A Portrait of the Artist as a Young Cubist

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Early in the twentieth century, commentators as diverse as Virginia Woolf, D.H. Lawrence, and Richard Ellman agree, the world changed. Indeed, so momentous was the change that it is hardly excessive to say, as did Charles Peguy in 1913, that "the world has changed less since the time of Jesus Christ than it has in the last thirty years." Artists from opposite ends of Europe, working in entirely different media, and more or less ignorant of each other's work, not only reacted to these changes and to the world to which these changes helped give birth, but reacted in ways which are, in significant aspects, analogous. Indeed, when one compares the three major works of what might be called James Joyce's middle period, Dubliners, A Portrait of the Artist as a Young Man, and Ulysses, with the Cubist paintings of Pablo Picasso (and also with those of Picasso's collaborators Georges Braque and Juan Gris) it is evident that they were engaged in projects which were in many important ways parallel. This paper will delineate and explore the similarities between the Joycean and the Cubist projects.
昭和女子大学の論文
2006-04-01