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Kipling’s secret sharer
Norman Etherington

Some might argue that Joseph Conrad does not belong in this collection of conservative artists of empire. Born a subject of the Russian czar, educated as a Polish patriot, steeped in French literature, a wanderer on the seven seas during his chosen career as a ship’s officer, Conrad is a long stretch from every stereotype of Englishness. Fellow seamen, mocking his stylish

in Imperium of the soul
Andrew Bennett

The only indisputable truth of life is our ignorance. Besides this there is nothing evident, nothing absolute, nothing uncontradicted. 1 Joseph Conrad ‘never wrote a true short story’, declares Ford Madox Ford in his memoir of his friend and collaborator. 2 Ford goes on to explain his sense of a ‘true short story’ as ‘a matter of two or three pages of minutely considered words, ending with a smack … with what the French call a coup de canon ’. Conrad instead wrote ‘“long-short” stories’, Ford argues, a form

in Ignorance
Bulletin of the John Rylands Library
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Narrative and death in ‘Youth’, Heart of Darkness, Lord Jim and Chance
Author:

This book provides a rigorous investigation of one of the more intriguing characters in English literature, looking at how the character is constructed and is then read against the main literary theorists. It illustrates how ‘Marlow’ is inextricably bound up in both the storytelling and the emergence of meaning. Joseph Conrad is still seen as one of the first Modernists and one of the finest twentieth-century novelists, and his ‘Marlow’ incorporates all of the most popular novels.

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Ford Madox Ford, the novel and the Great War
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This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and Joseph Conrad, editor of the English Review and author of The Good Soldier, he shaped the development of literary modernism. But, as the grandson of Ford Madox Brown and son of a German music critic, he also manifested formative links with mainland European culture and the visual arts. In Ford there is the chance to explore continuity in artistic life at the turn of the last century, as well as the more commonly identified pattern of crisis in the time. The argument throughout the book is that modernism possesses more than one face. Setting Ford in his cultural and historical context, the opening chapter debates the concept of fragmentation in modernism; later chapters discuss the notion of the personal narrative, and war writing. Ford's literary technique is studied comparatively and plot summaries of his major books (The Good Soldier and Parade's End) are provided, as is a brief biography.

British Travelogues, 1850–1900
Author:

Works of travel have been the subject of increasingly sophisticated studies in recent years. This book undermines the conviction with which nineteenth-century British writers talked about darkest Africa. It places the works of travel within the rapidly developing dynamic of Victorian imperialism. Images of Abyssinia and the means of communicating those images changed in response to social developments in Britain. As bourgeois values became increasingly important in the nineteenth century and technology advanced, the distance between the consumer and the product were justified by the scorn of African ways of eating. The book argues that the ambiguities and ambivalence of the travellers are revealed in their relation to a range of objects and commodities mentioned in narratives. For instance, beads occupy the dual role of currency and commodity. The book deals with Henry Morton Stanley's expedition to relieve Emin Pasha, and attempts to prove that racial representations are in large part determined by the cultural conditions of the traveller's society. By looking at Joseph Conrad's Heart of Darkness, it argues that the text is best read as what it purports to be: a kind of travel narrative. Only when it is seen as such and is regarded in the context of the fin de siecle can one begin to appreciate both the extent and the limitations of Conrad's innovativeness.

The political and aesthetic imagination of Edwardian imperialists

Some of the most compelling and enduring creative work of the late Victorian and Edwardian Era came from committed imperialists and conservatives. This book explores the relationship of the artists with conservatism and imperialism, movements that defy easy generalisations in 1899. It does so by examining the work of writers Rudyard Kipling, Joseph Conrad, Rider Haggard and John Buchan along with the composer Edward Elgar and the architect Herbert Baker. The book presents an analysis of their mutual infatuation with T. E. Lawrence, or Lawrence of Arabia, who represented all their dreams for the future British Empire. It also explores the reasons why Lawrence did not, could not, perform the role in which his elder admirers cast him, as creative artist and master statesman of British Empire. Haggard's intrusion into Sigmund Freud's dream world at a critical point in the development of psychoanalytic theory suggests a divergent approach to the novels of imperial adventure. Writing imaginative literature about India as an imperialist enabled Kipling to explore a whole universe of perverse and forbidden pleasures without blowing the top off the volcano. Elgar occupies a higher position in the world of classical music than anyone imagined even at the zenith of his popularity in the Edwardian era. John Buchan mixed art and politics to a greater extent than any British writer, especially with his 'The Loathly Opposite'. The real-life political counterparts of the imperial romance were Britain's experiments with indirect rule from Fiji and Zululand to Nigeria and Tanganyika.

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Marlow, realism, hermeneutics
Paul Wake

Introduction: Marlow, realism, hermeneutics To a teacher of languages there comes a time when the world is but a place of many words and man appears a mere talking animal not much more wonderful than a parrot. (Joseph Conrad, Under Western Eyes) Marlow, realism, hermeneutics Charlie Marlow, whose forename is given on only two occasions, is the most celebrated of Conrad’s narrator-characters. Variously described as ‘not in the least typical’, ‘the average pilgrim’, a ‘wanderer’, and ‘a Buddha preaching in European clothes’, Marlow is the voice behind ‘Youth

in Conrad’s Marlow
Nineteenth–century fiction and the cinema
Richard J. Hand

proto-Modernist formalism of Henry James and Joseph Conrad. This formidable body of literature has never been out of print, appearing in a variety of popular or scholarly editions and now having a digital presence in frequently downloaded e-book versions. However, another way these works prevail is as adaptations: the film, television and radio industries will turn to these source texts again and again, reworking these narratives in different styles and for different purposes. The sheer number of adaptations has meant that

in Interventions
The theme of the Anglo-Irish in Die Ringe des Saturn. Eine englische Wallfahrt
Helen Finch

stories? In this essay, I suggest that the Anglo-Irish figures and moments in The Rings of Saturn are emblematic of certain key concerns of Sebald’s, namely exile, the long history and after-effects of colonialism, the possibility of a literature of resistance, and the link between political oppression and the destruction of nature. Anglo-Irish figures appear at three main points in the text: first, the Irish freedom fighter Roger Casement appears in the context of a discussion of Joseph Conrad; second, Sebald links the poet Edward FitzGerald’s poetic production to his

in A literature of restitution