsumed into colonizing mission but which works toward the creation of a new Irish art. Particularly, the three phases of perception, integritas, consonantia, and claritas (or quidditas), in Stephen’s aesthetic theory serve to ground Stephen’s ambivalent position as such an Irish colonial subject searching for a third space in between Catholic tradition and colonial modernity. The epiphanic scene of the “bird girl” is where many important aspects of the theory appear—mimicry and ambivalence, subversion of gaze, and alternative perception—as a process of undermining colonial power and authority.

테오시스의 관점으로 살펴본 스데반의 용서 기도(행 7:59-60)

김강일(Kim, Kangil) 한국신약학회 2024 신약논단 Vol.31 No.1

최근 신약학 연구에서 신약 문헌에 나오는 특정한 신학적 비전을 이해하는 데 있어 교부적 신학 사상인 테오시스(θέωσις)의 중요성을 인식해 왔다. 그동안 바울서신과 마태복음과 요한복음과 같은 신약 본문을 테오시스의 관점에서 읽는 연구가 진행되어 왔다. 이러한 흐름 속에서 본 연구는 누가의 서사(행 7:59-60)에 나오는 스데반의 용서 기도가 테오시스의 관점에서 어떻게 이해될 수 있는지를 보여주고자 한다. 그동안 예수의 용서 기도와 스데반의 용서 기도의 연관성은 인식되어 왔지만, 스데반의 기도를 테오시스의 관점에서 살펴본 연구는 미비했다. 누가의 서사에서 하나님은 자비로우신 분으로 묘사된다(예, 눅 6:36). 그러므로 자비롭다는 것은 하나님의 자비롭고 용서하시는 성품에 참여하는 것이다. 스데반의 용서 기도는 예수의 기도에 나타난 하나님의 용서를 구현한다(눅 23:34). 예수가 자기를 죽인 사람들을 위해 용서를 구한 것처럼(눅 23:34), 스데반도 자기를 죽인 사람들을 위해 용서를 구한다(행 7:59-60). 이러한 관점에서 스데반의 용서 기도는 하나님의 용서하는 속성에 대한 참여이며, 따라서 하나님의 용서를 그의 삶에 반영하고 표현하는 테오시스적 기도가 된다. In recent New Testament scholarship, scholars have recognized the significance of the patristic idea of theosis for understanding a particular theological vision in the New Testament. There has been the flourishing of interest in theosis in the Pauline letters, the Gospel of Matthew, and the Gospel of John. In line with this trend, this study endeavors to demonstrate how Stephen’s prayer can be understood in terms of theosis in Luke’s narrative account (Acts 7:59-60). While the connection between Jesus’ prayer of forgiveness and Stephen’s prayer of forgiveness has been recognized, what remains to be explored is the way in which Stephen’s prayer of forgiveness can be understood within the framework of theosis. In Luke’s narrative, God is depicted as one who is merciful (e.g., Luke 6:36). Thus, to be merciful is to participate in God’s merciful and forgiving character. Stephen’s prayer of forgiveness manifests God’s forgiving life revealed in Jesus’ prayer (Luke 23:34). Just as Jesus prays for forgiveness for those who put him to death (Luke 23:34), so Stephen prays for mercy for those who put him to death (Acts 7:59-60). In this way, Stephen’s prayer of forgiveness participates in God’s character, thereby becoming an expression of God’s forgiving life.

2006 International Issue : Other Articles ; The Stolen Thing: Stephen`s Paradoxical Imaginings of the Nation in Ulysses

( Kyeong Kyu Im ) 한국제임스조이스학회 2006 제임스조이스저널 Vol.12 No.2

This paper aims at reexamining James Joyce`s troubled relationship with Ireland, one that is characteristically marked by ambivalence or paradox. Many scholars have tended to see it in terms of the creative tension between Joyce as a modernist aspiring to artistic universality, and Joyce as a native subject preoccupied with parochial identity. Such a tendency has mythically constructed Joyce as a metropolitan modernist. In countering this canonical formulation, this essay recontexualizes the question in terms of the psychological dynamics of national identification, by using Slavoj Zizek`s conceptualization of the nation as the "Nation-Thing." To illustrate these dynamics, this paper uses the Stephen Dedalus of Ulysses. Even though Joyce cannot be directly identified with Stephen, the latter`s ambivalent relationship with Ireland may well, in a number of ways, mirror that of Joyce. Through a close reading of first three chapters of Ulysses, this paper argues, after Zizek, that Stephen`s relationship with Ireland, or his national identification, is sustained by a relationship toward "the Nation qua Thing." Here, the Nation-Thing-as a non-discursive entity like Lacan`s "the Real"-exists outside language or the symbolic order, yet our access to it is only through a certain set of discursive practices, that is, a community`s "way of life" such as traditions, rituals and myths. This paradoxical nature of the Nation-Thing-oscillating between absence and presence-would enable us to explore the dynamics of national identification without reducing the nation into a purely discursive artifact, and thereby to give a historical and psychological justification to Joyce/Stephen`s ambivalent relationship with Ireland.