The Nature of the Symbolism in Conrad's Nostromo
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The Secret History of Costaguana Ebook, Epub
THE SECRET HISTORY OF COSTAGUANA PDF, EPUB, EBOOK Juan Gabriel Vasquez | 320 pages | 04 Jul 2011 | Bloomsbury Publishing PLC | 9781408809877 | English | London, United Kingdom The Secret History of Costaguana PDF Book Other editions. He wants to go back to his own writing. I was disappointed by this book and was tempted to quit reading it at almost every point. In addition, Altamirano watches battling political factions in his country spin ideas and events to their version of the truth. The speed with which names and events are thrown at you is daunting. Behind the word motivation is the word whim; behind decision is tantrum" Jun 04, Todd Stockslager rated it really liked it Shelves: fiction. It was inspired by the geography and history of Colombia, where Conrad spent only a few days. Latin American novels have become synonymous with Magical Realism, a literary method that allows the conflation of realism and magic, history and mythology, to create a new, hybrid story, one that many Latin American authors believe best captures the "paradox of the union of opposites" see backstory on Magical Realism. This tale is third-person narrated and reads like a history. However, the story carries another layer, too. Welcome back. You watch as Miguel's obsession with the Summary: The story starts with the events that lead his father, Miguel Altamirano, to Panama. Through various anecdotes, scraps of history, and personal recollections, we read about an unconventional life from the son of an unconventional union: a journalist father who eventually becomes a propaganda machine for the building of the Panama Canal, and a married woman whose husband kills himself when he finds out that she is pregnant by another man. -
Bibliography and References
Bibliography and References (NoTE: the following list does not pretend to be exhaustive; items are only included if they are mentioned in text.) Primary sources and collections Conrad, J., Heart of Darkness (Harmondsworth: Penguin Modern Classics, 1982, first published 1902). Conrad, J., Preface to The Nigger of the Narcissus ( 1897) (Penguin Modern Classics Edition). Conrad, J., Tales ofHearsay and Last Essays (London, 1928 and 1955). Cox, C. B. (ed.), Casebook: Heart of Darkness, Nostromo, Under Western Eyes (London, 1981). Dean, L. F. (ed.), Heart of Darkness: Backgrounds and Criticism (Engle wood Cliffs, NJ, 1960). Kimbrough, R. ( ed.), Heart of Darkness: An Authoritative Text, Criti cism, Backgrounds, Sources, 3rd edn (New York & London: Norton edn, 1988). Mudrick, M. (ed.), Conrad: A Collection of Critical Essays (Twentieth Century Views Series) (Englewood Cliffs, NJ, 1966). Sherry, N. (ed.), Conrad: The Critical Heritage (London, 1973). Secondary sources Achebe, C., 'An Image of Africa: Racism in Conrad's Heart of Dark ness' ( 1975) (amended 1987), reprinted in Kimbrough (ed.) ( 1988). Baker, R. S., 'Watt's Conrad' (1981 and 1986) in Kimbrough (ed.) (1988). Bakhtin, M. M., The Dialogic Imagination (Austen, Texas, 1981). Barthes, R., S/Z (London, 1975; orig. in French 1970). 84 HEART OF DARKNESS Barthes, R., /mage-Music-Text: Essays (translated and edited by Heath, S.,) (Glasgow, 1977). Belsey, C., Critical Practice (London, 1980). Belsey, C., TheSubjectofTragedy (London, 1985). Benjamin, W., Illuminations (Glasgow, 1977). Bhabha, H. K., 'The other question: difference, discrimination, and the discourse of colonialism', in Barker et al. (eds), Literature, Politics, and Theory (London, 1986). Blake, S. L., 'Racism and the Classics: Teaching Heart of Darkness', College Language Association Journal, 25, no. -
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. -
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. -
In Memoriam Mario Curreli (1943–2015)
In Memoriam Mario Curreli (1943–2015) first met Mario at the famous 1972 conference in Poland under the aegis of Zdzisław Najder. Like Mario, I was I overawed to find myself in the company of Borys Conrad, Ian Watt, Gustav Morf , René Rapin and other famed figures. (The conference was gate-crashed by a contingent from a Conradiana conference in London, which brought in Eloise Knapp Hay, Ed Bojarski and others.) Mario was alert, astute, sensitive, a little nervous, resourceful and engaging. Later that year, he and the charming Vanna visited me in Brighton, and we proceeded to Hindhead to meet Borys again. Mario and Borys soon became good friends, and Borys presented Mario with a silver-topped cane that had belonged to Joseph Conrad. Subsequently, I collaborated with Mario on an article on The Premier and the Painter and The Secret Agent, and our collaboration continued over the years until Mario’s death. He would advise me on (say) Italian matters in Shakespeare’s works, and I would proof- check some of his articles in English. Mario’s linguistic range was remarkable: it was from him that I learnt the useful English word “onomastic.” We met at various Conradian gatherings and conferences. Mario was immensely productive and resourceful, in spite of severe health problems. For years he underwent the ordeal of regular dialysis. Eventually he was helped by a kidney transplant, the donor being Vanna. In the case of Mario and Vanna, the biblical adage “they shall be one flesh” became literally true. Their flat in the heart of historic Pisa provided frequent generous hospitality for international visitors. -
Apollo Nałęcz-Korzeniowski As Critic and Translator
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository APOLLO NAŁĘCZ-KORZENIOWSKI AS CRITIC AND TRANSLATOR Grzegorz Zych The Jagiellonian University, Cracow 1. APOLLO KORZENIOWSKI AS A LITERARY CRITIC Apollo Nałęcz-Korzeniowski (1820–1869) was not only one of the most distinc- tive Polish playwrights of the second half of the 19th century, but also one of the best informed about new currents in literature. After his premature death, however, his poetry and plays were soon forgotten and for almost a century he was known only as the father of Konrad Korzeniowski, otherwise known as the distinguished English writer Joseph Conrad. It is only since the middle of the 20th century that his life and work have once again begun to attract the attention of scholars and literary critics. Apollo Nałęcz-Korzeniowski is known above all for being a Polish patriot. A couple of years before the outbreak of the 1863 January Uprising, he helped to organize the underground anti-tsarist “Committee of the Movement” in Warsaw – the forerunner of the later 1863 “National Central Committee qua Provisional National Government” (Komitet Centralny Narodowy jako Tymczasowy Rząd Narodowy). Although the tsarist police never discovered the true extent of his political activity – and in particular his involvement in organizing the “Committee of the Movement” – he was arrested on much lesser charges in 1861 and he and his wife Ewa were subse- quently sentenced to a term of exile in Russia.1 Together with their four-year-old son Konradek, the Korzeniowskis were eventually sent to Vologda. -
0 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Alisson Costa De Faria Tradução Intersemiótica: Nos Rastros Do Film
0 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Alisson Costa de Faria Tradução intersemiótica: nos rastros do filme Apocalypse Now MESTRADO EM COMUNICAÇÃO E SEMIÓTICA SÃO PAULO 2014 1 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Alisson Costa de Faria Tradução intersemiótica: nos rastros do filme Apocalypse Now MESTRADO EM COMUNICAÇÃO E SEMIÓTICA Dissertação apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção de título de MESTRE em Comunicação e Semiótica, na área de concentração Signo e Significação nas Mídias, sob a orientação do Prof. Doutor José Amálio de B. Pinheiro. SÃO PAULO 2014 2 BANCA EXAMINADORA ________________________________________ ________________________________________ ________________________________________ 3 AGRADECIMENTOS Ao caríssimo Prof. Dr. José Amálio de B. Pinheiro, pela orientação atenta e disponibilidade para os atendimentos e conversas, fundamentais na construção da pesquisa. Aos Prof. Dr. Tony de Souza e Profa. Dra. Cecília A. Salles, por todos os conselhos e sugestões que possibilitaram o desenvolvimento da pesquisa por ocasião da banca de qualificação. Ao Prof. Dr. Gabriel Chalita, por toda a atenção e incentivo aos estudos. À Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, pela oportunidade da bolsa outorgada para o desenvolvimento desta pesquisa. A todos os amigos e colegas que tive a felicidade de conhecer durante o curso de mestrado, pelas conversas e toda a ajuda. Aos meus familiares e amigos, pela força e apoio. A Gabriela e Sophia, pela paciência, carinho e confiança. 4 RESUMO A presente pesquisa analisa as relações tradutórias do filme Apocalypse Now (1979), de Francis Ford Coppola, com suas fontes, em especial o romance O Coração das Trevas (2006), de Joseph Conrad e Os Despachos do Front (2005), de Michael Herr. -
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 -
Conrad in the Time of Globalization: a Latin American Nostromo?
CONRAD IN THE TIME OF GLOBALIZATION: A LATIN AMERICAN NOSTROMO? Terry Collits La Trobe University Melbourne Over the past fi fteen years, the category of “globalization” has come to dominate all others as the framing concept for analyses of politics, economics and culture at every level. It is in that new academic context that this essay examines some of the conditions and possibilities that now obtain for political readings of Conrad.1 Taking Nostromo as a test case, it will attempt to “estrange” the various constructions of the “Conrad” we know as a great English or even European author and replace them with the idea that it is now timely also to read Conrad’s acclaimed masterpiece as a classic of Latin American fi ction. This “taxonomical” modifi cation proposes that Nostromo is an important foundation text for the study of Latin American political and cultural history and challenges the judgment that the novel is somehow inauthentic in com- parison with the literary products that come from the soil of Latin America itself (the “Third World” speaking in its own voice, as it were). This starting claim (which is really an hypothesis) might seem either absurd or offensive. Yet such a proposal is more or less what actually happened in the case of Heart of Darkness in Africa. While not entirely free from taints of Eurocentrism, in practice the novella has become the most widely studied literary text in Africa. The Kenyan novelist, Ngugi Wa Thiong’o, for example, declared that no African writer “had created so ironic, apt, and powerful an image” of the moral failure of European colonization as Conrad did with the skulls on poles facing Kurtz’ house.2 1 That is, I intend now to regard certain key categories in my Postcolonial Conrad: Paradoxes of Empire. -
Yearbook 12-2-Lam.Indd
Yearbook of Conrad Studies (Poland) Vol. 12 2017, pp. 7–26 doi: 10.4467/20843941YC.17.001.8658 RAFAŁ MARCELI BLÜTH AS A CONRAD SCHOLAR1 Stefan Zabierowski The University of Silesia, Katowice Abstract: The aim of the present article is to present the achievements of Rafał Marceli Blüth (1891-1939) in the fi eld of Conrad scholarship. During the period between the First and Second World Wars, Blüth was a prominent Catholic intellectual and—along with Prof. Józef Ujejski and the well-known writer Maria Dąbrowska—was one of Poland’s foremost Conrad critics. As well as interpreting Conrad’s novels, Blüth researched the writer’s biography, particularly with regard to the role played by family tradition in the Polish eastern borderlands. He also put forward a de- tailed interpretation of the factors which might have infl uenced Conrad’s decision to leave Poland while he was still in his teens. Blüth’s greatest achievements as a literary critic include interpreta- tions of novels such as Victory, The Rover and Nostromo, an attempt to classify the main charac- ters of Conrad’s novels and a study comparing Conrad’s writing and view of the world with those of Dostoevsky. Keywords: Rafał Marceli Blüth, Polish Conrad scholarship between the wars, Joseph Conrad’s biography, Joseph Conrad’s writing, Joseph Conrad’s novels Anyone who has but a cursory knowledge of the history of commentaries on the writing and biography of Joseph Conrad-Korzeniowski in his partitioned homeland can say without a doubt that the fi rst Polish manifestations of interest in Conrad date back to the 1890s. -
Critical Responses: 1950-1975
Critical Responses: 1950-1975 Following his positioning as a major English novelist by F.R. Leavis in The Great Tradition (1948), Conrad became a central figure in academic literary criticism in the 1950s and 1960s with the publication of a series of seminal works on the writer. With studies by Thomas Moser, Albert Guerard and Edward Said, the period saw the beginning of the Conrad industry in international academe, with several biographies undertaken or written and the hunt for every possible scrap of extant Conradiana under way. This resulted in societies and journals dedicated to Conrad’s life and works in the USA, Britain, France, and Poland, the first steps in the daunting but now completed collected letters of Conrad, and a stubbornly unassailable interpretation of Conrad’s literary career, captured in the title of Thomas Moser’s influential Joseph Conrad: Achievement and Decline (1957). The period between 1950-75 also saw groundbreaking work on Conrad by Polish scholar Zdzisaw Najder, and with the unprecedented attention given to his life and works by gifted international scholars, these years constitute a true golden age of Conrad criticism. In the aftermath of WW2, philosophical and political criticism, conscious of the catastrophic results of nationalist and supremacist ideologies throughout the world, adopted Conrad as a writer transcending national boundaries, one representative of a sceptical voice on international politics. Hannah Arendt’s The Origins of Totalitarianism (1951), ‘written against a background of both reckless optimism and reckless despair’ (Arendt, p. vii), isolated ‘Heart of Darkness’ as ‘the most illuminating work on actual race experience in Africa’ (Arendt, p.