LORD JIM by Joseph Conrad
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Lord Jim, by Joseph Conrad
Lord Jim, by Joseph Conrad AUTHOR'S NOTE When this novel first appeared in book form a notion got about that I had been bolted away with. Some reviewers maintained that the work starting as a short story had got beyond the writer's control. One or two discovered internal evidence of the fact, which seemed to amuse them. They pointed out the limitations of the narrative form. They argued that no man could have been expected to talk all that time, and other men to listen so long. It was not, they said, very credible. After thinking it over for something like sixteen years, I am not so sure about that. Men have been known, both in the tropics and in the temperate zone, to sit up half the night 'swapping yarns'. This, however, is but one yarn, yet with interruptions affording some measure of relief; and in regard to the listeners' endurance, the postulate must be accepted that the story was interesting. It is the necessary preliminary assumption. If I hadn't believed that it was interesting I could never have begun to write it. As to the mere physical possibility we all know that some speeches in Parliament have taken nearer six than three hours in delivery; whereas all that part of the book which is Marlow's narrative can be read through aloud, I should say, in less than three hours. Besides--though I have kept strictly all such insignificant details out of the tale--we may presume that there must have been refreshments on that night, a glass of mineral water of some sort to help the narrator on. -
THE CONCEPT of the DOUBLE JOSEPH'conrad by Werner
The concept of the double in Joseph Conrad Item Type text; Thesis-Reproduction (electronic) Authors Bruecher, Werner, 1927- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 16:33:07 Link to Item http://hdl.handle.net/10150/318966 THE CONCEPT OF THE DOUBLE JOSEPH'CONRAD by Werner Bruecher A Thesis Snbmitted to tHe Faculty of the .' DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS In the Graduate College THE OTHERS TTY OF ' ARIZONA ' STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in The University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable with out special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below ^/viz. -
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 -
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. -
JOSEPH CONRAD: a CITIZEN of a GLOBAL WORLD. Review of Maya
Yearbook of Conrad Studies (Poland) Vol. 13 2018, pp. 129–134 JOSEPH CONRAD: A CITIZEN OF A GLOBAL WORLD Review of Maya Jasanoff, The Dawn Watch: Joseph Conrad in a Global World, Penguin Press 2017, pp. 376, with Index, maps and illustrations Agnieszka Adamowicz-Pośpiech University of Silesia “One day, putting my finger on a spot in the very middle of the then white heart of Africa, I declared that some day I would go there.”1 On the dust jacket one can see a silhouette of a well-built man against the stormy sea (definitely too tall to be Conrad himself), standing on a downward spiral (symbol- izing the downfall of civilization?) and next to it the blurb “enlightening, compas- sionate, superb,” a recommendation by John le Carré—surely, as we shall see, the author of The Tailor of Panama would know what to recommend… but first things first. Nowadays we observe a boom in popularizing biographies that try to bring us closer to the classic writers (e.g. S. Greenblatt’s Will in the World, or A. Sismon’s John le Carré: The Biography). An impressive example of such a book is Maya Jasanoff’s The Dawn Watch which is an expansion of the biographical convention with one major difference. Instead of placing Joseph Conrad in the centre, it locates world history there and views Conrad as “an object of history” so as to “shape his biography from outside in” (10). Maya Jasanoff is Coolidge Professor of History at Harvard University who received several prestigious awards for her historical books (the 50th Duff Cooper Prize and the Windham-Campbell Literature Prize, among oth- ers). -
Joseph Conrad's Culturally Liminal
INDOS, ABJECTS, EXILES: JOSEPH CONRAD’S CULTURALLY LIMINAL CHARACTERS IN THE AGE OF NATIONALISM Submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts In the Department of English University of Saskatchewan Saskatoon By THOMAS ONION © Copyright Thomas Onion, September 2013. All rights reserved. PERMISSION TO USE In presenting this thesis/dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation. Requests for permission to copy or to make other uses of materials in this thesis/dissertation in whole or part should be addressed to: Head of the Department of English University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada OR Dean College of Graduate Studies and Research University of Saskatchewan 107 Administration Place Saskatoon, Saskatchewan S7N 5A2 Canada i ABSTRACT This essay is an investigation of transnational author Joseph Conrad’s engagement with issues of cultural liminality during the years around the turn of the 20th century. -
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. -
The Adaptation of Joseph Conrad's Heart of Darkness in Francis Ford Coppola's Film Apocalypse
A CHOICE OF NIGHTMARES: The Adaptation of Joseph Conrad’s Heart of Darkness in Francis Ford Coppola’s Film Apocalypse Now Pekka Alava University of Tampere School of Modern Languages and Translation Studies English Philology Second Subject Thesis June 2008 Tampereen yliopisto Englantilainen filologia Kieli- ja käännöstieteen laitos ALAVA, PEKKA: A Choice of Nightmares: The Adaption of Joseph Conrad’s Heart of Darkness in Francis Ford Coppola’s Film Apocalypse Now Sivuainelaudatur, 35 sivua, kesäkuu 2008 ---------------------------------------------------------------------------------------------------------------- Tutkimukseni tarkoitus on paneutua Joseph Conradin 1800-luvun Belgian Kongoon sijoittuvan teoksen Heart of Darkness (1899) elokuvasovitukseen Apocalypse Now, jonka Francis Ford Coppola ohjasi vuonna 1979. Elokuvan tapahtumat liittyvät Vietnamin sotaan 1960-luvulla. Pyrkimyksenä on identifioida kirjasta löytyviä teemoja, ilmaisutapoja –ja muotoja, joita elokuvassa hyödynnetään. Tässä apuna käytetään erityisesti kirjallisuuden elokuvaksi sovittamiseen liittyviä teorioita. Vertaan myös kirjailijan ja elokuvaohjaajan rooleja ja kyseisten tekijöiden asemaa ja merkitystä kulttuurisessa kehityksessä Conradin edustamasta modernismista Coppolan edustamaan postmoderniin ajatteluun. Teemoista tärkeimmiksi nousevat kolonialismi, imperialismi ja sota, joka on elokuvan keskeisin lähtökohta, kun taas kaksi ensin mainittua korostuvat kirjassa. Lisäksi elokuva hyödyntää viitteellistä materiaalia, jolla ei välttämättä ole suoraa yhteyttä Conradin -
“Approaching Conrad Through Theory: 'The Secret Sharer'”
1 “The Secret Secret Sharer” Douglas Kerr The subject of this essay is a secret. “The Secret Sharer” was written late in 1909, after a visit from Captain Carlos M. Marris, of Penang, had revived Conrad‟s memories of his own adventures in the East as a young man. It was also as a distraction or relief from his struggles with the novel that would become Under Western Eyes (Stape 170). “The Secret Sharer: An Episode from the Coast” was published in 1912 with “A Smile of Fortune” and “Freya of the Seven Isles” in the collection ’Twixt Land and Sea (hereafter TLS). It is the story of a young ship‟s captain about to start a voyage on his first command, who shelters on board an officer from another ship, a man named Leggatt, who has killed a crewman and escaped by swimming from his own vessel. The young Captain, who has been immediately struck by an uncanny feeling of kinship for the fugitive whom he frequently refers to as his “double”, conceals Leggatt in his own quarters, unknown to his own officers and crew, and after several days arranges for him to make his escape by swimming to an island, just as the wind rises and the captain‟s vessel begins its own journey. The story is the captain‟s retrospective narrative. The thick layer of criticism with which this story is barnacled has a consensus in its feeling that the relationship between the unnamed “young Captain” (as I must entitle him to avoid later confusion) and the fugitive Leggatt is what most needs explaining in this tale. -
Review of the Ideal of Fidelity in Conrad's Works
REVIEW OF THE IDEAL OF FIDELITY IN CONRAD’S WORKS BY JOANNA SKOLIK. TORUŃ: ADAM MARSZAŁEK PUBLISHING HOUSE, 2009 Jolanta Dudek The Ideal of Fidelity in Conrad’s Works by Joanna Skolik is an interesting and highly competent introduction to the writings of Joseph Conrad – not the easiest of authors – and will no doubt be of great help to younger readers and budding Conrad scholars alike. Although the author exhibits a thorough knowledge of the huge number of books which to date have been written on Conrad, her own book is both eminently readable and inspiring in its own right. The “fi delity” to which Joanna Skolik refers in the title of her book was a key con- cept in Polish literature of the Romantic period and – perhaps not surprisingly – also in the Polish reception of Conrad from the outbreak of the Second World War right up to the end of the twentieth century. For the last sixty years or so Conrad has inspired those Polish writers and critics who have sought to preserve Poland’s cultural identity, sandwiched as it has been between two hostile ideologies. This can be seen, for example, in an essay entitled Conrad i kryzys powieści psychologicznej / Conrad and the Crisis of the Psychological Novel (1935) by Ludwik Fryde, in Gustaw Herling-Grudziński’s essays entitled Żywi i umarli / The Living and the Dead (1946), in Czesław Miłosz’s A Treatise on Poetry (1957), in Maria Dąbrowska’s Szkice o Conradzie / Essays on Conrad (1959), in Zbigniew Herbert’s poem The Envoy of Mr Cogito (1974) – and, of course, in Zdzisław Najder’s Essays on Art and Fidelity (1997). -
Departmental Honors Theses
UCLA Departmental Honors Theses Title Optics in the Works of Joseph Conrad Permalink https://escholarship.org/uc/item/7n96r5vf Author Saedi, Navid Publication Date 2017-03-24 Undergraduate eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, LOS ANGELES OPTICS IN THE WORKS OF JOSEPH CONRAD A THESIS SUBMITTED TO THE DEPARTMENT OF ENGLISH IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS BY NAVID SAEDI ADVISOR: JONATHAN H. GROSSMAN LOS ANGELES, CA 24 MARCH 2017 Saedi 2 ABSTRACT OPTICS IN THE WORKS OF JOSEPH CONRAD BY NAVID SAEDI This thesis explores optical physics in two novels by Joseph Conrad, Lord Jim and Nostromo. The first part of this thesis concerns the Patna incident in Lord Jim and explores how Conrad uses the physics of 19th century dioramas to outwardly express the psychology of the novel’s eponymous lead. The Patna’s masthead light, I suggest, follows Jim throughout the novel, manifesting in different forms and movements of light. The second part of this thesis explores the final chapter of Nostromo, “The Lighthouse,” and argues that Conrad offers readers two lighthouses in the chapter. The first “lighthouse,” the Custom House, confronts Nostromo with death through a transition from shadows to silhouettes, while the latter, Great Isabel lighthouse offers him immortality through light and materiality. Through my analysis, I hope to show how Conrad overcomes the restrictions of language to communicate through optics otherwise inscrutable truths of his characters. Saedi 3 ACKNOWLEDGMENTS I would like to thank Professor Grossman for his generosity, patience, guidance, and time. -
Critical Readings of Joseph Conrad's Lord
International Journal Online of Humanities (IJOHMN) ISSN: 2395-5155 Volume 6, Issue 5, October 2020 DOI: https://doi.org/10.24113/ijohmn.v6i5.201 Critical Readings of Joseph Conrad’s Lord Jim Ayila Orkusa Ph.D. University of Nigeria Nsukka, Nigeria [email protected] Abstract There are much scholarly readings of Joseph Conrad’s Lord Jim. This paper randomly picks some of the papers according to the various ways the scholars have studied the text for a review. Such critical readings have been examined here, considering the topical, thematic as well as theoretical and conceptual frameworks that have guided the studies. By so doing the paper answers the question on ways through which Lord Jim is read. The paper therefore shows that source study, reader response investigation, aesthetics analysis, modernist view, postcolonial readings, religious and moral approaches, stylistics, queer reading and other heterologous readings have dominated the scholarly works on Lord Jim. The conclusion is that these readings have assumed Lord Jim offers codes for interpreting society or life. Thus, most of the critics read the text as philosophy, while others read the texts as allegory or a testimony of the author or his society. But such interpretations have often offered a less clear view about the texts and as a result, many accuse the author of being obscured. However, few studies have approached the text as an art. The study remains important as it draws together many of these readings that have differently treated Lord Jim (literature) both as ideology, discourse, and art. www.ijohmn.com 1 International Journal Online of Humanities (IJOHMN) ISSN: 2395-5155 Volume 6, Issue 5, October 2020 Keywords: Critical, reading, Conrad, Lord Jim Introduction Joseph Conrad’s Lord Jim elicits wide reading in the literary circle and beyond, since its publication.