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Humanities 2017, 6(3), 56; doi:10.3390/h6030056

A Portrait of the Animal as a Young Artist: Animality, Instinct, and Cognition in Joyce’s Early Prose

Department of English, Bucknell University, Lewisburg, PA 17837, USA
Received: 2 June 2017 / Revised: 28 July 2017 / Accepted: 31 July 2017 / Published: 3 August 2017
(This article belongs to the Special Issue Joyce, Animals and the Nonhuman)
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Abstract

This essay situates James Joyce within the competing discourses of Catholic theology, evolutionary biology, and Nietzsche’s philosophy, with emphasis on their attitudes towards the body and the animal-human boundary. Joyce’s use of “instinct” in his early works (Dubliners, Stephen Hero, and A Portrait of the Artist as a Young Man) helps us understand his movement from a view of animals and the human body as frightening or paralyzing to a more open acceptance of the body and its impulses. This transition from portraying the body as an impediment in Dubliners to a source of knowledge or cognition in A Portrait of the Artist as a Young Man helps us better understand Joyce’s early prose and his embrace of both animal and human bodies in his later works. View Full-Text
Keywords: James Joyce; instinct; animals; body; evolution; cognition James Joyce; instinct; animals; body; evolution; cognition
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. (CC BY 4.0).

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Rickard, J.S. A Portrait of the Animal as a Young Artist: Animality, Instinct, and Cognition in Joyce’s Early Prose. Humanities 2017, 6, 56.

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