Essay on Einsteins Science and A Portrait of the Artist as a Young Man

A delineation of the Artist as a Young ManCorrelations Between Einsteins surviveledge and Joyces Artist Joyce and Einstein both made enormous contri scarcelyions to their respective fields, but left us with as many new mysteries as answers to questions. Einsteins transcription of Relativity showed us that our conceptual relationship to the world around us is extremely flexible -- that our perception of the world is determined both by our position in and of itself, and our position in relation to others. His theory of physical science which had an immense impact on our epistemological endeavors, in that it imposes limits of what and how we can know due to our location in space/time. Aftershocks of Einsteins theory were felt in art, literature and philosophy, and undoubtedly greatly influenced Joyces literary project. This seems, perhaps, a strange nonion. Nonetheless, it is distinctly traceable throughout the course of Joyces work. It is hinted at in Dubliners, wherein our pictures and conception of the town and the world are determined by the thoughts, beliefs and learning the characters, and finally comes to realisation in Ulysses, wherein we see the same events from several perspectives, and are given truly different impressions of those events, according to the mental states of the observer through which we view them. But, in between these two works, we find A Portrait of the Artist as a Young Man. In Portrait, Joyce both furthers and illustrates the relativistic project by carrying the reader, along with Stephen Dedalus from a world in which the final answers are design and known, into a post-Einsteinian world wherein truth is determined by ones positi... ...vision, while slide that fact past the dean in the guise of Aquinas. One by one, Stephen surrenders dogmatic modes of thought and behavior, until he at last emerges into the Einsteinian world, and surrenders his sham of objectivity, by c intermission the narration to first person. While he continues to draw and quarter events around and beyond himself, Stephen is, for the first time, applying meaning and emotional content to those events, not hiding it behind the tone of his language for the reader to suss out, but hanging them out with enthusiasm, recognizing that, from his position in time/space, inside the closed system of himself, they are absolutely true and legitimate, regardless of how they may appear from some other perspective. Its gravity when Stephen says its gravity, and acceleration when he says its acceleration, and its all true, and real, and his.