Malady in the Shadow-Line
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WINNIE VERLOC and HEROISM in the SECRET AGENT THESIS Presented to the Graduate Council of the University of North Texas in Parti
7w WINNIE VERLOC AND HEROISM IN THE SECRET AGENT THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of Master of Arts By Cynthia Joy Henderson, B.A. Denton, TX May, 1993 Henderson, Cynthia Joy. Winnie Verloc and Heroism in The Secret Agent. Master of Arts (English), May 1993, 77 pp., bibliography, 65 titles. Winnie Verloc's role in The Secret Agent has received little initial critical attention. However, this character emerges as Conrad's hero in this novel because she is an exception to what afflicts the other characters: institutionalism. In the first chapter, I discuss the effect of institutions on the characters in the novel as well as on London, and how both the characters and the city lack hope and humanity. Chapter II is an analysis of Winnie's character, concentrating on her philosophy that "life doesn't stand much looking into," and how this view, coupled with her disturbing experience of having looked into the "abyss," makes Winnie heroic in her affirmative existentialism. Chapters III and IV broaden the focus, comparing Winnie to Conrad's other protagonists and to his other female characters. TABLE OF CONTENTS INTRODUCTION . - - - - - - - 1 CHAPTER I THE PLAYERS AND THEIR SETTING . 5 CHAPTER II WINNIE . .......... 32 CHAPTER III WINNIE AMONG CONRAD'S MEN AND WOMEN . 60 CHAPTER IV MADNESS AND DESPAIR . 71 WORKS CITED . ... 76 WORKS CONSULTED . ...... 79 iii INTRODUCTION The Secret Agent, although primarily approached by the critics as a political novel, is also a social and a domestic drama played out in the back parlour of a secret agent's pornography shop, and on the dreary streets of London. -
1 “Sudden Holes in Space and Time”: Trauma, Dissociation, and the Precariousness of Everyday Life Carola M. Kaplan, Ph.D., P
“Sudden Holes in Space and Time”: Trauma, Dissociation, and the Precariousness of Everyday Life Carola M. Kaplan, Ph.D., Psy.D. Encino, CA In the close‐woven stuff of relations between conspirator and police there occur unexpected solutions of continuity, sudden holes in space and time. A given anarchist may be watched inch by inch and minute by minute, but a moment always comes when somehow all sight and touch of him are lost for a few hours, during which something (generally an explosion) more or less deplorable does happen” (italics mine). ‐‐Joseph Conrad, The Secret Agent She had a perpetual sense . of being out, out, far out to sea and alone; she always had the feeling that it was very, very dangerous to live even one day. ‐‐Virginia Woolf, Mrs. Dalloway Famous early on for his tales of the sea and exotic adventure, Joseph Conrad, in the course of his literary career, became increasingly interested in the difficulties of domestic life—and he focuses on this topic in many works, notably Nostromo (1904), The Secret Agent (1907), Chance (1914), and Victory (1915). In none of his works, however, does Conrad so relentlessly expose the dangers and deficiencies of family life, particularly in its failure to protect women and children, as in his acidly satirical novel The 1 Secret Agent. When he turns from exploring the dangers of life at sea to the hazards of life at home, he underlines and highlights in bold many of the problems that psychoanalysts encounter in current clinical practice. For this reason, the extremities of affect and trauma that Conrad presents in this novel may serve to illuminate the murkier and less extreme versions of trauma and consequent dissociation, as encountered in contemporary psychoanalytic treatment. -
<I>Victory Garden</I>
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 8-2012 Reading Ineffability and Realizing Tragedy in Stuart Moulthrop's Victory Garden Michael E. Gray Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons, and the Modern Literature Commons Recommended Citation Gray, Michael E., "Reading Ineffability and Realizing Tragedy in Stuart Moulthrop's Victory Garden" (2012). Masters Theses & Specialist Projects. Paper 1188. http://digitalcommons.wku.edu/theses/1188 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. READING INEFFABILITY AND REALIZING TRAGEDY IN STUART MOULTHROP’S VICTORY GARDEN A Thesis Presented to The Faculty of the Department of English Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment Of the Requirements for the Degree Master of Arts By Michael E. Gray August 2012 I would like to thank my wife, Lisa Oliver-Gray, for her steadfast support during this project. Without her love and the encouragement of my family and friends, I could not have finished. I would also like to thank my committee for their timely assistance this summer. Last, I would like to dedicate this labor to my father, Dr. Elmer Gray, who quietly models academic excellence and was excited to read a sprawling first draft. CONTENTS Introduction…………………………………………………………………………..1-30 Chapter One…………………………………………………………………………31-57 Chapter Two…………………………………………………………………………58-86 Chapter Three………………………………………………………………………87-112 Appendix: List of Screenshots...………………………………………………….113-121 Notes………………………………………………………………………………122-145 Works Cited……………………………………………………………………….146-149 iv TABLE OF FIGURES Figure 1. -
Nostromo a Tale of the Seaboard
NOSTROMO A TALE OF THE SEABOARD By Joseph Conrad "So foul a sky clears not without a storm." —SHAKESPEARE TO JOHN GALSWORTHY Prepared and Published by: Ebd E-BooksDirectory.com AUTHOR'S NOTE "Nostromo" is the most anxiously meditated of the longer novels which belong to the period following upon the publication of the "Typhoon" volume of short stories. I don't mean to say that I became then conscious of any impending change in my mentality and in my attitude towards the tasks of my writing life. And perhaps there was never any change, except in that mysterious, extraneous thing which has nothing to do with the theories of art; a subtle change in the nature of the inspiration; a phenomenon for which I can not in any way be held responsible. What, however, did cause me some concern was that after finishing the last story of the "Typhoon" volume it seemed somehow that there was nothing more in the world to write about. This so strangely negative but disturbing mood lasted some little time; and then, as with many of my longer stories, the first hint for "Nostromo" came to me in the shape of a vagrant anecdote completely destitute of valuable details. As a matter of fact in 1875 or '6, when very young, in the West Indies or rather in the Gulf of Mexico, for my contacts with land were short, few, and fleeting, I heard the story of some man who was supposed to have stolen single-handed a whole lighter-full of silver, somewhere on the Tierra Firme seaboard during the troubles of a revolution. -
The Death of Christian Culture
Memoriœ piœ patris carrissimi quoque et matris dulcissimœ hunc libellum filius indignus dedicat in cordibus Jesu et Mariœ. The Death of Christian Culture. Copyright © 2008 IHS Press. First published in 1978 by Arlington House in New Rochelle, New York. Preface, footnotes, typesetting, layout, and cover design copyright 2008 IHS Press. Content of the work is copyright Senior Family Ink. All rights reserved. Portions of chapter 2 originally appeared in University of Wyoming Publications 25(3), 1961; chapter 6 in Gary Tate, ed., Reflections on High School English (Tulsa, Okla.: University of Tulsa Press, 1966); and chapter 7 in the Journal of the Kansas Bar Association 39, Winter 1970. No portion of this work may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review, or except in cases where rights to content reproduced herein is retained by its original author or other rights holder, and further reproduction is subject to permission otherwise granted thereby according to applicable agreements and laws. ISBN-13 (eBook): 978-1-932528-51-0 ISBN-10 (eBook): 1-932528-51-2 Library of Congress Cataloging-in-Publication Data Senior, John, 1923– The death of Christian culture / John Senior; foreword by Andrew Senior; introduction by David Allen White. p. cm. Originally published: New Rochelle, N.Y. : Arlington House, c1978. ISBN-13: 978-1-932528-51-0 1. Civilization, Christian. 2. Christianity–20th century. I. Title. BR115.C5S46 2008 261.5–dc22 2007039625 IHS Press is the only publisher dedicated exclusively to the social teachings of the Catholic Church. -
JOSEPH CONRAD: THREE NOVELS Joseph Conrad in 1923, Aged About 65 (Estate of John Conrad/Photo T
JOSEPH CONRAD: THREE NOVELS Joseph Conrad in 1923, aged about 65 (Estate of John Conrad/photo T. and R. Annan and Sons) JOSEPH CONRAD: THREE NOVELS Heart of Darkness The Secret Agent The Shadow-Line Joseph Conrad Edited with an introduction and notes by NORMAN PAGE M MACMILLAN Introduction, notes, glossary and chronology © Norman Page 1995 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 9HE. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1995 by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world ISBN 978-0-333-61096-1 ISBN 978-1-349-23831-6 (eBook) DOI 10.1007/978-1-349-23831-6 A catalogue record for this book is available from the British Library Typeset by EXPO Holdings, Malaysia Contents A Note on the Text vi Introduction ix Heart of Darkness 1 The Secret Agent 93 The Shadow-Line 339 Notes 446 Glossary of Nautical Terms 451 A Conrad Chronology 453 v A Note on the Text Heart of Darkness was begun in mid-December 1898 and finished within about a month. -
Joseph Conrad
Joseph Conrad Joseph Conrad (born Józef Teodor Konrad Korzeniowski, Joseph Conrad Polish: [ˈjuzɛf tɛˈɔdɔr ˈkɔnrat kɔʐɛˈɲɔfskʲi] ( listen); 3 December 1857 – 3 August 1924) was a Polish-British writer[1][note 1] regarded as one of the greatest novelists to write in the English language.[2] Though he did not speak English fluently until his twenties, he was a master prose stylist who brought a non-English sensibility into English literature.[note 2] Conrad wrote stories and novels, many with a nautical setting, that depict trials of the human spirit in the midst of what he saw as an impassive, inscrutable universe.[note 3] Conrad is considered an early modernist,[note 4] though his works contain elements of 19th-century realism.[3] His narrative style and anti-heroic characters[4] have influenced numerous authors, and many films have been adapted from, or inspired by, his works. Numerous writers and critics have commented that Conrad's fictional works, written largely in the first two decades of the 20th century, seem to have anticipated later world events.[5][6] Conrad in 1904 Writing near the peak of the British Empire, Conrad drew, among by George Charles Beresford other things, on his native Poland's national Born Józef Teodor Konrad [7]:290, 352[note 5] experiences and on his own experiences in the Korzeniowski French and British merchant navies, to create short stories and 3 December 1857 novels that reflect aspects of a European-dominated world— Berdychiv, Russian including imperialism and colonialism—and that profoundly Empire explore -
Joseph Conrad: the Greatest Living Artist in English Prose [London: T
Joseph Conrad: The Greatest Living Artist in English Prose [London: T. Fisher Unwin, 1924?] THIS promotional pamphlet advertises works by Conrad published by Unwin. In particular, it promotes Conrad‘s last completed novel The Rover, which was published in late 1923. Given the publication date of The Rover, this pamphlet was probably published in early 1924. On the cover is a drawing of Conrad based upon a photograph taken by Malcolm Arbuthnot. The Rover By Joseph Conrad IN THIS NOVEL Mr. Joseph Conrad has the Mediterranean, as seen from the French south coast, not for a stage, but for a background, in the depth of which the presence of the English blockading fleet is rather felt than seen throughout the course of events which happen on land in a lonely farm-house. The narrative, intimate in character, deals with the crisis in the lives of two women and some men – the Rover being the central figure – and ends at sea in an episode in which the shapes of the blockading ships and the person of Lord Nelson himself are evoked for a moment. The tale, though in no sense historical, attempts to reflect in part at least the spirit of the period 1802–4, with references to an earlier time, after the evacuation of Toulon, when during the savage excesses of the Republican reaction the Heiress of Escampobar, when still almost a child, passed through experiences which had unsettled her mind. 7s. 6d. net T. Fisher Unwin Ltd. 1 Adelphi Terrace, London W.C. 2 Uniform Edition of Joseph Conrad‘s Earlier Works. -
Heart Darkness
The Connell Guide to Joseph Conrad’s Heart of Darkness by Graham Bradshaw Contents Introduction 4 Why does Marlow lie to the Intended? 102 A summary of the plot 5 What is so distinctive about Conrad’s view of the world? 113 What is Heart of Darkness about? 10 How important is the narrator, Marlow? 20 NOTES Why do great critics like F.R.Leavis think Heart of Darkness is flawed? 26 At a glance: Conrad’s major works 8 Is Heart of Darkness racist? 12 When and how does Marlow’s “world of Heart of Darkness and America 18 straighforward facts” break down? 38 Beerbohm’s parody 27 What makes Marlow come to put his Feminist assaults 29 faith in Kurtz? 50 The primary narrator 30 Ivory 34 How does Marlow learn the truth about Kurtz? 56 Niggers 46 Ten facts about Heart of Darkness 64 How does Marlow think of the jungle? 68 Conrad, Hardy and pessimism 86 Fin-de-siècle 114 So what is “it”? 75 A short chronology 126 What does Kurtz mean by “The horror! Bibliography 128 The horror!”? 84 How significant is Marlow’s breakdown? 96 Introduction Adolf Hitler, and Francis Ford Coppola who turned it into the film Apocalypse Now. Conrad finished Heart of Darkness on 9th February, More critical attention has probably been paid 1899 and it was originally published in three parts to it, per word, than to any other modern prose in that important organ of Victorian high culture, work. It has also become a text about which, as the Blackwood’s Magazine, Part One appearing in the late Frank Kermode once complained, interpreters 1,000th issue. -
Conrad's Nostromo: Reception, Theme, Technique
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1961 Conrad's Nostromo: Reception, Theme, Technique Jerome A. Long Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Long, Jerome A., "Conrad's Nostromo: Reception, Theme, Technique" (1961). Master's Theses. 1624. https://ecommons.luc.edu/luc_theses/1624 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1961 Jerome A. Long CONRAD'S NOSTROMO: RECEPTION, THEME .. TECHNIQUE By Jerome A. Long A Thesis Submitted to the Faculty ot the Graduate School ot Loyola University in Partial Fulf11lment ot the Requ1rements for the Degree of Master of Arts February 1961 LIPS Jerome A. Long wa. born in Chicago. Illinois. December 20. 1935. He wa. graduated from Loyola Academy, Chioago. Illinois, June. 1953. and .a. graduated trom Loyola University. Chicago, June. 1957. with the degree ot Bachelor ot Sclence. , He .as enrolled in the Graduate School of Lolol a university in June. 1957. as a candidate tor the degree ot Master of Arts. The following lear he .8S an Instructor in English at Xavier university ot Loui.iana. lew Orleans. In 1959. he became a text book editor at Scott ,oresman and Company. -
They Always Leave Us╎: Lord Jim, Colonialist Discourse, and Conrad's Magic Naturalism
Chapman University Chapman University Digital Commons English Faculty Articles and Research English Spring 1998 "They Always Leave Us’: Lord Jim, Colonialist Discourse, and Conrad's Magic Naturalism Richard Ruppel Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/english_articles Part of the Literature in English, British Isles Commons, and the Race, Ethnicity and Post- Colonial Studies Commons Recommended Citation Ruppel, Richard. “‘They always leave us’: Lord Jim, Colonialist Discourse, and Conrad's Magic Naturalism.” Studies in the Novel. 30.1 (Spring 1998): 50-62. This Article is brought to you for free and open access by the English at Chapman University Digital Commons. It has been accepted for inclusion in English Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. "They Always Leave Us’: Lord Jim, Colonialist Discourse, and Conrad's Magic Naturalism Comments This is a pre-copy-editing, author-produced PDF of an article accepted for publication in Studies in the Novel, volume 30, issue 1, in 1998 following peer review. This article may not exactly replicate the final published version. Copyright Johns Hopkins University Press This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/english_articles/79 “’They always leave us’: Lord Jim, Colonialist Discourse, and Conrad's Magic Naturalism” Studies in the Novel. 30.1 (Spring 1998): 50-62. Richard Ruppel Lord Jim is full of thumbnail biographies that give the reader a pleasant sense of overcrowding, as though the book might open out in some new direction at any moment to follow the lives and tribulations of some new set of characters. -
Lord Jim Stephen Donovan
The American Serialization of Lord Jim Stephen Donovan Journal of European Periodical Studies, 2.2 (Winter 2017) ISSN 2506-6587 Content is licensed under a Creative Commons Attribution 4.0 Licence The Journal of European Periodical Studies is hosted by Ghent University Website: ojs.ugent.be/jeps To cite this article: Stephen Donovan, ‘The American Serialization of Lord Jim’, Journal of European Periodical Studies, 2.2 (Winter 2017), 3–24 The American Serialization of Lord Jim STEPHEN DONOVAN Uppsala University [email protected] ABSTRACT This essay presents the discovery of the American serialization of Joseph Conrad’s Lord Jim in New York’s Evening Telegram in 1903. This ‘lost’ serialization, it argues, invites a new perspective on Conrad’s early career by foregrounding the role of newspaper serialization and syndication in establishing his literary standing. After surveying the principal differences in the respective reading experiences of the periodical versus the book, it concludes by proposing that the prominence of women among Conrad’s first audiences requires us to reassess the basis for his success in North America and elsewhere. KEYWORDS Joseph Conrad, Lord Jim, serialization, syndication, Evening Telegram (New York), women readers 3 The American Serialization of LORD JIM For much of the past century Joseph Conrad has been regarded as an austere proto- Modernist whose earliest and best works, written during a phase bookended by Heart of Darkness (1899) and Under Western Eyes (1911), were read by a largely masculine