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A Portrait of the Artist as a Young Man
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For the 1977 film adaptation, see A Portrait of the Artist as a Young Man (film).
A Portrait of the Artist as a Young Man
Front cover of the first edition, published by B. W. Huebsch in 1916
Author
James Joyce
Language
English
Genre
Novel
Published
29 December 1916
A Portrait of the Artist as a Young Man is the first novel by Irish writer James Joyce. A Künstlerroman in a modernist style, it traces the religious and intellectual awakening of young Stephen Dedalus, a fictional alter ego of Joyce and an allusion to Daedalus, the consummate craftsman of Greek mythology. Stephen questions and rebels against the Catholic and Irish conventions under which he has grown, culminating in his self-exile from Ireland to Europe. The work uses techniques that Joyce developed more fully in Ulysses (1922) and Finnegans Wake (1939).
A Portrait began life in 1904 as Stephen Hero—a projected 63-chapter autobiographical novel in a realistic style. After 25 chapters, Joyce abandoned Stephen Hero in 1907 and set to reworking its themes and protagonist into a condensed five-chapter novel, dispensing with strict realism and making extensive use of free indirect speech that allows the reader to peer into Stephen's developing consciousness. American modernist poet Ezra Pound had the novel serialised in the English literary magazine The Egoist in 1914 and 1915, and published as a book in 1916 by B. W. Huebsch of New York. The publication of A Portrait and the short story collection Dubliners (1914) earned Joyce a place at the forefront of literary modernism.
Contents
[hide]
1 Background
2 Composition
3 Publication history
4 Major characters
5 Synopsis
6 Style
7 Analysis
7.1 Autobiography
8 Reception
9 Adaptations
10 Notes
11 References
11.1 Works cited
12 Further reading
13 External links
Background[edit]
James Joyce in 1915
Born into a middle-class family in Dublin, Ireland, James Joyce (1882–1941) excelled as a student, graduating from University College, Dublin, in 1902. He moved to Paris to study medicine, but soon gave it up. He returned to Ireland at his family's request as his mother was dying of cancer. Despite her pleas, the impious Joyce and his brother Stanislaus refused to make confession or take communion, and when she passed into a coma they refused to kneel and pray for her.[1] After a stretch of failed attempts to get published and launch his own newspaper, Joyce then took jobs teaching, singing and reviewing books, while drinking heavily.[1]
Joyce made his first attempt at a novel, Stephen Hero, in early 1904.[1] That June he saw Nora Barnacle for the first time walking along Nassau Street.[1] Their first date was on June 16, the same date that his novel "Ulysses" takes place.[1] Almost immediately, Joyce and Nora were infatuated with each other and they bonded over their shared disapproval of Ireland and the Church.[1] Nora and Joyce eloped to Europe, first staying in Zürich before settling for ten years in Trieste (then in Austria-Hungary), where he taught English. In March 1905, Joyce was transferred to the Berlitz School In Trieste, presumably because of threats of spies in Austria.[1] There Nora gave birth to their children, George in 1905 and Lucia in 1907, and Joyce wrote fiction, signing some of his early essays and stories "Stephen Daedalus". The short stories he wrote made up the collection Dubliners (1914), which took about eight years to be published due to its controversial nature.[1] While waiting on Dubliners to be published, Joyce reworked the core themes of the novel Stephen Hero he had begun in Ireland in 1904 and abandoned in 1907 into A Portrait, published in 1916, a year after he had moved back to Zürich in the midst of the First World War.[1]
Composition[edit]
Et ignotas animum dimittit in artes.
("And he turned his mind to unknown arts.")
—  Ovid, Epigraph to A Portrait of the Artist as a Young Man[2]
James Joyce in 1915
At the request of its editors, Joyce submitted a work of philosophical fiction entitled "A Portrait of the Artist" to the Irish literary magazine Dana on 7 January 1904.[3] Dana's editor, W. K. Magee, rejected it, telling Joyce, "I can't print what I can't understand."[4] On his 22nd birthday, 2 February 1904, Joyce began a realist autobiographical novel, Stephen Hero, which incorporated aspects of the aesthetic philosophy expounded in A Portrait.[5] He worked on the book until mid-1905 and brought the manuscript with him when he moved to Trieste that year. Though his main attention turned to the stories that made up Dubliners, Joyce continued work on Stephen Hero. At 914 manuscript pages, Joyce considered the book about half-finished, having completed 25 of its 63 intended chapters.[6] In September 1907, however, he abandoned this work, and began a complete revision of the text and its structure, producing what became A Portrait of the Artist as a Young Man.[7] By 1909 the work had taken shape and Joyce showed some of the draft chapters to Ettore Schmitz, one of his language students, as an exercise. Schmitz, himself a respected writer, was impressed and with his encouragement Joyce continued work on the book.
In 1911 Joyce flew into a fit of rage over the continued refusals by publishers to print Dubliners and threw the manuscript of Portrait into the fire. It was saved by a "family fire brigade" including his sister Eileen.[6][7][a] Chamber Music, a book of Joyce's poems, was published in 1907.[8]
Joyce showed, in his own words, "a scrupulous meanness" in his use of materials for the novel.[9] He recycled the two earlier attempts at explaining his aesthetics and youth, A Portrait of the Artist and Stephen Hero, as well as his notebooks from Trieste concerning the philosophy of Thomas Aquinas; they all came together in five carefully paced chapters.[10]
Stephen Hero is written from the point of view of an omniscient third-person narrator, but in Portrait Joyce adopts the free indirect style, a change that reflects the moving of the narrative centre of consciousness firmly and uniquely onto Stephen. Persons and events take their significance from Stephen, and are perceived from his point of view.[11] Characters and places are no longer mentioned simply because the young Joyce had known them. Salient details are carefully chosen and fitted into the aesthetic pattern of the novel.[11]
Publication history[edit]
Ezra Pound had A Portrait brought into print.
In 1913 the Irish poet W. B. Yeats recommended Joyce's work to the avant-garde American poet Ezra Pound, who was assembling an anthology of verse. Pound wrote to Joyce,[12] and in 1914 Joyce submitted the first chapter of the unfinished Portrait to Pound, who was so taken with it that he pressed to have the work serialised in the London literary magazine The Egoist. Joyce hurried to complete the novel,[3] and it appeared in The Egoist in twenty-five instalments from 2 February 1914 to 1 September 1915.[13]
There was difficulty finding a British publisher for the finished novel, so Pound arranged for its publication by an American publishing house, B. W. Huebsch, which issued it on 29 December 1916.[3] The Egoist Press republished it in the United Kingdom on 12 February 1917 and Jonathan Cape took over its publication in 1924. In 1964 Viking Press issued a corrected version overseen by Chester Anderson. Garland released a "copy text" edition by Hans Walter Gabler in 1993.[13]
Major characters[edit]
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Stephen Dedalus – The main character of A Portrait of the Artist as a Young Man. Growing up, Stephen goes through long phases of hedonism and deep religiosity. He eventually adopts a philosophy of aestheticism, greatly valuing beauty and art. Stephen is essentially Joyce's alter ego, and many of the events of Stephen's life mirror events from Joyce's own youth.[14] His surname is taken from the ancient Greek mythical figure Daedalus, who also engaged in a struggle for autonomy.
Simon Dedalus – Stephen's father, an impoverished former medical student with a strong sense of Irish nationalism. Sentimental about his past, Simon Dedalus frequently reminisces about his youth.[14] Loosely based on Joyce's own father and their relationship.
Mary Dedalus – Stephen's mother who is very religious and often argues with Stephen about attending services.[14]
Emma Clery – Stephen's beloved, the young girl to whom he is fiercely attracted over the course of many years. Stephen constructs Emma as an ideal of femininity, even though (or because) he does not know her well.[14]
Charles Stewart Parnell – An Irish political leader who is not an actual character in the novel, but whose death influences many of its characters. Parnell had powerfully led the Irish Parliamentary Party until he was driven out of public life after his affair with a married woman was exposed.
Cranly – Stephen's best friend at university, in whom he confides some of his thoughts and feelings. In this sense Cranly represents a secular confessor for Stephen. Eventually Cranly begins to encourage Stephen to conform to the wishes of his family and to try harder to fit in with his peers, advice that Stephen fiercely resents. Towards the conclusion of the novel he bears witness to Stephen's exposition of his aesthetic philosophy. It is partly due to Cranly that Stephen decides to leave, after witnessing Cranly's budding (and reciprocated) romantic interest in Emma.[14]
Dante (Mrs. Riordan) – The governess of the Dedalus children. She is very intense and a dedicated Catholic.[14]
Lynch – Stephen's friend from university who has a rather dry personality.[14]
Synopsis[edit]
Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo ...
His father told him that story: his father looked at him through a glass: he had a hairy face.
He was baby tuckoo. The moocow came down the road where Betty Byrne lived: she sold lemon platt.
—  James Joyce, Opening to A Portrait of the Artist as a Young Man
The childhood of Stephen Dedalus is recounted using vocabulary that changes as he grows, in a voice not his own but sensitive to his feelings. The reader experiences Stephen's fears and bewilderment as he comes to terms with the world[15] in a series of disjointed episodes.[16] Stephen attends the Jesuit-run Clongowes Wood College, where the apprehensive, intellectually gifted boy suffers the ridicule of his classmates while he learns the schoolboy codes of behaviour. While he cannot grasp their significance, at a Christmas dinner he is witness to the social, political and religious tensions in Ireland involving Charles Stewart Parnell, which drive wedges between members of his family, leaving Stephen with doubts over which social institutions he can place his faith in.[17] Back at Clongowes, word spreads that a number of older boys have been caught "smugging"; discipline is tightened, and the Jesuits increase use of corporal punishment. Stephen is strapped when one of his instructors believes he has broken his glasses to avoid studying, but, prodded by his classmates, Stephen works up the courage to complain to the rector, Father Conmee, who assures him there will be no such recurrence, leaving Stephen with a sense of triumph.[18]
Stephen's father gets into debt and the family leaves its pleasant suburban home to live in Dublin. Stephen realises that he will not return to Clongowes. However, thanks to a scholarship obtained for him by Father Conmee, Stephen is able to attend Belvedere College, where he excels academically and becomes a class leader.[19] Stephen squanders a large cash prize from school, and begins to see prostitutes, as distance grows between him and his drunken father.[20]
Stephen Dedalus has an aesthetic epiphany along Dollymount Strand.
As Stephen abandons himself to sensual pleasures, his class is taken on a religious retreat, where the boys sit through sermons.[21] Stephen pays special attention to those on pride, guilt, punishment and the Four Last Things (death, judgement, Hell, and Heaven). He feels that the words of the sermon, describing horrific eternal punishment in hell, are directed at himself and, overwhelmed, comes to desire forgiveness. Overjoyed at his return to the Church, he devotes himself to acts of ascetic repentance, though they soon devolve to mere acts of routine, as his thoughts turn elsewhere. His devotion comes to the attention of the Jesuits, and they encourage him to consider entering the priesthood.[22] Stephen takes time to consider, but has a crisis of faith because of the conflict between his spiritual beliefs and his aesthetic ambitions. Along Dollymount Strand he spots a girl wading, and has an epiphany in which he is overcome with the desire to find a way to express her beauty in his writing.[23]
As a student at University College, Dublin, Stephen grows increasingly wary of the institutions around him: Church, school, politics and family. In the midst of the disintegration of his family's fortunes his father berates him and his mother urges him to return to the Church.[24] An increasingly dry, humourless Stephen explains his alienation from the Church and the aesthetic theory he has developed to his friends, who find that they cannot accept either of them.[25] Stephen concludes that Ireland is too restricted to allow him to express himself fully as an artist, so he decides that he will have to leave. He sets his mind on self-imposed exile, but not without declaring in his diary his ties to his homeland:[26]
... I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.
Style[edit]
This section needs expansion. You can help by adding to it. (November 2013)
The novel mixes third-person narrative with free indirect speech, which allows both identification with and distance from Stephen. The narrator refrains from judgement. The omniscient narrator of the earlier Stephen Hero informs the reader as Stephen sets out to write "some pages of sorry verse," while Portrait gives only Stephen's attempts, leaving the evaluation to the reader.[27]
The novel is written primarily as a third-person narrative with minimal dialogue until the final chapter. This chapter includes dialogue-intensive scenes alternately involving Stephen, Davin and Cranly. An example of such a scene is the one in which Stephen posits his complex Thomist aesthetic theory in an extended dialogue. Joyce employs first-person narration for Stephen's diary entries in the concluding pages of the novel, perhaps to suggest that Stephen has finally found his own voice and no longer needs to absorb the stories of others.[28] Joyce fully employs the free indirect style to demonstrate Stephen's intellectual development from his childhood, through his education, to his increasing independence and ultimate exile from Ireland as a young man. The style of the work progresses through each of its five chapters, as the complexity of language and Stephen's ability to comprehend the world around him both gradually increase.[29] The book's opening pages communicate Stephen's first stirrings of consciousness when he is a child. Throughout the work language is used to describe indirectly the state of mind of the protagonist and the subjective effect of the events of his life.[30]
The writing style is notable also for Joyce's omission of quotation marks: he indicates dialogue by beginning a paragraph with a dash, as is commonly used in French, Spanish or Russian publications.
Analysis[edit]
This section needs expansion. You can help by adding to it. (November 2013)
According to the literary scholar Hugh Kenner, "every theme in the entire life-work of James Joyce is stated on the first two pages of the Portrait".[31] The highly condensed recounting of young Stephen's growing consciousness "enact[s] the entire action [of the novel] in microcosm. An Aristotelian catalogue of senses, faculties, and mental activities is counterpointed against the unfolding of the infant conscience",[32] and themes that run through Joyce's later novels find expression there.[33]
The myth of Daedalus and Icarus has parallels in the structure of the novel, and gives Stephen his surname.
The epigraph quotes from Ovid's Metamorphoses: the inventor Daedalus, who has built a labyrinth to imprison the Minotaur, and his son Icarus who are forbidden to leave the Island of Crete by its King, Minos. Daedalus, "turning his mind to unknown arts", fashions wings of birds' feathers and wax with which he and his son flee their island prison. Icarus flies so close to the sun that the wax on his pair melts and he plummets into the sea. To A. Nicholas Fargnoli and Michael Patrick Gillespie the epigraph parallels the heights and depths that end and begin each chapter, and can be seen to proclaim the interpretive freedom of the text.[2]
A Portrait belongs to the genre of Künstlerroman, a story of artistic development, of which A Portrait is the primary example in English.[34]
Autobiography[edit]
Stephen Hero is a directly autobiographical novel, including people and events because Joyce had personally experienced them. In contrast, in A Portrait Joyce refines his approach by selectively drawing on life events and reflecting them through the consciousness of Stephen Dedalus, a fictional character.[29]
Reception[edit]
This section needs expansion. You can help by adding to it. (November 2013)
A Portrait won Joyce a reputation for his literary skills, as well as a patron, Harriet Shaw Weaver, the business manager of The Egoist.[3]
In 1917 H. G. Wells wrote that "one believes in Stephen Dedalus as one believes in few characters in fiction," while warning readers of Joyce's "cloacal obsession," his insistence on the portrayal of bodily functions that Victorian morality had banished from print.[35]
Adaptations[edit]
A film version adapted for the screen by Judith Rascoe and directed by Joseph Strick was released in 1977. It features Bosco Hogan as Stephen Dedalus and T. P. McKenna as Simon Dedalus. John Gielgud plays Father Arnall, the priest whose lengthy sermon on Hell terrifies the teenage Stephen.[36]
The first stage version was produced by Léonie Scott-Matthews at Pentameters Theatre in 2012 using an adaptation by Tom Neill.[37]
Hugh Leonard's stage work Stephen D is an adaptation of A Portrait of the Artist as a Young Man and Stephen Hero. It was first produced at the Gate Theatre during the Dublin Theatre Festival of 1962.[38]
Computer scientists and literature scholars at University College Dublin, Ireland are in a collaboration to create the multimedia version this work, by charting the social networks of characters in the novel. Animations in the multimedia editions express the relation of every character in the chapter to the others.[39]
Notes[edit]
Jump up ^ The story is sometimes erroneously repeated as involving Stephen Hero and Joyce's common-law wife, Nora Barnacle. The error was first publicised by Joyce's patron Sylvia Beach in 1935, and was included in Herbert Gorman's biography James Joyce (1939).[7]
References[edit]
^ Jump up to: a b c d e f g h i Bowker, Gordan (2011). James Joyce: A New Biography. 18 West 18th Street, New York, NY 10011: Farrar, Straus and Giroux. p. 219. ISBN 978-0-374-17872-7.
^ Jump up to: a b Fargnoli & Gillespie 2006, pp. 136–137.
^ Jump up to: a b c d Fargnoli & Gillespie 2006, p. 134.
Jump up ^ Fargnoli & Gillespie 2006, pp. 134–135.
Jump up ^ Fargnoli & Gillespie 2006, p. 154.
^ Jump up to: a b Bulson (2006:47)
^ Jump up to: a b c Fargnoli & Gillespie 2006, p. 155.
Jump up ^ Read 1967, p. 2.
Jump up ^ Johnson (2000:222)
Jump up ^ Johnson (2000:xviii)
^ Jump up to: a b Johnson (2000:xvii)
Jump up ^ Read 1967, p. 1.
^ Jump up to: a b Herbert 2009, p. 7.
^ Jump up to: a b c d e f g Joyce, James (1916). A Portrait of the Artist as a Young Man. New York, NY: B. W. Huebsch.
Jump up ^ Fargnoli & Gillespie 2006, p. 137.
Jump up ^ Fargnoli & Gillespie 2006, p. 136.
Jump up ^ Fargnoli & Gillespie 2006, p. 138.
Jump up ^ Fargnoli & Gillespie 2006, pp. 138–139.
Jump up ^ Fargnoli & Gillespie 2006, p. 139.
Jump up ^ Fargnoli & Gillespie 2006, pp. 139–140.
Jump up ^ Fargnoli & Gillespie 2006, p. 140.
Jump up ^ Fargnoli & Gillespie 2006, p. 141.
Jump up ^ Fargnoli & Gillespie 2006, pp. 141–142.
Jump up ^ Fargnoli & Gillespie 2006, p. 142.
Jump up ^ Fargnoli & Gillespie 2006, pp. 142—143.
Jump up ^ Fargnoli & Gillespie 2006, p. 143.
Jump up ^ Belanger 2001, p. xviii.
Jump up ^ Bulson (2006:51)
^ Jump up to: a b Bulson (2006:50)
Jump up ^ Pericles Lewis. "A Portrait of the Artist as a Young Man" (PDF). Cambridge Introduction to Modernism. Retrieved 8 May 2012.
Jump up ^ Kenner 1948, p. 365.
Jump up ^ Kenner 1948, p. 362.
Jump up ^ Kenner 1948, pp. 363–363.
Jump up ^ Bulson (2006:49)
Jump up ^ Wollaeger 2003, p. 4.
Jump up ^ A Portrait of the Artist as a Young Man on IMDb
Jump up ^ "A Portrait of the Artist as a Young Man - Pentameters". London Theatre Guide. Retrieved 2016-12-24.
Jump up ^ Irish Playography, Stephen D by Hugh Leonard [1] retrieved 7 July 2013
Jump up ^ "A Digital Portrayal of James Joyce's 'Portrait'". Retrieved 7 January 2017.
Works cited[edit]
Belanger, Jacqueline (2001). "Introduction". A Portrait of the Artist as a Young Man. Wordsworth Editions. pp. i–xxxii. ISBN 978-1-85326-006-3.
Bulson, Eric (2006). "3". The Cambridge Introduction to James Joyce. Cambridge University Press. pp. 47–62. ISBN 0-521-84037-6.
Fargnoli, A. Nicholas; Gillespie, Michael Patrick (2006). Critical Companion to James Joyce: A Literary Reference to His Life and Work. Infobase Publishing. ISBN 978-1-4381-0848-3.
Herbert, Stacey (2009). "Composition and publishing history of the major works: an overview". In McCourt, John. James Joyce in Context. Cambridge University Press. pp. 3–16. ISBN 978-0-521-88662-8.
Johnson, Jeri (2000). "Introduction". A Portrait of the Artist as a Young Man. Oxford world's classics. Oxford University Press. ISBN 0-19-283998-5.
Kenner, Hugh (Summer 1948). "The 'Portrait' in Perspective". 10 (3). Kenyon College. pp. 361–381. JSTOR 4332957.
Read, Forrest, ed. (1967). Pound/Joyce; the Letters of Ezra Pound to James Joyce: With Pound's Essays on Joyce. New Directions Publishing. ISBN 978-0-8112-0159-9.
Wollaeger, Mark A. (2003). James Joyce's A Portrait of the Artist as a Young Man: A Casebook. Oxford University Press. ISBN 978-0-19-515076-6.
Further reading[edit]
Attridge, Derek, ed. The Cambridge Companion to James Joyce, 2nd edition, Cambridge UP, 2004. ISBN 0-521-54553-6.
Bloom, Harold. James Joyce's A Portrait of the Artist as a Young Man. New York: Chelsea House, 1988. ISBN 1-55546-020-8.
Brady, Philip and James F. Carens, eds. Critical Essays on James Joyce's A Portrait of the Artist as a Young Man. New York: G. K. Hall, 1998. ISBN 978-0-7838-0035-6.
Doherty, Gerald. Pathologies of Desire: The Vicissitudes of the Self in James Joyce's A Portrait of the Artist as a Young Man. New York: Peter Lang, 2008. ISBN 978-0-8204-9735-8.
Empric, Julienne H. The Woman in the Portrait: The Transforming Female in James Joyce's A Portrait of the Artist as a Young Man. San Bernardino, CA: Borgo Press, 1997. ISBN 978-0-89370-193-2.
Epstein, Edmund L. The Ordeal of Stephen Dedalus: The Conflict of Generations in James Joyce's A Portrait of the Artist as a Young Man. Carbondale: Southern Illinois UP, 1971. ISBN 978-0-8093-0485-1 .
Harkness, Marguerite. Portrait of the Artist as a Young Man: Voices of the Text. Boston: Twayne, 1989. ISBN 978-0-8057-8125-0.
Jaillant, Lise. "Blurring the Boundaries: Fourteen Great Detective Stories and Joyce’s A Portrait of the Artist as a Young Man in the Modern Library Series." James Joyce Quarterly 50.3 (2013): 767-95.
Morris, William E. and Clifford A. Nault, eds. Portraits of an Artist: A Casebook on James Joyce's Portrait. New York: Odyssey, 1962.
Seed, David. James Joyce's A Portrait of the Artist as a Young Man. New York: St. Martin's Press, 1992. ISBN 978-0-312-08426-4.
Staley, Thomas F. and Bernard Benstock, ed. Approaches to Joyce's Portrait: Ten Essays. Pittsburgh: University of Pittsburgh Press, 1976. ISBN 978-0-82-293331-1.
Thornton, Weldon. The Antimodernism of Joyce's A Portrait of the Artist as a Young Man. Syracuse, NY: Syracuse UP, 1994. ISBN 978-0-8156-2587-2.
Tindall, William York (1995). A Reader's Guide to James Joyce. Syracuse University Press. ISBN 978-0-8156-0320-7.
Wollaeger, Mark A., ed. James Joyce's A Portrait of the Artist as a Young Man: A Casebook. Oxford and New York: Oxford UP, 2003. ISBN 978-0-19-515075-9.
Yoshida, Hiromi. Joyce & Jung: The "Four Stages of Eroticism" in A Portrait of the Artist as a Young Man. New York: Peter Lang, 2007. ISBN 978-0-8204-6913-3.
External links[edit]
Wikisource has the text of the novel:
A Portrait of the Artist as a Young Man
Wikiquote has quotations related to: A Portrait of the Artist as a Young Man
A Portrait of the Artist as a Young Man at Project Gutenberg
Hypertextual, self-referential version based on the Project Gutenberg edition, from an Imperial College London website
Digitized copy of the first edition from Internet Archive
A Portrait of the Artist as a Young Man public domain audiobook at LibriVox
Study guide from SparkNotes
Map of A Portrait of the Artist as a Young Man
A Portrait of the Artist as a Young Man at the British Library
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v
t
e
James Joyce
Works
Novels
A Portrait of the Artist as a Young Man (1916)
Ulysses (1922)
Finnegans Wake (1939)
Short stories
Dubliners (1914, written 1904–07)
"The Sisters"
"Eveline"
"After the Race"
"An Encounter"
"Araby"
"The Boarding House"
"Counterparts"
"Clay"
"A Painful Case"
"Ivy Day in the Committee Room"
"A Mother"
"Two Gallants"
"A Little Cloud"
"Grace"
"The Dead"
Play
Exiles (1918)
Poetry
Chamber Music (1907)
Pomes Penyeach (1927)
Posthumous
publications
Stephen Hero (1944)
Giacomo Joyce (1968)
The Cats of Copenhagen (2012)
Finn's Hotel (2013)
Adaptations
Ulysses in Nighttown (1958 play)
Ulysses (1967 film)
A Portrait of the Artist as a Young Man (1977 film)
Ulysses (1982 broadcast)
The Dead (1987 film)
James Joyce's The Dead (1999 musical)
Bloom (2003 film)
Waywords and Meansigns (2015-17 audio)
Scholars of
Anthony Burgess
Frank Delaney
Richard Ellmann
Francisco García Tortosa
Stuart Gilbert
Adaline Glasheen
Michael Groden
Hugh Kenner
Declan Kiberd
Ira Nadel
David Norris
William H. Quillian
C. George Sandulescu
John Simpson
Ronald Symond
Academic
works about
Hamlet and the New Poetic: James Joyce and T. S. Eliot
James Joyce (biography)
James Joyce Quarterly
Joysprick
Our Exagmination Round His Factification for Incamination of Work in Progress
A Skeleton Key to Finnegans Wake
Related
Bloomsday
Obscenity trial of Ulysses in The Little Review
United States v. One Book Called Ulysses
James Joyce Centre
James Joyce Tower and Museum
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Family
Nora Barnacle (wife)
Lucia Joyce (daughter)
John Stanislaus Joyce (father)
Stanislaus Joyce (brother)
Stephen James Joyce (grandson)
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Now That's What I Call Country
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Now That's What I Call Country
Compilation album by Various artists
Released
August 26, 2008
Recorded
Various times
Genre
Country
Length
78:10
Label
UMG
Series chronology
Now That's What I Call Classic Rock
(2008)Now That's What I Call Classic Rock2008 Now That's What I Call Country
(2008) The Essential Now That's What I Call Christmas
(2008)The Essential Now That's What I Call Christmas2008
Country series chronology
Now That's What I Call Country
(2008) Now That's What I Call Country2008 Now That's What I Call Country Volume 2
(2009) Now That's What I Call Country Volume 22009
Professional ratings
Review scores
Source
Rating
Allmusic [1]
Now That's What I Call Country is a country music compilation album released on August 26, 2008.[2] The album is the first in the (U.S.) Now! series to be composed exclusively of country music tracks. All of the tracks peaked inside the top 20 of the Billboard Hot Country Songs chart, 16 of which were top 5 hits with 5 of those reaching number one.
The album debuted at number 1 on the Billboard Top Country Albums chart[3] and peaked at number 7 on the Billboard 200[4] in September 2008.
Contents
[hide]
1 Track listing
1.1 Free downloads
2 Chart performance
3 Certifications
4 References
Track listing[edit]
No.
Title
Artist
Length
1. "All-American Girl" Carrie Underwood 3:30
2. "Winner at a Losing Game" Rascal Flatts 4:45
3. "Watching Airplanes" Gary Allan 4:00
4. "Because of You" Reba McEntire with Kelly Clarkson 3:41
5. "Everybody" Keith Urban 5:22
6. "Stay" Sugarland 4:42
7. "Love Don't Live Here" Lady Antebellum 3:49
8. "Picture to Burn" Taylor Swift 2:51
9. "Trying to Stop Your Leaving" Dierks Bentley 3:37
10. "All My Friends Say" Luke Bryan 3:59
11. "Letter to Me" Brad Paisley 4:39
12. "I Saw God Today" George Strait 3:19
13. "That Song in My Head" Julianne Hough 3:09
14. "As If" Sara Evans 3:28
15. "Don't Blink" Kenny Chesney 4:44
16. "You're Gonna Miss This" Trace Adkins 3:42
17. "What Kinda Gone" Chris Cagle 2:58
18. "Things That Never Cross a Man's Mind" Kellie Pickler 3:09
19. "Another Try" Josh Turner with Trisha Yearwood 3:44
20. "Alyssa Lies" Jason Michael Carroll 4:18
Free downloads[edit]
The Now That's What I Call Country CD can also unlock free downloads for the following tracks:
Eric Church – "Carolina"
Jamey Johnson – "High Cost of Living"
The Lost Trailers – "Hey Baby"
Ashton Shepherd – "Ain't Dead Yet"
Emily West – "Annie's Gonna Get a Brand New Gun"
Chuck Wicks – "Man of the House"
Chart performance[edit]
Chart (2008)
Peak
position
U.S. Billboard Top Country Albums 1
U.S. Billboard 200 7
Certifications[edit]
Region
Certification
United States (RIAA)[5]
Gold
References[edit]
Jump up ^ Leggett, Steve. "Now That's What I Call Country review". Allmusic. Retrieved July 20, 2011.
Jump up ^ Now That's What I Call Music official U.S. website
Jump up ^ Top Country Albums Chart Listing For The Week Of Sep 13 2008, Billboard.com
Jump up ^ The Billboard 200 Chart Listing For The Week Of Sep 13 2008, Billboard.com
Jump up ^ "American album certifications – Various Artists – What I Call Country". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
Preceded by
Love on the Inside by Sugarland Top Country Albums number-one album
September 13, 2008 Succeeded by
Love on the Inside by Sugarland
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This article on a 2000s compilation album is a stub. You can help Wikipedia by expanding it.
v
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Now_That%27s_What_I_Call_Country&oldid=779031718"
Categories:
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Major airlines of the United States
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The United States Department of Transportation defines a major carrier or major airline carrier as a U.S.-based airline that posts more than $1 billion in revenue during a fiscal year, grouped accordingly as "Group III".[1]
Contents
[hide]
1 Airlines
1.1 Mainline passenger
1.2 Regional passenger
1.3 Freight
2 See also
3 Notes
4 References
Airlines[edit]
According to FY2017 revenues,[1] there are 18 major carriers who meet the requirement for Group III status:
Mainline passenger[edit]
Alaska Airlines
Allegiant Air
American Airlines
Delta Air Lines
Frontier Airlines
Hawaiian Airlines
JetBlue
Southwest Airlines
Spirit Airlines
United Airlines
Regional passenger[edit]
Envoy Air (subsidiary of American Airlines Group)
ExpressJet (subsidiary of SkyWest, Inc.)
SkyWest Airlines (subsidiary of SkyWest, Inc.)
Freight[edit]
Atlas Air
FedEx Express
Polar Air Cargo
UPS Airlines
See also[edit]
Airlines for America
Notes[edit]
References[edit]
^ Jump up to: a b Chadwick, Jr., William; Gorham, Jeff (October 31, 2017). "Air Carrier Groupings 2018 (No.325)" (PDF). Washington, D.C.: Accounting and Reporting Directive of the Office of Airline Information, Bureau of Transportation Statistics, United States Department of Transportation. Retrieved November 15, 2017.
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Sangam period
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2008) (Learn how and when to remove this template message)
Tamilakam, located in the tip of South India during the Sangam Period, ruled by Chera dynasty, Chola dynasty and the Pandyan dynasty.
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See also: First Sangam, Second Sangam, and Third Sangam
Sangam period (Tamil: சங்ககாலம், Sangakālam ?) is the period of history of ancient Tamil Nadu and Kerala (known as Tamilakam) spanning from c. 3rd century BC to c. 3rd century AD. It is named after the famous Sangam academies of poets and scholars centered in the city of Madurai.
In Old Tamil language, the term Tamilakam (Tamiḻakam தமிழகம், Purananuru 168. 18) referred to the whole of the ancient Tamil-speaking area, corresponding roughly to the area known as southern India today, consisting of the territories of the present-day Indian states of Tamil Nadu, Kerala, parts of Andhra Pradesh, parts of Karnataka and northern Sri Lanka[1][2] also known as Eelam.[3][4]
Contents
[hide]
1 History
2 Literary sources
3 Culture
3.1 Religion
3.2 Calendar
3.3 Festivals
3.4 Arts
4 People
5 See also
6 References
6.1 Notes
6.2 Bibliography
History[edit]
Main article: History of Tamil Nadu
According to Tamil legends, there were three Sangam periods, namely Head Sangam, Middle Sangam and Last Sangam period. Historians use the term Sangam period to refer the last of these, with the first two being legendary. So it is also called Last Sangam period (Tamil: கடைச்சங்க பருவம், Kaṭaissanka paruvam ?),[5] or Third Sangam period (Tamil: மூன்றாம் சங்க பருவம், Mūnṟām sanka paruvam ?). The Sangam literature is thought to have been produced in three Sangam academies of each period. The evidence on the early history of the Tamil kingdoms consists of the epigraphs of the region, the Sangam literature, and archaeological data.
The period between 600 BC to AD 200, Tamilakam was ruled by the three Tamil dynasties of Pandya, Chola and Chera, and a few independent chieftains, the Velir.
Literary sources[edit]
Main articles: Sources of ancient Tamil history and Sangam literature
There is a wealth of sources detailing the history, socio-political environment and cultural practices of ancient Tamilakam, including volumes of literature and epigraphy.[3]
Tamilakam's history is split into three periods; prehistoric, classical (see Sangam period) and medieval. A vast array of literary, epigraphical and inscribed sources from around the world provide insight into the socio-political and cultural occurrences in the Tamil nation. The ancient Tamil literature consists of the great grammatical work Tolkappiyam, the ten anthologies Patthupattu, the eight anthologies Ettuttogai, the eighteen minor works Pathinenkeelkanaku and the five great epics, Silappadikaram, Manimegalai, Sivaga-Cindamani, Valayapathi and Kundalakesi.
Culture[edit]
Further information: Economy of ancient Tamil country, Agriculture in ancient Tamil country, and Industry in ancient Tamil country
Religion[edit]
Main article: Ancient Tamil religion
The religion of the ancient Tamils closely follow roots of nature worship and some elements of it can also be found in Tamil Shaiva Siddhanta traditions. In the ancient Sangam literature, Sivan was the supreme God, and Murugan was the one celebrated by the masses; both of them were sung as deified Tamil poets ascending the Koodal academy. The Tamil landscape was classified into five categories, thinais, based on the mood, the season and the land. Tolkappiyam, one of the oldest grammatical works in Tamil mentions that each of these thinai had an associated deity such as Kottravai (Mother goddess i.e. Kali) and Sevvael (Murugan) in Kurinji (the hills), Thirumaal (Vishnu) in Mullai (the forests), Vendhan (Wanji-ko or Seyyon i.e. Indra) in Marutham (the plains i.e. Vayu), and Kadaloan (Varuna) in the Neithal (the coasts and the seas). Other ancient works refer to Maayon (Maal) and Vaali.
The most popular deity was Murugan, who has from a very early date been identified with Karthikeya, the son of Siva. Kannagi, the heroine of the Silappatikaram, was worshiped as Pathini (பத்தினி) by many Tamilians, particularly in Sri Lanka. There were also many temples and devotees of Thirumaal, Siva, Ganapathi, and the other common Hindu deities.
Calendar[edit]
The ancient Tamil calendar was based on the sidereal year similar to the ancient Hindu solar calendar, except that months were from solar calculations, and originally there was no 60-year cycle as seen in Sanskrit calendar. The year was made up of twelve months and every two months constituted a season. With the popularity of Mazhai vizhavu, traditionally commencement of Tamil year was clubbed on April 14, deviating from the astronomical date of vadavazhi vizhavu.
Festivals[edit]
Pongal (பொங்கல்) the festival of harvest and spring, thanking Lord Indiran and Lord El (the sun), comes on January 14/15 (Thai 1).
Peru Vaenil Kadavizha, the festival for wishing quick and easy passage of the mid-summer months, on the day when the Sun or El stands directly above the head at noon (the start of Agni Natchaththiram) at the southern tip of ancient Tamil land. This day comes on April 14/15 (Chithirai 1).
Mazhai Vizhavu, aka Indhira Vizha, the festival for want of rain, celebrated for one full month starting from the full moon in Ootrai (later name-Cittirai) சித்திரை and completed on the full moon in Puyaazhi (Vaikaasi) (which coincides with Buddhapurnima). It is epitomised in the epic Cilapatikaram in detail.
Puyaazhi (Vaikaasi) visaagam and Thai poosam, தைப்பூசம் the festivals of Tamil God [Muruga]'s birth and accession to the Thirupparankundram Koodal Academy, coming on the day before the full moons of Puyaazhi and Thai respectively.
Soornavai Vizha, the slaying of legendary Kadamba Asura king Surabadma, by Lord [Muruga], comes on the sixth day after new moon in Itrai (Kaarthigai). It is sung about in Thirumurugatrupadai and Purananuru anthology.
Vaadai Vizha or Vadavazhi Vizha, the festival of welcoming the Lord Surya back to home, as He turns northward, celebrated on December 21/22 (Winter Solstice) (the sixth day of Panmizh[Maargazhi]). It is sung about in Akanauru anthology.
Semmeen Ezhumin Vizhavu (Aathi-Iřai Darisanam) or Aruthra Darishanam, the occasion of Lord Siva coming down from the ThiruCitrambalam திருச்சிற்றம்பலம் and taking a look at the Vaigarai Thiru Aathirai star in the early morning on the day before the full moon in Panmizh. Aathi Irai min means the star of the God (Siva) on the Bull (Nandi).
Thiruonam or Onam, the birthday of Mayon (Lord Vishnu), thiruonam is a group of stars which are bright together and resemble like an eagle. Lord Vishnu's mount is Garuda (eagle), so the day was considered as the birthday of Lord Vishnu by the people of Pandya kingdom and was celebrated for 10 days. That was mentioned in '[Maduraikanji]' one of the 'Pathupaatu' book, 'Thirupallandu' by Periyazhwar and from the song of Thirugnanasambandhar in Thevaram. On this day, Keralites celebrate Onam as the state's harvest festival. Onam is observed for 10 days, ending in Thiruvonam (or Thirounam).
Arts[edit]
See also: Ancient Tamil music
Musicians, stage artists, and performers entertained the kings, the nobility, the rich and the general population. Groups of performers included:
Thudian, players of the thuda, a small percussion instrument
Paraiyan, who beat maylam (drums) and performed kooththu, a stage drama in dance form, as well as proclaiming the king's announcements
Muzhavan, who blew into a muzhavu, a wind instrument, with the army indicating the start and end of the day and battlefield victories. They also performed in kooththu alongside other artists.
Kadamban who beat a large bass-like drum, the kadamparai, and blew a long bamboo, kuzhal, the cerioothuthi (similar to the present naagasuram).
PaaNan, who sang songs in all pann tunes (tunes that are specific for each landscape) and were masters of the yaazh, a stringed instrument with a wide frequency range.
Together with the poets (pulavar) and the academic scholars (saandror), these people of talent appeared to originate from all walks of life, irrespective of their native profession.
People[edit]
See also: Tamil people, Sangam literature, Sangam landscape, and Chronology of Tamil history
The people were divided into five different clans ("kudes") based on their profession. They were:
Mallars: the farmers.
Malavars: the hill people who gather hill products, and the traders.
Nagars: people in charge of border security, who guarded the city walls and distant fortresses.
Kadambars: people who thrive in forests.
Thiraiyars: the seafarers.
All the five kudes constituted a typical settlement, which was called an "uru". Later each clan spread across the land, formed individual settlements of their own and concentrated into towns, cities, and countries. Thus the Mallars settled in Tamil Nadu and Sri Lanka, while the Malavars came to live in Kerala, western Tamil Nadu, eastern Andhra Pradesh and southern Sri Lanka. The Nagars inhabited southern and eastern Tamil Nadu, and northern Sri Lanka, while the Kadambars settled in central Tamil Nadu first and later moved to western Karnataka. The Thiraiyars inhabited throughout the coastal regions. Later various subsects were formed based on more specific professions in each of the five landscapes (Kurinji, Mullai, Marutam, Neithal and Palai).
Poruppas (the soldiers), Verpans (the leaders of the tribe or weapon-ists), Silambans (the masters of martial arts or the arts of fighting), Kuravar (the hunters and the gatherers, the people of foothills) and Kanavars (the people of the mountainous forests) in Kurinji.
Kurumporai Nadan-kizhaththis (the landlords of the small towns amidst the forests in the valleys), Thonral-manaivi (the ministers and other noble couples), Idaiyars (the milkmaids and their families), Aiyars (the cattle-rearers) in Mullai.
Mallar or Pallar (the farmers and warriors), Vendans (Chera, Chola and Pandya kings were called as "Vendans"), Urans (small landlords), Magizhnans (successful small scale farmers), Uzhavars (the farm workers), Kadaiyars (the merchants) in Marutham.[6]
Saerppans (the seafood vendors and traders), Pulampans (the vegetarians who thrive on coconut and palm products), Parathars or Paravas (people who lived near the seas-the rulers, sea warriors, merchants and the pirates), Nulaiyars (the wealthy people who both do fishing and grow palm farms) and Alavars (the salt cultivators) in Neithal.
Palai symbolises the dry arid lands and scorching deserts of Tamil country where nothing except for the hardy and war-like perseverant tribes native to those lands can survive. It is also the only land among all five lands of the Sangam landscape that a female God, fierce mother goddess, Kotravai was worshipped which is synonymous with the common belief that all the other lands of Tamil country emerged from these original dry arid lands. The tribes existed in these lands were the ruthless and fearsome Maravars (Noble Warriors, Hunters and Bandits) and Eyinars (Warriors and Bandits). They actively seek out for wars, knowledge, invade far and distant lands and engage in banditry.
people were known on the basis of their occupation they followed such as artisans, merchants etc.
warriors occupied a special position in society and memorial stones called "Nadukan" were raised in honour of those who died in fighting and they were worshiped.
[7]
Political map of South India, 210 B.C.E.
See also[edit]
History of Tamil Nadu
Tolkappiyam
Purananuru
Paripaatal
References[edit]
Notes[edit]
Jump up ^ Wilson, A.Jeyaratnam. "Sri Lankan Tamil Nationalism: Its Origins and Development in 19th and 20th Centuries". "They had earlier felt secure in the concept of the Tamilakam, a vast area of "Tamilness" from the south of Dekhan in India to the north of Sri Lanka...". Google. Retrieved 2012-04-28.
Jump up ^ "Early Interactions Between South and Southeast Asia: Reflections on Cross Cultural exchange". "originally imported from Kerala to Tamilakam(Southern India) to Illam(Sri Lanka)". Google. |first1= missing |last1= in Authors list (help)
^ Jump up to: a b Abraham, Shinu (2003). "Chera, Chola, Pandya: using archaeological evidence to identify the Tamil kingdoms of early historic South India". Asian Perspectives. 42.
Jump up ^ https://books.google.com/books?id=P1naAAAAMAAJ&q=nagadipa+naga+nadu&dq=nagadipa+naga+nadu&hl=en&sa=X&ei=DkulT8-ZM5OA0AWYhoTtAw&ved=0CDgQ6AEwAA
Jump up ^ Zvelebil, Kamil (1973). The smile of Murugan on Tamil literature of South India. BRILL. p. 46.
Jump up ^ Mannar Uruvana 'Mallar' Varalaru Archived July 16, 2011, at the Wayback Machine.
Jump up ^ https://books.google.com/books?id=VuvshP5_hg8C&pg=PA42&lpg=PA42&dq=tamils+eighteen+hundred+years+ago+maravars&source=bl&ots=dr6E9Gbmn-&sig=WY8jCklcE0gADyTAzKEpMIFn0js&hl=en&sa=X&ved=0CBwQ6AEwAGoVChMI2rCQl7i4yAIVyLaUCh2d8goz#v=onepage&q=tamils%20eighteen%20hundred%20years%20ago%20maravars&f=false
Bibliography[edit]
A. L. Basham, The Wonder that was India, Picador (1995) ISBN 0-330-43909-X
P. T. Srinivasa Iyengar, History of the Tamils from the earliest times to 600 AD, Madras, 1929; Chennai, Asian Educational Svcs. (2001) ISBN 81-206-0145-9.
"History of Mallars"
Wikimedia Commons has media related to Sangam period.
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