The Theme of Exile in James Joyce's a Portrait of the Artist As A
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The People‟s Democratic Republic of Algeria Ministry of Higher Education and Scientific Research M‟Hamed Bougara University at Boumerdes Faculty of Science Department of Foreign Languages The theme of exile in James Joyce’s A Portrait of the Artist as a Young Man (1916) and Frank McCourt’s Angela’s Ashes (1996) Dissertation Submitted in Partial Fulfilment of the Requirements for the Degree of Magister in English (Literature and Civilisation ) by LAMIA GUEDOUARI Under the supervision of Pr. A.BAHOUS Panel of Examiners : Chairman: Pr.S.A.ARAB,University of Boumerdes Rapporteur: Pr.A.BAHOUS,University of Mostaganem Examiner: Pr.B.RICHE, University of Tizi Ouzou Examiner: Dr.H.MAOUI,University of Annaba 2011-2012 ABSTRACT Irish writers, James Joyce and Frank McCourt, have long been considered ―voluntary exiles‖. From a different approach, the present research work is an attempt to argue that the theme of exile in James Joyce‘s A Portrait of the Artist as a Young Man (1916) and Frank McCourt‘s Angela‟s Ashes (1996) is, first and foremost, ―involuntary and unhappy‖, and culturally coded. The study is tackled from two perspectives: historic (Kerby A. Miller), and literary (Edward Said and Hegel). Drawing on Miller‘s theory, we shall argue that Irish emigration has always been thought as ―involuntary and unhappy exile‖. Furthermore, the concept is deeply rooted in Irish History, culture, and particularly Irish Catholic culture. It goes as far back as early Christian Ireland. Exile, as ―involuntary and unhappy‖, attained unbearable degrees in post-famine Ireland, and worsened in post-colonial Ireland because of inflexible Irish authoritarian practices. Gaelic Ireland with its three pillars, Catholicism, Nationalism, and social conventions, has done much to embitter Joyce‘s, McCourt‘s, and the majority of Irish writers‘ lives. Each of these institutions demanded absolute conformity, and any kind of deviations led directly to exile, physical or spiritual. By studying Joyce‘s A Portrait (1916) and McCourt‘s Angela‟s Ashes (1996), we shall also emphasize the continuity of ‗exile‘ as a literary theme and fate in post-colonial Ireland till the 1950s. Both Joyce/Dedalus and McCourt/McCourt share many similarities (process of maturation, reasons behind departure, and fate) which are far from being a mere coincidence. On a different but connected level, we shall also throw light on positive aspects of the condition of exile. Edward Said‘s experience-based theory about exile stipulates that ―involuntary exile‖ and ―defensive nationalism‖ are directly proportional to each other. Said argued that exile empowers the feeling of belonging and nationalism. The exile acquires ‗new eyes‘ with which to see the history of his country. From exile, Joyce and McCourt dedicated themselves to invent a ―New Ireland‖ by recalling the brilliance of Irish culture through their autobiographical writings. A Portrait and Angela‟s Ashes are full of Irish myths, legends, songs, and nature beauty that make the process of reading very much appealing and attractive. Studying the positive aspects in A Portrait and Angela‟s Ashes, we shall in the process, highlight the central characteristic of exilic writing, dialectics. Joyce‘s and McCourt‘s relationships with Ireland as reflected in their autobiographical novels are one of a love-hate. Other exilic literary characteristics that can be mentioned at this level include: the autobiography genre as ―the text of the oppressed‖, a quest for a home, and Irish history and Irish Catholicism as prerequisites for the understanding of Irish Literature. As a conclusion, conceived differently from exile, Joyce and McCourt succeeded in creating a ‗fashionable‘ image about Ireland through their writing. Key word: Irish studies; the Irish tradition of exile; Ireland, exile, and nationalism; Ireland, exile, and autobiographies/memoirs; Ireland, exile, and globalisation; James Joyce and Frank McCourt. Declaration I hereby declare that the substance of this dissertation is entirely mine, and that due reference and aknowledgements are made whenever necessary to the work of other researchers. Submitted on 03/09/2012 Signed : Lamia Gudouari To my parents AKNOWLEDGEMENTS I would never have been able to finish my dissertation without the guidance of my supervisor. I would like to express my deepest gratitude to my supervisor, Pr. Abbes Bahous for his excellent guidance, caring, patience, and providing me with an excellent atmosphere for doing research. I would like to offer special thanks to Pr. Si Abderrahmane Arab, Pr. Bouteldja Riche, Dr. M. Yazid Bendjedou, and Dr. Alexandra Hendrick for guiding my research in its preliminary phase by helping me to develop my background in literary criticism, poetry, drama, and methodology. Many thanks to Mme Zouane and Mme Merdes of the Department of Foreign Languages for helping me. My research would not have been possible without their help. I would like to thank Mr. Khelladi Mohamed and Mr. Chalal Ali, who as good relatives were always willing to help me by providing me with the necessary books I needed from abroad. Finally, I would like to thank my classmates, Mounia, Sihem, Amel, Saida, Hicham, and Omar; they were always there cheering me up and stood by me through the good times and bad. CONTENTS GENERAL INTRODUCTION.....................................................................1 CHAPTER ONE: THE IRISH TRADITION OF EXILE Introduction .........................................................................................................11 Section1: Ireland, Exile, and Nationalism………………………………… ......... 13 Section 2: Ireland, Exile, and Autobiographies/Memoirs……………………......37 Section 3: Ireland, exile, and Globalization…………………………....................46 CHAPTER TWO: EXILE IN A PORTRAIT OF THE ARTIST AS A YOUNG MAN Introduction ..........................................................................................................52 Section 1: James Joyce/Stephen Dedalus‟ predicament in Ireland………………… 54 Section 2:.Joyce‟s Traditionalist discourse……………………….....................75 CHAPTER THREE: EXILE IN FRANK MCCOURT‟S ANGELA’S ASHES Introduction .........................................................................................................93 Section 1: Frank McCourt‟s predicament in Limerick: the continuity of „The Tradition‟............................................................................................................ .96 Section 2: Frank McCourt‟s „New‟ discourse on Ireland from America...........113 GENERAL CONCLUSION...........................................................................136 BIBLIOGRAPHY.............................................................................................144 General introduction General introduction Despite the various troubles: poverty, seclusion, Catholicism, censorship, and ―the English and the terrible things they did to [the Irish] for eight hundred long years‖ (McCourt 1) Ireland has continued to enjoy world prominence through Anglo-Irish literature. It has given birth to a host of poets, novelists, and playwrights who have become luminaries in English literature. However, the majority of great Irish writers have traditionally been exiles from Ireland. Ireland‘s alienation of her artists became known to the extent that the theme of exile is considered by critics worldwide as one the most ―favourite themes of Irish literature‖ (Hendrick 1) The influential James Joyce and the contemporary Pulitzer-prize winner Frank McCourt are just two examples of a host of other Irish exiles: Sheridan, George Moore, Oscar Wilde, Padraic Colum, Austin Clarke, and Samuel Beckett. The phenomenon of exile has not been given great amount of interest. Two interpretations may be suggested at this level. Silence on the subject of exile can first be explained by the vast Irish diaspora. More than seven million Irish people emigrated from the early seventeenth century until the establishment of the Irish Free State (Miller 1) Second, it is due to the fact that most Irish writers expressed their departure in volitional terms. ―I shall go‖ and ―leaving is important‖ became common expressions among Irish writers. Last but not least, it is, to a great extent, due to Irish nationalists‘ incessant and influential attempts in labelling those exiles rebels, outlaws, and traitors. Broadly speaking, when referred to, Irish writers are known to be expatriates. Daniel Corkery, in Synge and Anglo-Irish Literature, remarks that almost all Irish writers who wrote in English have been expatriates for life (Corkery 4). By so doing, Corkery quite consciously denies the more highly charged term ‗exile‘ when referring to these ‗Wild geese of the pen‘ (4) Being an expatriate suggests that a person‘s separation with his homeland is voluntary. ―Expatriates voluntarily live in an alien country…but they do not suffer‖ (Said 181) writes Edward Said. In any case, Irish writers left Ireland of their own volition in search of a livelihood elsewhere. It was pure deliberate choice. What unites these expatriate writers, according to Corkery, is their search for livelihood, their Irish background, and their use of the English language as their primary medium of expression which, still for Corkery, is unfit to represent the indigenous Gaelic Literature. Not only Daniel Corkery who seems to believe in the assumption that Irish writers‘ separation with Ireland is purely voluntary; rather, it seems that there is a unanimous agreement among authors of comprehensive standard reference