Home & self identity

The Return Home and the Quest for Self-Identity

Jeff Jamison 10/29/14 4:29 PM Formatted: Centered

Epic heroes shape their identity through the tests and the trials from the gods, their own mistakes, and the choices of others. For ten years, the great hero Ulysses was away from Ithaca—his home—while at

Jeff Jamison 10/29/14 4:51 PM Comment: Nice, clear opening.

battle in Troy. For ten years after the battle ended, he strove to return to his wife, Penelope, and his home. After infuriating King Minos and being imprisoned within the labyrinth on the island Crete, Daedalus desired to

Jeff Jamison 10/29/14 4:54 PM Comment: He was gone for twenty years?

Ouch.

escape with his son, Icarus, by crafting wings to fly like birds across the sea. Why would they commit to such

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a dangerous journey? They desired to return back to their home in Sicily. After Odysseus experienced

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temptations, he sought for “his identity as a man, not as a hero” (Breyfogle 16). These heroes were not gods.

They were men: human and fallible. In the end, these epic heroes eventually left their adventures to return to their homes as new men because “the adventure of the hero” is “the adventure of being alive” (The Power of Myth . . . 163). Home, where all humans begin, also shapes a hero’s identity. But a hero leaves home, and the trials before returning home test the hero’s identity. And the homecoming is the ultimate recognition of who the hero has come to be.

In Conrad’s Lord Jim and Joyce’s A Portrait of the Artist as a Young Man, both Jim and Stephen see themselves as heroes, like those in Greek and Roman mythology, but their adventures are set during the Modernist era. Critics provide various perspectives regarding the analysis of these two texts, ranging from psychoanalysis to biographical reflections. When reading literary criticism, discussions of moralism and

Jeff Jamison 10/29/14 4:56 PM Deleted: is Jeff Jamison 10/29/14 9:00 PM Comment: First names would be helpful to begin with. Then you can refer to them by their last names after.

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romanticism in Lord Jim and nationality and imperialism in Joyce’s writings are bound to come up; however,

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there has been little interpretation regarding Jim’s immediate family and comparing the construction of heroic

Comment: Are you referring to several of his writings or specifically to A Portrait of the Artist…?

self-identity of the characters, Jim and Stephen. While scholarly opinions concerning these topics of discussion are undoubtedly imperative for interpretation, the additional analysis of focusing on the shaping of identity and the influence of the family on modern heroes enables the reader to better understand the Modernist era. Specifically, this paper focuses on uncovering the significance of how familial relationships shape the identity of modern heroes. Where and to whom a person is born begins the initiation of the hero’s

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2 journey to self-realization. Because Stephen and Jim both identify themselves as heroes, several influences

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affect the construction of their identity in the Modernist era within the confines of the home. Their personal identities ultimately become juxtaposed, implying the significance of home and homecoming for the hero in the Modernist era.

Identity of Children and Adolescents Both Stephen and Jim have internalized their personal experiences from their childhood, shaping

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their identities into adulthood. The hero’s identity motivates who the hero becomes as well as what his actions are. Many psychological research projects have sought for insight about how children and adolescents construct their identity. Specifically, researchers have found that several factors influence the way children see themselves: the creation of personal identity occurs when “the self is taken to comprise both personal and social identity, and neither is seen as more fundamental or authentic than the other” (Sani and Bennett 503).

Some researchers have come to the conclusion that “relationship experiences with primary caregivers in childhood are internalized and carried forward into adulthood” (Roismann et al. 787).

Bildungsroman In literature, Bildungsroman novels are about the “development of the protagonist’s mind and

Jeff Jamison 10/30/14 3:21 PM Comment: I would love another sentence of analysis that incorporates this last quote.

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character, in the passage from childhood through varied experiences . . . into maturity, which usually involves recognition of one’s identity and role in the world” (emphasis added, Abrams 194) []. A Portrait would fall under

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this definition, specifically a Kunstlerroman (“artist-novel”), but Ian Watt argues that “Lord Jim is not a Bildungsroman” because “Conrad’s portrayal . . . does not show any large transformation of Jim’s character”

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(Watt 59). Stephen’s journey to self-realization is not a smooth path either, as Stephen, who “is far from being a godlike hero…grope[s] painfully toward some understanding of himself and his place in the world” (Waith 77) because “the Bildungsroman often depicts the protagonist involved in an oscillatory movement between poles of experience” (Thorton 89). Essentially, Stephen and Jim both oscillate between highs and lows during their experiences, like real life. Despite their imperfections as heroes, Jim and Stephen internalized experiences they had while they were children, that eventually shape their identities and impact who they become.

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3 Books and Identity

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With the help of books, the experiences heroes have construct an identity in their childhood. The very beginning of A Portrait introduces the reader to Stephen narrating a story his father told him as a small boy.

Harkness argues, “Stephen looks first to his father to provide his identity and his values” (54). As the Joyce introducing his character, he “traces through baby tuckoo and father, before finally establishing a link between

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Jeff Jamison 10/30/14 3:25 PM Deleted: with books helped to Jeff Jamison 10/30/14 3:25 PM Deleted: Stephen

the name baby tuckoo and Stephen’s identity” (Smith 44). The folk tales Stephen’s father tells as bedtime stories

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contribute to shaping Stephen’s identity later in life as a creative individual—an artist. The playful lilt of the

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rhythm and spirited use of the words within these stories could be the spark of creativity that would inspire

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Stephen’s writings. While Stephen’s father “tells him a story and is associated with the art of the word”

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(Empric 19), Stephen’s mother “introduces the internal, personal, sensual, and affective world” (19).

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Although the emotions, which are reflected in his mother’s creativity, later seem to dominate

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Stephen’s perception of the world and his identity as an artist, his father’s words shape Stephen’s identity as a writer. As a teenager, Stephen strains his relationship with his parents when he tries to break away and become an individual, but Stephen internalized these experiences he had with his parents as a child, carrying these memories into adulthood.

Jim, like Stephen, shaped his identity from childhood books. Jim “[o]riginally . . . came from a parsonage,” whose father “possessed such certain knowledge of the Unknowable” (Conrad 8). Jim, who “was one of five sons,” needed to find a new source for a living, but he enjoyed “a course of light holiday literature” (8). He choose the life of a seaman in order to be “an example of devotion to duty, and as

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unflinching as a hero in a book” (9). Of course, “[Jim’s] choice of the merchant marine as a career (like

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Conrad’s own) is the result of ‘a course of light holiday reading’ in adventure stories” (Drew 17), which inevitably leads to his eventual downfall. Perhaps light literature provided an escape from the harsh realities of home life for young Jim, since he came from a demanding family life with high expectations.

For the rest of Jim’s life, Jim would endeavor to live up to his family’s high morals, thus attempting to shape an identity that would be highly improbable to uphold after he had fallen. Additionally, Jim’s simplistic idealism of himself as a hero enables Conrad to portray his protagonist as if in perpetual boyhood;

Jeff Jamison 10/30/14 3:52 PM Comment: This looks like a great topic sentence, but I’m a little unsure on how Stephen Crane and Marlow help support this in the following sentence.

4 furthermore, there are several similarities between the relationship of Conrad and Stephen Crane and Marlow and Jim, such as “Crane (like Jim) was the blue-eyed son of a Methodist pastor, one of a large family of boys” and “the age-difference between Crane and Conrad resembles that between Jim and Marlow” (Batchelor 73).

Because of Jim’s experiences with reading adventure books as a child, Jim’s identity was shaped by unrealistic expectations of what it meant to be a hero.

Personal Narrative While childhood is the beginning of a child’s internalization of personal identity, adolescents

Jeff Jamison 10/30/14 3:54 PM Comment: What does this prove? Blend it into the concluding sentences so we can follow the train of thoughts.

Jeff Jamison 10/30/14 3:55 PM Comment: This would be a great topic sentence for this paragraph. With a little bit of evidence, this argument could further your original thesis along.

continue to develop their identity through communicating their life story or personal narrative. Studies have shown “adolescence and early adulthood are a privileged developmental period for the encoding of autobiographical memories, which in narrative terms constitute the stuff of which selves are made” (Pasupathi and Hoyt 558). The life story theory of identity involves the concept “that life stories serve to make sense of one’s past, present, and anticipated future and are partly constructed by making meaning of past experience” (McLean 683). Furthermore, “[t]he life story begins to emerge in adolescence because . . . during disruptive episodes, such as transitions, cognitive demands are higher to make sense of new experiences” (McLean 683). Additionally, studies prove “having responsive, attentive friends as listeners for conversational storytelling helps further narrative identity development in late adolescence and early adulthood” (Pasupathi and Hoyt 558). While Pasupathi and Hoyt emphasize friends, parents, family members, or other adults could be added. To make meaning and coherence from experiences is a challenge

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for adolescents, which include young heroes, when forming personal identities.

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Others Shaping the Personal Identities of Others

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Cranly, one of Stephen’s close friends, tries to help Stephen develop his personal identity by

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discussing Stephen’s family problems. While Stephen was out of school for a time earlier in the novel, he “went

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into his mother’s bedroom and gazed at his face for a long time in the mirror of her dressing table” (A Portrait

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62). Stephen’s staring at his reflection symbolizes his desire to find out who he is. He goes to the room of his

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mother, who he gets along with better (Joyce does not write father’s or parent’s room), since Stephen still lives at

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5 home. Although his family and his nation have undoubtedly shaped Stephen’s self-recognition, he still has doubts about himself.

This time is a critical for Stephen because he must choose what path he will go—one of individualism or one of nationalism. Stephen turns to his friend, Cranly, to help him come to terms with the identity he has chosen for himself. Cranly is a true friend, one who listens to Stephen’s development of his identity and “seems genuinely to care about Stephen’s familial and personal conflicts” (Harkness 105).

Stephen is struggling with his identity in the end of A Portrait, and Cranly sympathizes, carefully preparing his questions with “I don’t want to pry into your family affairs” (A Portrait 212) before asking Stephen questions about his father’s occupation and his mother’s past. Then Cranly forwardly asks, “I ask you if you ever felt love towards anyone or anything” (A Portrait 212) before launching into his ideas about “a mother’s love” (A Portrait 216). Cranly offers his advice about family relationships and religious piety, but more importantly, Cranly listens to Stephen, which helps Stephen shape his identity—at this point of his life. Stephen’s selfrealization consists of freedom and isolation from the influence of others.

Marlow becomes a friend for Jim as well as a parental figure, thus contributing to how Jim shapes his personal identity. Before Jim tells Marlow Jim’s version of the Patna scandal for the first time, he talks quite a bit about his family and father, or “the good old rural dean [who] was about the finest man that ever had been

Jeff Jamison 10/30/14 4:07 PM Comment: What’s this? Anyway to sneak in what it is to help the reader out?

worried by the cares of a large family since the beginning of the world” (Conrad 51). Because Jim feels that he can only disclose the Patna affair to Marlow, Jim states over and over again that his father “has seen it all in the home papers by this time,” and Jim could “never face the poor old chap” because “[his father] wouldn’t understand” (Conrad 51). Jim “followed the advice of such father figures as Marlow” (Gose 17) because

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Marlow, unlike Jim’s father, could listen to Jim’s predicament. Additionally, Marlow felt the connection between Jim and himself because he “is drawn to Jim … by the strength of ‘the feeling that binds a man to a

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child’” (Thorburn 130).

Marlow listens to Jim’s problems on the Patna in addition to recognizing Jim’s problems with his father. As a result, Jim shapes his identity by narrating his experience through his conversation with Marlow instead of his father. Additionally, Doramin, Dain Waris, and Doramin’s wife could be seen as an adoptive

Jeff Jamison 10/30/14 4:11 PM Comment: This singular “wife” makes it look like she has three husbands. Is that right?

6 family for Jim, but they are not his real family. After arranging a new path for Jim in Patusan, Marlow repeats more than three times the idea of going home. Marlow states that he “was going home—to that home distant enough for all its hearthstones to be like one hearthstone, by which the humblest of us has the right to sit” (Conrad 134). Marlow recognizes that “for each of us going home must be like going to render an account.

We return to face our superiors, our kindred, our friends—those whom we obey, and those whom we love” (Conrad 134). But in this instance we does not include Jim; Jim is not one of us in this instance because he feels that he cannot go home.

Searching for a Place in the World Modern heroes were wrought with the dilemma of searching for their place in the world. As Seamus Heaney poetically describes how Philoctetes, when he is about to return home, joyfully asks Neoptolemus, “You know how your heart lifts when you think of home?” (Heaney 26). When they were young, Stephen and Jim took the heroic ideals introduced to them as children and desired to fulfill their identities, yet they gravitated toward one aspect of the ideal in extremes: moralistic, religious, political, etc.

As Jim and Stephen became adults, the thought of returning home would not be similar to Philoctetes’ because they failed to live up to the extreme ideals. Stephen’s rejection of and Jim’s life-long quest of fulfilling the idealistic heroic roles hampered their ability to return home.

Jim: Feelings about Home Jim never returns home because his family represents the quintessential Victorian family, whom he has failed. The Victorian era is sometimes perceived “as a period of stability following the upheavals of the industrial revolution” as well as “the era where the family as an institution was at its strongest” (Wilson 5051). For Victorian families, “the image of the ideal home is an essential link between the public and the private domestic world” (Hepworth 17). The values for Victorian families were those of “thrift and discipline” (Wilson 51). Hepworth describes the Victorian home as a battleground: “a place of constant struggle to maintain privacy, security and respectability in a dangerous world” (Hepworth 19).

Often this discontinuity between keeping up the façade of a perfect home and the reality of what was actually occurring could be a cause of great tension within homes. The first four chapters introduce Jim as the

7 kind of romantic dreamer . . . “that so many Victorian novels of moral realism and education instruct”

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(Winner 21). Jim “surrounds and protects the ideal he has conceived for himself, and at the same time

Comment: Where do you start quoting here? Missing opening quote. I just guessed.

remains imprisoned within that very ideal” (Raval 59). Even Jewel asks Marlow about why Jim “wandered from his home” and “[h]ad he no household there, no kinsmen in his own country? Had he no old mother,

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who would always remember his face?” (Conrad 164). Even Marlow admits that Jim “would never go home now. Not he. Never” because Jim “would grow desperately stiff and immovable” at the “idea of going home” (Conrad 135). Jim becomes paralyzed because he realizes that his identity and the choices he has made do not live up to his family’s values.

Even though there are “few particulars that are given of Jim’s home environment” (Van Ghent 41), there is no doubt that Jim’s family represents the old Victorian values. Jim’s father is “the old parson, whose timid domestic Christian code would be unable to embrace Jim’s problem” (Batchelor 107). Although Jim’s father “suggests himself as an insignificant and foolish prater, full of ‘little thoughts about faith and virtue’” (Glassman 40), there is unquestionably “failure in relationships [between Jim and his father] – the unconscious cruelty of Jim’s decision to never answer his father’s letter after his jump from the Patna” (Batchelor 157). 135). Batchelor argues that Jim’s family “back in England are insensate beings . . . . [W]hile Jim has become a powerful mysterious figure beyond the range of their vision and thus of their judgment”

Jeff Jamison 10/30/14 4:20 PM Comment: What’s the correct citiation for this quote?

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(149); however, Jim is actually still haunted by their influence on his identity and shamefully hides from their

Comment: If this isn’t supposed to be two sentences, just delete one of the periods.

domineering control over who he has become. Jim never wrote back to his family after he joined the Patna

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because of his shame of who he had become. His identity or self-realization did not fit their high expectations. The letter is full of “easy morality” (emphasis added, Conrad 202), which Jim, the hero, had failed to live up to. Jim’s father warns against temptation: “[Jim’s father] hopes his ‘dear James’ will never forget that ‘who once gives way to temptation, in the very instant hazards his total depravity and everlasting ruin” (Conrad 203). Jim’s father “invokes Heaven’s blessing,” and “the mother and all the girls then at home send their love” (Conrad 203). Jim neither responds to the letter nor returns home because he apprehends his failure: his identity as a hero, full of romantic dreams and moralistic hopes, was never fully accomplished.

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8 Jim’s family never hears from Jim again, and Jim dies without ever returning home. Some critics view Jim’s death “as an act of physical cowardice . . . . [b]ecause Jim has always been a daydreamer” (Drew 17), while other critics believe “Jims’s death is still a sacrifice of a sort” (Conroy 158). However, Ian Watt claims

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that “Jim does something which no other hero of a great twentieth-century novel has done: he dies for his

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honor” (Watt 75). What exactly is Jim’s honor, though, is to be determined. Jim’s father “articulate[s] strict

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codes by which Jim could be seen as ‘condemned’ even at the moment of death” (Batchelor 154) because in

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the letter from Jim’s family, the old pastor declares, “Virtue is one all over the world, and there is only one faith, one conceivable conduct of life, one manner of dying” (Conard 202), which is dying as a man of virtue or at least a martyr. In the end, Jim sacrifices himself because his identity as an idealistic, romantic hero he created—in reaction to his home life—could not survive in the pragmatic, modern world.

Stephen: Feelings about Home Stephen’s true feelings of home are revealed in this passage: “When the soul of man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets” (A Portrait 179). Stephen believes that in order to become an artist, he must reject his home, and as an self-identifying hero, “[i]n achieving immortality, the hero enters isolation and transcends fellowship with others…, the very thing that gives his life meaning” (Breyfogle 16). Stephen claims that because “[t]his race and this country and this life produced me . . . I shall express myself as I am” (A Portrait 178). Literary theorist Douwe Fokkema stated, “The norms that Joyce violates are those of Edwardian Realism and the still prevailing Victorian code of behaviour”; therefore, Joyce’s writings “implied … a new, refreshing look at life” (192). But, Stephen’s separation from everyone and everything has “cut short his development as an artist: what he considers to be detachment and impersonality are in fact a kind of creative sterility” (Notes on James Joyce’s . . . 42).

Stephen’s home life “has an uncanny feel to it precisely because it is ‘so familiar and so foreign’—in short, because [Stephen] is both at home and not at home in his use of it” (Law 197). The story, A Portrait, “ends where it begins: with a journey. This time it is not a child seeking his destiny who embarks, but a man seeking to fulfill a destiny newly discovered” (Robbins 275-6). Unlike Jim, Stephen continues his journey by returning

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9 home in order to search for his true identity. Ulysses captures one day in the life of Stephen after he has returned home to Ireland.

In Ulysses the hero is just as stubborn as he was in A Portrait, and in fact, Stephen would probably have not returned home if his mother had not been on her deathbed. While watching the waves of the sea,

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Stephen recollects, after he has already returned home, “the seas’ ruler” (Ulysses 16). This could be “an allusion to the international predominance of Britain’s navy and merchant marine,” but “it is Poseidon, the god of the sea, who harasses Odysseus and attempts to prevent him from reaching Ithaca and home” (Gifford 23). In this instance, Stephen becomes an Odysseus figure, who was almost stopped from returning home from external influences. But Jules David Law argues that Stephen preserves the integrity of his home, at least in Stephen’s mind, “not by the expulsion of parasites and traitors but by a participation in the foreign or strange – by a venture outside the home” (Law 202). Yet Stephen’s journey home is just the beginning of his self-realization of his true identity.

Stephen’s Mother Yet Stephen—the boy who swears he must be isolated to find his true identity—returns home when his father informs Stephen of the death of his mother. From the very beginning of Ulysses, the readers “first encounter in microcosm Stephen Dedalus’s search for identity—a search which will color the entire narrative” (Hill 329). But even at his mother’s deathbed, Stephen refused to pray, despite his “mother begging [Stephen] with her last breath to kneel down and pray for her” (Ulysses 7).

Now, Stephen’s mother haunts him past the grave, “[h]er glazing eyes, staring out of death, to shake and bend [Stephen’s] soul” (Ulysses 10). In the Circe episode, Stephen’s mother continues to haunt him calling him to repentance in a brothel. His mother, the ghoul, warns, “I pray for you in my other world” (Ulysses 409) and prays to God “[h]ave mercy on Stephen, Lord, for my sake!” (Ulysses 410). Hill claims that “By

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envisioning his mother as a ‘ghoul’…, he can blame her for threatening his identity and attempting to engulf

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him, thus again using her as a means to define himself” (334). Perhaps Stephen was not able to completely

Comment: You only need four if you are omitting the end of a sentence.

shake off his past entirely, thus enabling his family to continue to shape his identity.

10 The idea of a mother’s love shaping a hero’s identity is further emphasized throughout Ulysses. For example, when teaching in the school, Stephen helps a boy named Sargent, who is “[u]gly and futile: lean neck and tangle hair and a stain of ink, a snail’s bed” (Ulysses 23). The boy is a mess, but even prideful Stephen can recognize “someone had loved him, borne him in her arms and in her heart” (23). Stephen states, “Like him was I, these sloping shoulders, this gracelessness. My childhood bends beside me” (23). Stephen, consequently, identifies with someone other than himself. As a result, Stephen shows the potential for transforming his self-identity as a hero.

The Heroic Transformation of Consciousness, as defined by Joseph Campbell, occurs “[w]hen we quit thinking primarily about ourselves and our own self-presevation” (The Power of Myth . . . 126). Stephen would certainly not have received the Teacher of the Year Award, yet he signifies a change a heart or a recognition of his potential to see other people than only himself. As a result, Stephen shows potential for losing the prideful Stephen persona and shaping his idenitty as a Modern hero in a new light.

At the beginning of Ulysses, Stephen ponders to himself the word omphalos (8). This word means navel in Greek, but it also signifies the beginnig of Odysseus’s journey home in the “navel of the sea” (Gifford 17).

Furthermore, some theorists “contemplated the omphalos variously as the place of the ‘astral soul of man,’ the center of self-consiousness, and the source of poetic and prophetic inspiaration” (17). Hence, upon Stephen’s return, it is a matter of determining his inner self, his soul, his identity.

Stephen’s Search for a Father Despite Stephen’s unresolved issues with his mother, Stephen’s continual search for a father figure shapes his identity. The beginning of Ulysses reveals “Stephan in the role of Telemachus, who has not found his father and is called to find him. Stephen, of course, has an actual father, Simon Dedalus, but Simon is not his spiritual father” (Mythic Worlds… 53). Researchers have found that adults continue to shape their identities into adulthood, just as children and adolescents do. When someone becomes an adult, the adult does not stop figuring out who he or she is. An adult’s spiritual identity “addresses ultimate questions about the nature, purpose, and meaning of life, resulting in behaviors that are consonant with the individual’s core values” (Colwell, et al. 1269).

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11 Although Joyce told his friend while working on Ulysses, “Stephen no longer interests me to the same extent. He has a shape that can’t be changed” (Budgen 263), it could be interpreted that Stephen ultimately “[goes] forth on a quest to find his father, to forge in the smithy of his soul the uncreated conscience of his race, to become the savior of Ireland” (Mythic Worlds . . . 64). Of course, Ulysses only reveals Stephen’s progressions and digressions in one day. But Stephen here shows the potential to reshape his identity as a new man in his search for a spiritual father figure.

Conclusion The nets Stephen had rejected—his values he learned from home—are in all actuality the pillars that Jim sustained and established as his foundation; yet, even these pillars of naïve moralism crumbled beneath Jim when he failed to live up to his family’s and his own expectations. This conflict of moralism and family values can be seen reflected in the larger realm of Modernist writing.

The Modernists were reacting against the previous era. Victorian writings were full of pragmatic moralism; as a result, the Modernists rejected preachy didacticism by seeking a new moralism to live by. Jules David Law clarifies, “Home is a notoriously unstable concept in modern literature” (197). Modernist writers “attempted to articulate some new hope” (Tracy 280) during this era of turmoil because just as Stephen and Jim were seeking their place in the world so were many readers searching for their identity. It is impossible to fully shake off the influence of an individual’s upbringing and home, whether that individual is an epic hero, a

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fallen modern hero, or a reader. The end of Ulysses concludes with Molly saying, “yes I said yes I will Yes” (552), which is “Molly’s affirmation from the realm of dream” (Mythic Worlds . . . 188). As Campbell explains, “The affirmation of life is what Joyce represents. Joyce did not have a happy life, but he said Yes to the life he had” (Mythic Worlds . . . 186).

Neither the lives of the epic heroes nor the lives of Jim, Stephen, Bloom, Molly, or any Modernist reader are easy because “[t]he returning hero, to complete his [or her] adventure, must survive the impact of the world” (A Hero . . . 194). Ultimately, Modernist writers desired to represent a realistic life, set with attainable morals and genuine familial relationships, for a hero to create a new identity.

12

Works Cited Abrams, M. H. A Glossary of Literary Terms. 7th ed. Australia, Heinle & Heinle: Thomson Learning, 1999. Print.

Batchelor, John. “Lord Jim.” London: Unwin Hyman, 1988. Print.

Breyfogle, Todd. “Introduction: Texts and the Rendering of Imaginative Reality” Literary Imagination, Ancient and Modern. Ed. Todd Breyfogle. Chicago: U of Chicago P, 1999. Print.

Budgen, Frank. “Conversations with Joyce (1934).” James Joyce’s Ulysses: A Case Book. Ed. Derek Attridge. Oxford: Oxford UP, 2004. Print.

Campbell, Joseph. A Hero with a Thousand Faces. Novato: New World Library, 2008. Google Book Search. Web. 6 April 2013.

Campbell, Joseph. Mythic Worlds, Modern Words: On the Art of James Joyce. New York: HarperColins, 1993. Print.

Campbell, Joseph. The Power of Myth with Bill Moyers. New York: Doubleday, 1988. Print.

Colwell, Ronald K., et al. “Identity And Spirituality: A Psychosocial Exploration of the Sense of Spiritual Self.” Developmental Psychology 42.6 (2006): 1269-1277. PsycARTICLES. Web. 24 Mar. 2013.

Conrad, Joseph. Lord Jim. A Norton Critical Edition 2nd Edition. Ed. Thomas C. Moser. New York: Norton, 1996. Print.

Drew, Elizabeth. “Understanding Lord Jim.” Critical Review of Lord Jim Joseph Conrad. Ed. Marvel Shmiefsky. New York: Simon & Schuster, 1966. Print.

Empric, Julienne H. “Stephen and M/Other.” The Women in the Portrait: The Transfiguring Female in James Joyce’s A Portrait of the Artist as a Young Man. San Bernadino: The Borgo, 1997. Print.

Jeff Jamison 10/30/14 4:56 PM Comment: ?

13 Fokkema, Douwe. “The Portrait of the Artist as a Young Man, A Dog, and an Ape: Some Observations on Reception Theory.” Literary Theory and Criticism. Ed. by Joseph P. Strelka.

Bern: Peter Lang, 1984. Print.

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Gose, Jr., Elliott B. “The Truth in the Well.” Joseph Conrad’s Lord Jim. Ed. Harold Bloom. New York: Chelsea House, 1987. Print.

Harkness, Marguerite. A Portrait o the Artist as a Young Man: Voices of the Text. Boston: Twayne, 1990. Print.

Jeff Jamison 10/30/14 4:57 PM Comment: This is a book title? All italics if the answer is yes 

Hill, Marylu. “‘Amor Matris’: Mother and Self in the Telemachiad Episode of Ulysses.”

Twentieth Century Literature 39.3 (1993): 329-43. JSTOR. Web. 3 April 2013.

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Hepworth, Mike. “Privacy, security and respectability: the ideal Victorian home.” Ideal Homes?: Social Change and Domestic Life. Eds. Chapman, Tony and Jenny Hockey. London: Routledge, 1999. 17-29. Web. 2 April 2013.

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Joyce, James. Ulysses. Richmond: Alma Classics, 2012. Print.

Law, Jules David. “Joyce’s ‘Delicate Siamese’ Equation: The Dialectic of Home in Ulysses.”

PMLA 102.2 (1987): 197-205. JSTOR. Web. 3 April 2013.

McLean, Kate C. “Late Adolescent Identity Development: Narrative Meaning Making And

Jeff Jamison 10/30/14 4:58 PM Comment: Ideal Homes? Is the magazine?

14 Memory Telling.” Developmental Psychology 41.4 (2005): 683-691. PsycARTICLES. Web. 24 Mar. 2013.

Notes on James Joyce’s A Portrait of the Artist as a Young Man. London: Methuen Educational, 1970. Print.

Jeff Jamison 10/30/14 5:00 PM Comment: Is this the whole title of the book? All italics again 

Pasupathi, Monisha, and Timothy Hoyt. “The Development Of Narrative Identity In Late Adolescence And Emergent Adulthood: The Continued Importance Of Listeners.”

Developmental Psychology 45.2 (2009): 558-574. PsycARTICLES. Web. 24 Mar. 2013.

Raval, Suresh. The Art of Failure: Conrad’s Fiction. Boston: Allen & Unwin, 1986. Print Roisman, Glenn I., et al. “The Emotional Integration Of Childhood Experience: Physiological, Facial Expressive, And Self-Reported Emotional Response During The Adult Attachment Interview.” Developmental Psychology 40.5 (2004): 776-789. PsycARTICLES. Web. 24 Mar. 2013.

Sani, Fabio, and Mark Bennett. “Children’s Inclusion Of The Group In The Self: Evidence From A Self–Ingroup Confusion Paradigm.” Developmental Psychology 45.2 (2009): 503-510.

Jeff Jamison 10/30/14 5:01 PM Formatted: Indent: First line: 0 pi

PsycARTICLES. Web. 24 Mar. 2013.

Jeff Jamison 10/30/14 5:01 PM Deleted:

Smith, John B. Imagery and the Mind of Stephen Dedalus: A Computer-Assisted Study of Joyce’s A Portrait of the Artist as a Young Man. London: Bucknell UP, 1980. Print.

Thorburn, David. Conrad’s Romanticism. London: Yale UP, 1974. Print.

Thornton, Weldon. The Antimodernism of Joyce’s Portrait of the Artist as a Young Man. Syracruse: Syracuse UP, 1994. Print.

Tracy, David. “T. S. Eliot as Religious Thinker: Four Quartets.” Literary Imagination, Ancient and Modern. Ed. Todd Breyfogle. Chicago: U of Chicago P, 1999. Print.

Van Ghent, Dorothy. “On Lord Jim.” Critical Review of Lord Jim Joseph Conrad. Ed. Marvel Shmiefsky. New York: Simon & Schuster, 1966. Print.

Waith, Eugene M. “The Calling of Stephen Dedalus.” Portraits of an Artist: A Casebook of

Jeff Jamison 10/30/14 5:01 PM Comment: Italics?

15 James Joyce’s A Portrait of the Artist as a Young Man. Eds. William E. Morris and Clifford A. Nault, Jr. New York: The Odyssey Press, 1962. Print.

Watt, Ian. “The Ending.” Joseph Conrad’s Lord Jim. Ed. Harold Bloom. New York: Chelsea House, 1987. Print.

Wilson, Adrian. Family. Florence: Routledge, 1985. Web. 2 April 2013.

Winner, Anthony. Culture and Irony: Studies in Joseph Conrad’s Major Novels. Charlottesville: UP of Virginia, 1988. Print.

Jeff Jamison 10/30/14 5:02 PM Comment: Italics?