159 KB32 KB200920252010Ćurko, Danielaštevilka:1/2letnik:2str. 101-110ISSN:1855-8453COBISSID:44711266URN:URN:NBN:SI:doc-HFXGSK7XenZnanstvena založba Filozofske fakulteteVestnik za tuje jezike20.st.irska književnostirski romanJoyce, James: A portrait of the artist as a young manženski likiThe representation of women and the Irish nation in Joyce's A portrait of the artist as a young man|In Joyce's novel A portrait of the artist as a young man the representation of the Irish nation is closely interwoven with that of Irish women. Two groups can be distinguished among the women and girl characters: the women who are a symbol of authority and those who embody desire. Stephen's mother and Dante Riordan, a family relative and religious fanatic who closely surveyed and influenced his early childhood, symbolize those Irish who firmly supported the dogma that the Irish nation's identity was not to be separated from the nation's necessity in being a Roman Catholic one, subdued to the domination of both Rome and London. Stephen, after having accepted this view as a child, refuses this standpoint as rigid and narrow-minded; in one word, as a dangerous stereotype with disastrous consequences for the future of Ireland as he becomes an adolescent. As for the other group, the girl named (Stephen's) desire, the one central and recurrent image which appears in its description is that of the "batlike soul". The metaphor is deeply significant for the theme of this essay, as the girl characters are portrayed as unaware of themselves and only coming to consciousness, just as the Ireland of the epoch was seen and portrayed by young Stephen. The women, object of desire, are also seen as adulterous: but to betray, Stephen soon gets to understand, is the only way to be faithful - to himself and to his vision of what Ireland is yet to become. Thus the representation of the Irish nation is not only in connection with that of Irish women, but also in relation with a process of creation of Stephen's own identity, as he slowly liberates himself from the public opinion and becomes a free minded and independent adult, aware of the impact and importance his future artist vocation will have for him, as well as for his whole countryV Joycevem romanu Umetnikov mladostni portret je prikaz irske ženske vseh družbenih slojev in starostnih obdobij najožje povezan z Joycevim kritičnim pogledom na preteklost in sodobnost irskega naroda. Tako Stephenova mati kot njena fanatična in ozkosrča starejša sorodnica Dante Riordan spadata v prvo skupino ženskih likov, ki predstavljajo avtoritete, katerih stališča odraščajoči mladi Stephen zavrača, ker postopoma dojema, da mati in še posebej Dante simbolizirata tisto Irsko, ki čvrsto podpira dogmo, da pripadnost rimskokatoliški cerkvi tvori značaj in samo bistvo irskega naroda. Oblikovanje Stephove osebnosti sovpada s porajanjem njegovega zavedanja, da je imelo takšno stališče katastrofalne in dalekosežne posledice za irsko politiko in narod, ker je podjarmljenost Cerkvi kot instituciji implicirala in ohranjala podjarmljenost Britanskemu imperiju, kar se je še posebej dramatično izrazilo ob padcu politika Parnella. Pravi pomen Parnelovega padca Stephen dojame šele kot mladenič in ga pojmuje kot še eno izmed številnih izdaj naboljših irskih vodij, ki jo zagrešita irski narod in Cerkev. Dežela se je tako znašla zapuščena na obrobju kulturnega sveta, ali bolje rečeno onkraj meja civilizacije, v divjih in pustih prostranstvih. Drugo skupino ženskih likov tvorijo dekleta in mlade ženske kot objekti seksualnega poželenja mladega Stephena. Te like povezuje osrednja in ponavljajoča se metafora "duše kot netopirjev", figura, ki konotira simbolično slepilo, nepoznavanje in iskanje sebe. Ta pesniška slika prek ženskih likov hkrati povezuje tako Stephena kot pogled na stanje njegovega naroda. Še en pojem sintetizira vizijo o naravi irske ženske preko opisovanja naroda - to je že omenjeni pojem izdaje, ki je ambivaleten in protisloven. To izdajo Stephen sprva z gnusom obsoja v primeru predaje prešuštnice neznancu ali predaje Irske Britaniji kot kolonialni sili. Vendar pa se na koncu romana junak začne zavedati, da mora tudi on sam izdati, kot tista mlada poročena kmetica, ki se je na pragu svojega doma nudila njegovemu prijatelju Davinu; izdati, da bi, kako paradoksalno, ostal zvest, zapustiti svojo vero in domovino, da bi lahko v izgnanstvu kot pisatelj, za kar se je že kmalu čutil poklicanega, poiskal izvirno identiteto Irske. Roman se konča v tonu mladostnega entuziazma in v prepričanju, da šele Drugost osvobaja spone in vezi, ki ovirajo bodočega umetnika v domovini, da lahko šele v drugosti junak najde bistvo istosti, izreče in izkaže tisto, kar tvori kulturno in politično identiteto njegovega narodaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete