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Drösdal-Levillain, Annick Paccaud-Huguet Josiane. "Joseph Conrad et Malcolm Lowry "La musique sombre du chaos", "Heart of darkness" (1902), "Nostromo" (1904) et "Under the volcano" (1947) /." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/drosdal_a.
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De, Lange Adriaan Michiel. "Conrad's impressionism the treatment of space and atmosphere in selected works." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002272.
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This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
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Drösdal-Levillain, Annick. "Joseph Conrad et Malcolm Lowry : "La musique sombre du chaos", "Heart of darkness" (1902), "Nostromo" (1904) et "Under the volcano" (1947)." Lyon 2, 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/drosdal_a.
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Comment le malaise dans la civilisation du jeune XXème siècle se "mi-dit-il" dans Heart of Darkness, Nostrama et Under the Volcano ? Qu'est-ce qui unit Conrad et Lowry si ce n'est leur rôle de révélateurs des brèches de l'histoire et du coeur de l'homme moderne ? La littérature et l'art ne nous en disent-ils pas plus sur la vérité enfouie sous les emplâtres des écritures réalistes, que les livres d'histoire ? Avec Conrad, les écrans fictionnels posés sur le Réel se mettent à bouger, pour finalement voter en éclats sous la plume de Lowry. Les va-et-vient entre littérature, art et psychanalyse font émerger des bribes sonores et visuelles desquelles se dégage un réseau de signifiance qui fait accroc et accroche chez le lecteur attentif. Mues par une musique souterraine, ces écritures de la modernité font sourdre jusqu'à la surface des textes, des fragments d'une langue d'avant le langage, cette "lalangue" (lacan) qui fait vibrer la corde sensible du lecteur ayant renoncé à la jouissance phallique, au profit d'une "écoute flottante" (Freud). Le lecteur, à son tour morcelé, voit alors éclater le cri muet lancé à la face des "non-dupes" (Lacan) errant au pays des lettres. L'autre qui n'existe pas fascine, et, par son absence, met en marche le désir et la créativité. Les pulsions scopiques et dévoratrices font alors voir et entendre l'importance des objets regard et voix pour l'analyse de ces écritures opaques, dont la dimension lyrique, "poéthique", se propage telle une onde de choc partie d'un noyau obscur. Le rayonnement de ces oeuvres met en évidence l'importance de l'art, et en l'occurrence, de la littérature qui fait voir, entendre et sentir des bribes de ce qui fait de nous des hommes encore "connectés" avec leurs émotions. C'est peut être vers une jouissance autre, non-phallique et réfractaire à toute pensée dogmatique ou idéologique qu'il faut errer, entre son et sens, avec bonheur. . .
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Gaylard, Robin Peter. "Perspectives on isolation: the relation of narrative technique to theme in selected works by Joseph Conrad." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001833.
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" ... the central concern of this thesis, which is to investigate the ways in which Conrad uses a particular technique (that of the first-person narrator ) to focus our attention, to secure our involvement, and to direct our sympathies. At the same time I wish to examine the extent to which the central themes or concerns of each work derive from the interaction between the narrator and the man whose experience he confronts, from "the challenging interplay of two frames of reference, two schemes of values, two sets of attitudes" that the use of a dramatized narrator makes possible." (Introd., p. 5)Adobe Acrobat 9.53 Paper Capture Plug-in
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McDonald, Peter. ""The great foes of reality" : attitudes to language in selected novels by Joseph Conrad." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001836.
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This dissertation examines Conrad's ambivalent attitude to the value of words in human affairs. Though his critical attitude is the main focus of the argument, his positive attitude will also be considered in some detail. In the first chapter, on The Nigger of the 'Narcissus', the critical attitude is primary. In this story language is seen in relation to silence and action, and in both cases the non- linguistic element is celebrated, while words are censured. Yet the values implied by the tale leave the writer of fiction, and the narrator who emerges at the end of the story, in an uncertain position: the world presented in the novel undermines the mode of presentation which is the novel. This paradox is to some extent resolved in the following two chapters which deal with Conrad's complex response to the culture of European imperialism. Chapter 2, on Heart of Darkness, examines the ways in which words contribute to the systematic lies that sustain the nineteenth-century civilizing mission. The story is, however, not wholly critical of language, since the value of Marlow's spoken narrative is clearly endorsed. Chapter 3 offers a more detailed account of the relationship between the story-teller and his society, and of the value of Marlow's words. In Lord Jim, Marlow's account of Jim is contrasted with the account of him given by the court of inquiry, and with the notion of the hero projected in the romantic fictions which Jim reads. Once again Marlow's use of language is affirmed, while other uses are shown to be reductive, or simply spurious. The final chapter deals with Under Western Eyes. Of the four novels selected for this thesis, Conrad's "Russian novel" offers the most explicit and sustained critique of language. The novel suggests that any simplistic identification of language with "communication" is naive, if not misleading. In the conclusion I discuss Conrad's understanding of the nature and function of his own words, as set out in the preface to The Nigger of the 'Narcissus' and A Personal Record
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Jones, Susan. "Representation and identity : women and the work of Joseph Conrad (1857-1924)." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318964.
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Smith, Jeremy Mark. "Conviction in the everyday : Joseph Conrad and skepticism." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59889.
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Heart of Darkness, Chance, and Lord Jim can be described as philosophical works if considered in light of "ordinary language" philosophy. Conrad wrestled with skepticism much as Wittgenstein later would, but his struggle with the "bewitchment" of skeptical thinking took a narratival form. His champion was Marlow, raconteur of the three novels, who recurrently loses and recovers his words and his capacity to tell (to judge, to narrate). In these works the Marlovian investigation of human convention, linguistic and otherwise, is shown to be a necessary but perilous task. The possibility that we may be dissatisfied with the ordinary or transcendental conditions of living is dramatized in all three novels, often (but not only) by threats to marriage. Heart of Darkness demonstrates the loss of linguistic attunement that may follow upon taking human relation to be a problem of knowledge, and links this to Kurtz's world-devouring repudiation of the ordinary. Chance explores in melodramatic form the "germ of destruction at the source of our strength", and unmasks men's denial of women as one face of skepticism. Lord Jim presents skepticism, Romanticism, and fantasy as different versions of ontological dissatisfaction, and shows how a return to the ordinary requires a practice of reading and remembering (our words).
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Lepaludier, Laurent. "Ordres et désordres dans l'oeuvre de Joseph Conrad." Limoges, 1985. http://www.theses.fr/1985LIMO2001.
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Robin, Christophe. "L'être et la lettre : la tragédie de l'écriture dans la fiction de Joseph Conrad." Lyon 2, 2001. http://theses.univ-lyon2.fr/documents/lyon2/2001/robin_c.
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Au travers de certains concepts tragiques fondateurs définis par la "Poétique" d'Aristote, nous nous proposons d'analyser dans les oeuvres majeures de Joseph Conrad le rapport dialectique entre l'être et la lettre, fondé sur la remise en cause d'une vision esthétique classique. Notre première partie sera consacrée à une analyse du substrat esthétique classique à partir de la thématique du voyage qui symbolise le déplacement de la réalité vers la fiction, au profit du transfert que permet le mouvement métaphorique, en quête d'un surplus de sens devant déboucher sur l'aperception de l'essence. Mais les contours de l'espace esthétique classique s'estompent progressivement. Le voir et le savoir sont tenus en échec, marquant l'effondrement de l'épistémè traditionnelle, tandis que le sujet perd sa transparence et sa densité. Temps et temporalité font l'objet d'un traitement disruptif qui ruine le schéma téléologique classique. C'est en définitive l'ensemble du projet esthétique qui est radicalement réinterrogé, l'esthétique de la "représentation" laissant place à celle de la "présentation" qui marque une dé-théologisation du processus mimétique. Par delà l'effondrement du thétique toutefois, la fiction conradienne articule le passage du Savoir au Ça-voir, propre à la reconstruction tragique, qui dévoile la tragédie de notre "être-dans-les-signes". Cette littérature se fait symptôme d'une modernité qui vit un moment de repli du signe sur lui-même, déréalisant le monde vers lequel il était censé faire signe, ouvrant à l'aperception du Réel lacanien. Enfin, nous tenterons de voir comment cet effondrement ontologique mène à la reconstruction d'un "au-delà de l'être" marqué par l'émergence de l'éthique, associant processus cathartique et élaboration d'une nouvelle scène littéraire. Le renoncement au spéculaire permet le surgissement d'un nouveau mode représentatif tandis qu'un discours épuré donne au lecteur l'occasion d'éprouver "le plaisir du texte"
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Doherty, Helen. "The motif of initiation in selected works by Joseph Conrad." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002263.
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This thesis explores the archetypal theme of initiation in selected texts by Joseph Conrad. The Introduction first surveys critical attention to initiatory motifs in Conrad with the objective of demonstrating the need for an approach to the topic informed by a more formal and theorized understanding of initiation. It then offers a prima facie case for the centrality of the idea of initiation in Conrad's oeuvre, based on references culled from a range of the author's writings. Chapter One seeks to contextualise initiation by providing a history of anthropological research into and theorisations of the rite, proceeding to a description of its typical structure and functions. A detailed account is given of the most widely accepted model of initiation, Arnold van Gennep's tripartite schema. Moving on to Conrad's writing, Chapter Two draws on both his fiction and more personal writings in order to provide a provisional account of the writer's own understanding of initiation and its importance, and to offer some explanation of why Conrad should have been prompted to accord the motif such prominence in his work. Conrad's presentation and (impliedly) his understanding of initiation was never entirely consistent and underwent some change in the course of his writing career. The critical assessment of "Typhoon" in Chapter Three depicts Conrad's more optimistic conception of initiation as a rite benefitting both society, by promoting solidarity, and the individual, by advancing self-knowledge. Chapter Four introduces, via analyses of the novellas "Youth" and "The Shadow Line", that variation on the motif of initiation which is more typical of its manifestation in Conrad: the failure of individuals to complete their cycles of initiation. Chapter Five identifies those characteristics of initiation which appear to be determinative in the representations of incomplete initiation in Conrad's work. Initiation seems to play out approximately seven paradoxes; the impact of some of these is examined through analysis of the initiatory ordeals of the main protagonists in The Secret Agent. Integral to this discussion is an attempt to demonstrate the vital role which initiation plays in the healthy maintenance not only of social order but also of faith and life itself. The Conclusion summarises the more important findings of the study and indicates some directions for further, related research.
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Martinière, Nathalie. "Les représentations de l'espace dans les romans de Joseph Conrad." Paris 3, 1996. http://www.theses.fr/1996PA030117.
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A travers l'etude de trois categories de romans de joseph conrad, ceux dont l'eau est la structure principale (the nigger of the narcissus, typhoon), ceux ou eau et terre s'affrontent ou se completent (lord jim, henri of darknessn, nostromo, victory), et celui ou la terre predomine (the secret agent), il est possible de montrer comment la fiction conradienne renvoie l'image d'un monde chaotique, temoin des bouleversements epistemologiques de la fin du dix-neuvieme siecle. Le romancier tente desesperement de le maitriser en organisant l'espace (represente, representationnel, textuel) : mise en place d'un espace textuel de la fiction, symbolisme de l'espace represente (qu'il s'agisse du macrocosme ou d'espaces plus reduits) appropriation de l'espace par les personnages, les narrateurs ou par le langage lui-memeThis dissetation studies three categories of novels by joseph conrad : those in which water is the main element (the nigger of the narcissus, typhoon), those in which water and land are opposed or complementary (lord juim, heart of darkness, nostromo, victory), and one in which land is the essential element (the secret agent). Their study reveals how conrad's dixrion isd centered around the dread of invevitable chaos due to the epistemological upheavals of the period. The period. The novelist desperately endeavours to master chaos in organizing space (either represented or textual space) : thus, he creates a "spatial form" in his fiction, associates space with an intricate pattern of symbolical values (macrocosm or microcosm), and eventually tries to master space through the medium of the characters, narrators or even through language itself
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Tourchon, Patrick. "Joseph Conrad et Borneo, 1895-1920 : chronotopes bornéens dans l'oeuvre de J. Conrad." Lyon 2, 2004. http://theses.univ-lyon2.fr/documents/lyon2/2004/tourchon_p.
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Les critiques conradiens font souvent peu de cas de la topographie. De Robert Lee à John Stape, nombre d'érudits nient la pertinence des références géographiques au nom d'un allégorisme, d'un symbolisme ou d'un psychologisme plus ou moins explicite. Le point de départ de cette thèse est de remettre en question ces présupposés et d'accepter la possiblilité pour l'espace et le temps, en tant que ce sont aussi des catégories littéraires, d'être essentiels dans les romans et les nouvelles de Conrad. Dès que Conrad se réinsère ainsi dans l'espace-temps, le concept bakhtinien de chronotope devient applicable. Ce qui veut dire qu'un appareil théorique complexe et riche devient disponible. Car non seulement le chronotope réunit le temps et l'espace, mais il implique de plus une interrogation sur l'émergence du sujet, tout comme il amène à examiner les différentes voix qu'un texte donne à entendre pour une polyphonie potentielle. Le concept bakhtinien, pourvu qu'il se soutienne d'une sémiotique peircéenne et s'enrichisse de développements plus récents opérés par Lacan, couvre donc aussi bien la narratologie que la pragmatique, l'analyse que la rhétorique. Or, Joseph Conrad est un auteur si "chronotopique" qu'une typologie de ses oeuvres peut se foncer sur la localisation précise de ses décors narratifs. Parmi ces décors, Bornéo se distingue comme le lieu que Conrad n'a jamais vraiment quitté : de son premier roman (Almayer's Folly, 1895) à son avant-dernier (du moins publié) (The Rescue, 1920), il ne cesse de revisiter l'île. Une approche bakhtinienne ne pouvait donc qu'éclairer un tel signifiant insistant, et ainsi éclairer aussi les procédés créatifs de ConradConradian critics often take no account of topography. From Robert Lee to John Stape, many scholars hold geographical references as irrelevant, shifting the emphasis on alleged allegorical, symbolic or psychological aspects. The starting point of this thesis is to question such assumptions and to accept the possiblility for space and time, inasmuch as they are literary categories as well, to be essential in Conrad's novels and short stories. Once Conrad is re-inserted into space-time, the Bakhtinian concept of chronotope becomes applicable. Which means that a rich, complex theoretical appartus becomes available. For chronotopes not only merge space and time, they also imply questions about the subject's emergence, as they lead to study the various voices that can be heard in a text to form a potential polyphony. The Bakhtinina concept, provided it is backed up by a Peircean semiotics and enriched by Lacan's more recent developments, thus encompasses narratology as well as pragmatics, psychoanalysis as well as rhetoric. Now, Joseph Conrad proves so "chronotopic" a writer that a typology of his work can be based on a thorough location of his stories setting. Among these settings, Borneo stands out as the place Conrad never really left : from his first novel (Almayer's Folly, 1895) to the penultimate (published) one (The Rescue, 1920), he pays persistent visits to the island. A Bakhtinian approach could but shed light on such a recurring signifier, and therefore on Conrad's creativity
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Le, Boulicaut Yannick. "De la (non) communication à la (non) mobilité : regard sur le verbe et le mouvement dans quelques oeuvres de Joseph Conrad." Limoges, 1985. http://www.theses.fr/1985LIMO2002.
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Acheraïou, Amar. "Voix et regard dans l'oeuvre romanesque de Joseph Conrad." Paris 3, 1998. http://www.theses.fr/1998PA030195.
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Les limites de la voix narrative exhortent conrad a recourir au regard, en guise de soutien a ses narrateurs souvent paralyses par l'indecision, les craintes et les doutes de toutes sortes qu'engendre << l'evacuation de dieu >>. La necessite de retrouver une forme d'unite a travers l'art s'exprime dans la fusion de la voix et du regard en un meme ensemble, qui enveloppe les diverses strates du texte. En accordant la primaute a ces deux composantes, aussi bien au niveau narratologique que diegetique, conrad met en relief leur importance en tant que vecteurs (receptacles) epistemologiques. Toutefois, une analyse minutieuse de la representation revele a quel point l'unite mise en scene est inefficace, lorsqu'il s'agit de saisir la substance des evenements et des personnages. La voix et le regard apparaissent alors comme deux outils deficients, contraints de se contenter de decouvertes superficielles, incapables de vision unifiante, totalisante. Cette incapacite a saisir la verite absolue est le signe de la mort de l'autorite (sociale, religieuse, metaphysique, artistique, etc. ), laquelle genere le multiple, le discontinu, la rupture et la fragmentation. La verite se dissemine, le savoir s'eparpille, se morcelle. L'autorite , a son tour, migre ; elle passe de l'auteur au lecteur, qui devient l'autorite supreme a qui revient le droit de (re)construire la verite a partir des fragments qui lui sont offerts. Dans cette transformation radicale qui bouleverse entierement la representation, le lecteur occupe une place primordiale. Il est le lieu privilegie vers lequel convergent les differentes tensions et contradictions qui foisonnent dans le texteThe limits of the + narrative voice ; causes conrad, judging from the way he portrays his narrators, to have recourse to + looking ;. He aims, in so doing, at supporting a voice frought with instability, indecision, fears and doubts of all sorts, due to the + demise of god ;. The necessity to recover a new unity through art urges the author to blend + voice and looking ; into a common block, whose structure pervades the different layers of the text. In granting pre-eminence to these two components on both the narrative and diegetic levels, conrad highlights their importance as repositories of truth and knowledge. Yet, a close scrutiny at the displayed unity shows how inefficient these two epistemological tools are, when it comes to penetrating the substance or truth of things and people. They both appear as hopeless instruments, whose findings do not exceed mere impressions, scraps of information, too insignificant to cast a holistic vision on the things, events and characters described. The incapacity to grasp the truth in its fullness is testimony to the + death of authority ;, religious and metaphysical as well as artistic. It reveals the end of dogmas and hegemony, which gives vent to the expression of multiplicity, discontinuity and fragmentation. Truth dissiminates into a myriad of truths and knowledge becomes in turn plural and fragmentary. Consequently, the authority the novelist invests his texts with escapes the author to become the realm of the reader. In this radical transformation where the whole edifice shows signs of irremediable fragmentation, the reader turns out to be the only valid authority , whose creative reading is likely to (re)construct a possible unity by means of fragments, thanks to his imagination. This seems to be the main intention of conrad's fiction which, in granting a central position to the reader, marks a significant shift of perspective and interest
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Stedall, Ellie. "Herman Melville, Joseph Conrad and transatlantic sea literature, 1797-1924." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648378.
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Bernard, Stéphanie Paccaud-Huguet Josiane. "De Thomas Hardy à Joseph Conrad vers une écriture de la modernité /." Lyon : Université Lumière Lyon 2, 2004. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2004/vallon_s.
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Bernard, Stéphanie. "De Thomas Hardy à Joseph Conrad : vers une écriture de la modernité." Lyon 2, 2004. http://theses.univ-lyon2.fr/documents/lyon2/2004/vallon_s.
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Thomas Hardy est le plus souvent considéré comme un auteur victorien. Cependant, son dernier roman intitulé Jude the Obscure annonce la modernité qui éclot à l'aube du vingtième siècle, lorsque l'auteur se tourne vers la poésie et qu'un autre écrivain, nommé Joseph Conrad, rédige ce roman aux mille voix qu'est Lord Jim. Derrière leurs œuvres se profile la réécriture de la tragédie qui renaît sous les espèces du tragique. Tess of the D'Urbervilles, à la tonalité pastorale parfois, rappelle les tragédies familiales des grands auteurs grecs. Avec Jude the Obscure, la ville a remplacé la campagne, la société a inéluctablement pris la place des dieux. Cette chute du divin s'affirme dans Lord Jim où le romantisme côtoie l'éclatement de la représentation dans une écriture moderne, puis plus nettement encore au travers des paysages blancs et froids de Under Western Eyes. Ces œuvres, tant par leurs différences que par leurs ressemblances, mettent en lumière le renouvellement qu'opère la modernité sur les genres et les formes du passé. Le style tragique utilise la lettre pour mieux la faire voler en éclat et s'oriente sur le pan de la voix : celle de l'écrivain qui se fait poète, celle de Jude qui se laisse bercer par son imaginaire, ou encore celle de l'indicible vérité qui borde l'horreur et surprend le lecteur occidental du texte conradienThomas Hardy is usually considered a Victorian writer. Nonetheless, his last novel entitled Jude the Obscure announced the era of modernity which started with the twentieth century, just before he abandoned fiction to become a poet, while Joseph Conrad was writing that deep-resounding novel entitled Lord Jim. With rising modernity in the background, it appears that their works allowed for the rewriting of tragedy, now revived as the tragic. Tess of the D'Urbervilles, whose tone may sound pastoral, recalls traditional Greek tragedies. In Jude the Obscure, urban settings have replaced the countryside, and society has definitely been substituted for the gods. Such a defeat of the divine is brought even further with Conrad : in Lord Jim, the romantic undertones are incessantly balanced by the explosion of the conventions of representation; the modern age is clearly perceptible in the white and cold landscapes of Under Western Eyes. These four novels, through their similarities and differences, show how modernity operates on genres and old forms of writing by regenerating them. The tragic as a style uses the letter the better to shatter it : so it does when the voice of the poet can be heard through the murmurs of Jude's imagination, or when unspeakable truth comes close to the horror and startles the Western reader of the Conradian text
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Huggan, Graham. "The novelist as geographer : a comparison of the novels of Joseph Conrad and Jules Verne." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26839.
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The works of Joseph Conrad and Jules Verne share a fascination with geography: concern with geographical issues made explicit in their non-fictional works is also implicit in their fiction. Unfortunately, limited knowledge of or interest in geographic theory on the part of the literary critic has made the relation between literature and geography a relatively unpopular focus; to redress the balance, it is necessary to outline briefly some of the ways in which geographical theory may usefully inform the practice of literary criticism. Areas to be introduced include geography and literature as spatial distribution, as spatial perception, as inscription on and description of the environment, as text, as cultural matrix.
The above areas serve as a focus for the comparative analysis of a series of novels by Joseph Conrad and Jules Verne in which three issues are foregrounded: first, the interrelations between concentrated place and surrounding space in the sea-tales The Nigger of the Narcissus and Vingt mille lieues sous les mers; second, the reading and writing of cultural landscape in Heart of Darkness and Voyage au centre de la terre; third, the geopolitics of territory, boundary and landclaim in Lord Jim and L'lle mystérieuse. In each case, relevant geographical theory is drawn upon: in the first instance, the phenomenological notions of Yi-Fu Tuan and Edward Relph; in the second, the landscape evaluations of Carl Sauer and Courtice Rose; in the third, the geopolitical and politico-geographical definitions of Glassner, De Blij and Cohen.
The first section (on The Nigger of the Narcissus and Vingt mille lieues sous les mers) explores the spatial notions of topophilia, placelessness and geometricity inherent in the relation between ship and sea. The second section (on Heart of Darkness and Voyage au centre de la terre) discusses the various connotations of landscape: cultural imprint (rewriting),
false perspective (mis-reading), textual sign-system (encoding/decoding), which suggest that landscape can be interpreted as a controlling mechanism of and means of access to the text. The third section (on Lord Jim and L' Ile mystérieuse) outlines the geographical motifs of the two novels (division, (dis)possession, ascent and descent, etc.) and infers possible motives behind these motifs, relating topographical issues to personal and political ones and paying particular attention to the implications of island environments and communities and to the connections between imperialism, colonialism and narrative strategy.
Finally, the 'literary geography' of Conrad's and Verne's novels is situated in its historical context and related particularly to the late nineteenth-century debate on the relative merits of positivism and phenomenology. In Verne's work, the doctrine of positivism, which has been constituted in terms of an ideology of science, is only celebrated in so far as its limitations are recognized. In Conrad's work, man's struggle to conquer Nature through a physical and verbal mastery of his environment is reinterpreted as an attempt to overcome his own duality. Conrad's predominantly phenomenological geography of the mind serves as a critique of positivist doctrine, but its fractured topography also suggests that the attempt to substitute 'more traditional views of the social and moral order' (Watt, 163) is, perhaps, little more than a saving illusion.Arts, Faculty of
English, Department of
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Henderson, Cynthia Joy. "Winnie Verloc and Heroism in The Secret Agent." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500940/.
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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.
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Pariente, Myriam. "Écritures et récriture des figures de la marge et de l'exil dans l'œuvre de Joseph Conrad." Paris 4, 2000. http://www.theses.fr/2000PA040088.
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Cette étude propose une lecture de l'œuvre de Joseph Conrad dans la perspective thématique de l'exil. Étymologiquement, l'exil est séparation, il représente la rupture d'une structure spatio-temporelle auparavant connue. L'exil peut être subi ou volontaire, perpétuel ou éphémère, heureux ou malheureux : le motif se refuse à toute catégorisation radicale, à l'image de Joseph Conrad lui-même, d'origine polonaise mais qui prit la nationalité anglaise et qui parlait le français. Si l'exil présuppose un départ ou une fuite, il ne peut s'envisager sans une autre donnée : la marge. Par l'exil, on est où on se met en marge du monde géographiquement, physiquement et socialement. Aussi apparait-il nécessaire d'avoir recours à l'exil et à la marge dans le traitement des œuvres du corpus. La première étape de l'analyse "topographie des marges et des exils" - tente de cartographier la géographie des différents exils conradiens. Le déplacement s'opère toujours de l'occident vers l'orient, pays du soleil levant. Le mouvement centrifuge concrétise l'espoir de réécrire sa vie en essayant d'effacer le moment où tout a basculé. La seconde partie - "expérience des limites, limites des expériences centrifuges" - envisage les dégénérescences du concept de l'exil utopique et démontre que l'ambivalence est constitutive de ce topos à part, au sens propre comme au figuré. De l'Eden recréé, la terre d'exil se transforme en prison, enfer, voire tombeau. La dernière étape, intitulée "émergence d'un nouvel espace marginal : l'exil in vitro", montre que plus qu'un déplacement, l'exil n'est qu'enfermement, il se fait alors intérieur. Le héros perd de vue la réalité pour se construire un monde d'illusions qui le coupe définitivement des siens. Les paysages des œuvres, qui présentent des béances, des gouffres, des fractures, figurent ainsi à l'extérieur le drame qui se joue à l'intérieur
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Texier, Vandamme Christine Maisonnat Claude. "Espace et écriture ou l'herméneutique dans "Heart of darkness" de Joseph Conrad, "Under the volcano" de Malcolm Lowry et "Voss" de Patrick White." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/texier_c.
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Wey, Shyh-chyi. "A rhetorical analysis of Joseph Conrad's Heart of darkness." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/923.
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Leroy, Maxime. "La préface de roman comme système communicationnel : autour de Walter Scott, Henry James et Joseph Conrad." Angers, 2003. http://www.theses.fr/2003ANGE0014.
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La thèse propose une lecture des préfaces de Walter Scott, Henry James et Joseph Conrad, ainsi que celles d'autres auteurs britanniques, à partir de diverses théories de la communication combinées à une approche systémique. Le chapitre 1 résume les principales théories existantes de la préface, et les situe dans la problématique de la thèse. Le chapitre 2 définit le statut des préfaces à partir de leur contexte communicationnel (appellation, destinateur, destinataire, lieu). Le chapitre 3 montre comment ces éléments de contexte s'agencent en systèmes organisés, aussi bien à l'intérieur de chaque préface que dans les rapports de celle-ci à son environnement. Le chapitre 4 décrit certaines fonctions communicationnelles induites, différentes selon les auteurs (la négociation, la leçon faite au lecteur, la conversation, la représentation du moi). Enfin, le chapitre 5 s'interroge sur la portée sémantique des préfacesThis dissertation offers a reading of the prefaces of Walter Scott, Henry James, Joseph Conrad and other authors, based on a systemic approach and on various theories of communication. Chapter 1 sums up the main existing theories on prefaces and shows their relevance to the present research. Chapter 2 describes the main elements in the schemes of communication of the prefaces : title, author, reader, locus. Chapter 3 shows how those elements form organised systems, both within each preface and regarding intertextual connections. Chapter 4 explores some of the functions of communication brought about accordingly by each author : negotiation, lecture to the reader, conversation, representation of the self. Finally, chapter 5 deals with the semantic effects of the prefaces
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Massie, Eric. "Stevenson, Conrad and the proto-modernist novel." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
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This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
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Arab-Fuentes, Rémy. "L'appartenance et ses enjeux dans la fiction de Joseph Conrad." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30052.
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Notre étude de l’appartenance passe par l’étude de différentes formes de communautés, leur genèse, les principes et les modèles sur lesquelles elles sont construites. Si la communauté de parole ou la communauté organique (Gemeinschaft) apparaissent rapidement comme des idéaux communautaires auxquels de nombreux personnages aspirent, ces formes d’appartenance se désagrègent souvent sous la pression d’une autre forme d’appartenance de fait, incarnée par la société moderne mercantile (Gesellschaft). La crise de l’appartenance s’exprime à travers des ressorts narratifs récurrents comme la trahison ou l’exil, et interroge de manière plus large la pertinence des changements au sein des collectifs, qu’il s’agisse d’insurrection à bord des navires ou de révolution sur la terre ferme. Dans la fiction de Conrad, l’expression de l’appartenance se cristallise autour de deux figures de style : la synecdoque et la métonymie. Ces figures permettent un double mouvement crucial à l’esthétique conradienne : d’abord de mettre en lumière une partie en rappelant son appartenance à un ensemble et ainsi de perpétuellement considérer leur objet en contexte, pour ce qu’il est mais également pour ce qu’il représente ; puis, dans un second temps, par le biais de cette première mise en lumière rappeler l’existence d’un reste qui n’est pas mentionné, mais dont l’ensemble est tout de même constitué, qui n’est jamais cité directement mais seulement indirectement convoqué, en ellipse, pour rappeler son appartenance à l’ensemble duquel la partie mise en lumière par la figure est tirée. Ces figures permettent d’articuler la présence et l’absence et complexifier les modalités d’appartenance. C’est la figure du spectre qui vient hanter la prose de Conrad et incarner ce paradoxe. A la fois mort et vivant, le spectre n’est finalement ni l’un, ni l’autre. Figure de l’altérité et du même, le spectre renvoie toute communauté à ce qui lui appartient mais également à ce qui ne lui appartient pas, cristallise les enjeux de l’appartenance de manière à évacuer l’idée d’appartenance exclusive et lui substituer l’idée d’« entretien », de compagnonnage avec les spectres. De cette forme d’appartenance émerge l’injonction forte d’une solidarité réciproque telle qu’elle est souvent exprimée dans l’œuvre de ConradOur study of belonging relies on the analysis of communities in Conrad’s fiction: their forms, their origins, the principles and patterns on which they are built. The community of speech and the organic community soon appear to be the ideal forms to which characters naturally strive to belong (Gemeinschaft). Yet, these forms of community are defeated by another, historically more recent, form of belonging: modern mercantile society (Gesellschaft). This crisis of belonging is embodied in recurring dramatic patterns like betrayal or exile. On a larger scale, the constant failures of belonging question the relevance of changes in communities, whether it be through an insurrection on a sailing ship or through a revolution on land. In Conrad’s fiction, belonging is expressed through two major figures of speech: the synecdoche and the metonymy. On the one hand, these figures allow Conrad’s aesthetics to put the emphasis on a part while at the same time asserting its belonging to a larger whole and therefore constantly placing the part in context — for what it is but also for what it represents. On the other hand, because the emphasis is put on a single given part, these figures reveal or remind us of the existence of something else, something that remains, which also belongs to the whole the emphasised part belongs to. This whole, placed under an ellipsis by the figure, is never explicitly mentioned yet always present. These figures of speech manage to express presence and absence at the same time, thereby changing the modalities of belonging. The figure of the spectre embodies such a paradox. At the same time alive and dead, the spectre proves to be neither and both. It symbolizes alterity at the heart of sameness and because it presents every community with what necessarily belongs and cannot belong to it at the same time, encapsulates the issues of belonging in ways that defeat exclusive belonging and substitutes it for a form of ‘upkeep’, of companionship with ghosts. From this form of belonging stems a strong sense of reciprocal solidarity as it is often expressed in Conrad’s fiction
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Moutet, Muriel. "Un homme de trop à bord : figuration du monde maritime dans les récits de fiction de Joseph Conrad, Herman Melville et Victor Hugo." Lyon 2, 2001. http://theses.univ-lyon2.fr/documents/lyon2/2001/moutet_m.
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Dans la seconde moitié du XIXe siècle, les écrivains se heurtent à un monde perçu comme chaotique, dont l'espace maritime va devenir une image privilégiée. Ce monde nouveau met en question leur pouvoir de représentation et ébranle les fondements de l'identité de l'individu occidental. L'espace ouvert de l'océan semble témoigner de la perte de tout centre signifiant, de toute vérité établie qui marque l'entrée dans la modernité. Face à cette découverte, exaltante et terrifiante à la fois, les auteurs vont avoir recours à l'image ancienne du navire. Ce dernier, représentant d'une nation conçue comme une entité stable, semble un refuge dans cet univers livré au désordre. Mais la micro-société de l'équipage peut aussi servir d'espace d'expérimentation pour le modèle démocratique et le navire peut être perçu comme un instrument technique porteur de Progrès, à même de faire advenir l'utopie. Le passage de la voile à la vapeur figure en ce sens une véritable rupture épistémologique. Le navire est, en somme, un lieu de transition entre deux mondes, où vont se révéler et s'amplifier les conflits (raciaux, sociaux ou culturels) qui déchirent le rivage. Ces conflits se cristallisent le plus souvent autour de la figure d'un individu "déviant" par rapport au groupe des hommes embarqués ou sont mis au jour par un narrateur marginal. Cet "homme de trop à bord", personnage ou narrateur, va obliger chacun, lecteur compris, à se siturer, à s'engager et à interroger les fondements de sa propre identité comme les valeurs qui sont les siennesIn the second half of the 19th century, the world begins to change and to appear in many ways chaotic, challenging the writer's power of representation and questioning the basis of an individual's identity in Western countries. In the literature of the time, the apparent incoherence and mystery of maritime space thus become significant metaphors for this New World. The open space of the sea also gives evidence of the loss of the centre, which signals the emergence of modernity. In order to face the horrifying but also exhilarating prospects generated by a new perception of the world, the authors resort to the old image of the ship. The ship represents the nation, which is conceived as an irremovable entity. She seems as such to be one of the last refuges in a disorderly universe. But the crew as a micro-society can also be used to experiment a democratic existence and the ship can be perceived as a technical instrument, bearing Progress all around the world. In a way, the ship functions as a transitional space between two worlds, where the conflicts of the shore come to light and grow in intensity. These conflicts develop around a deviant character or else are revealed by a marginal narrator. The presence of this " extra man on board ", character or narrator compels everyone, readers included, to commit themselves and to examine the grounds of their own identity and values
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Fitzpatrick, Mark. "R.L. Stevenson, Joseph Conrad and the adventure novel : reception, criticism and translation in France, 1880-1930." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA160.
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Le roman d’aventures anglais du dix-neuvième siècle, héritier d’une tradition issue des écrits de Defoe, de Scott, et de Dumas, trouvera ses chefs-d’œuvre dans L’île au trésor et Enlevé! de Robert Louis Stevenson. Ces textes représentent à la fois l’apogée du genre, et sa réécriture, sa subversion. Joseph Conrad, dans ses fictions aventureuses, répond à cette remise en question des conventions génériques. Les deux auteurs doivent se situer par rapport aux débats littéraires de leur époque, et à la prédominance du réalisme qui touchait à sa fin. En France, au tournant du vingtième siècle, les critiques littéraires cherchent une alternative dans la fiction étrangère au roman moribond qu’ils voient autour d’eux. Face à cette « crise du roman », Marcel Schwob trouvera, en Robert Louis Stevenson, l’auteur qui lui semble donner forme, dans ses œuvres, à un roman d’aventures qui dépasse les oppositions stériles qui alimentent le débat sur l’avenir du roman en France. Cette rencontre littéraire est le point de départ d’une réflexion qui se poursuit dans les années 1900 dans les revues littéraires, où les critiques menés par André Gide commencent à élaborer une théorie du roman d’aventures. Ce concept de l’aventure permet d’étudier la réception de l’œuvre de Stevenson, et de celle de Conrad, dans la culture littéraire spécifique de la France au début du vingtième siècle. Dans la correspondance, les revues telles que La Revue des Deux Mondes, Le Mercure de France, La Nouvelle Revue Française, les traductions, et les éditions françaises des deux écrivains, un phénomène littéraire se dessine, un transfert culturel entre les grands écrivains cosmopolites de la périodeThe English adventure novel of the nineteenth century, descending from a tradition shaped by the writings of Defoe, Scott, and Dumas, was to find its masterpieces in Tresaure Island and Kidnapped! by Robert Louis Stevenson. These texts represent both the high-point of the genre, and its rewriting and subversion. Joseph Conrad, in his adventurous fiction, responds to this problematizing of the conventions of the genre. Both authors had to situate themselves in relation to the literary debates of their era, and the soon-to-end dominance of realism. In France, at the turn of the twentieth century, literary critics were seeking an alternative in foreign fiction to the moribund novel that they had inherited. In the face of the this “crisis of the novel”, Marcel Schwob was to find, in Robert Louis Stevenson, the author who seemed to give form, in his fiction, to a novel of adventure which transcended the stale oppositions which had fed the debate on the future of the novel in France. This literary encounter is the starting point for a discussion which continued into the 1900s in the literary reviews, where critics led by André Gide begin to develop a theory of the roman d’aventures. This concept of adventure permits us to examine the reception of the works of Stevenson, and those of Conrad, in the literary culture specific to France at the beginning of the twentieth century. In writers’ correspondence, in literary reviews such as the Revue des Deux Mondes, the Mercure de France, or the Nouvelle Revue Française, in translations and French editions of the two authors, a literary phenomenon takes shape, a cultural transfer between the great cosmopolitan writers of the period
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McIntyre, John 1966. "Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and Woolf." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38232.
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This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected.I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.
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Baazizi, Nabil. "The Problematics of Writing Back to the Imperial Centre : Joseph Conrad, Chinua Achebe, and V. S. Naipaul in Conversation." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA073.
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Dans le sillage de la décolonisation, les récits colonialistes ont systématiquement été réécrits à partir de perspectives autochtones. Ce phénomène est appelé « The Empire writes back to the centre » - une tendance qui s'affirme dans la critique postcoloniale à la fin du XXe siècle. L'objectif de ces actes de réécriture est de lire des textes colonialistes d'une manière barthesienne à l'envers, de déconstruire les dogmes orientalistes et colonialistes, et éventuellement créer un dialogue où il était seulement un monologue. Tourner le texte colonial dedans/dehors et le relire à travers la lentille d'un code ultérieur permet le texte postcolonial de déverrouiller son précurseur colonial et le changer de l'intérieur. Dans ce cadre critique, Heart of Darkness (1899) de Joseph Conrad a été un texte particulièrement influent pour Chinua Achebe et V. S. Naipaul. Leurs romans Things Fall Apart (1958) et A Bend in the River (1979) peuvent être considérés comme une réécriture du roman de Conrad. Cependant, avant d'examiner leurs différentes stratégies de réécriture, il serait utile de les localiser dans la tradition postcoloniale de la réécriture. Alors que Achebe se démarque clairement comme la figure de proue du mouvement, le romancier trinidadien est difficile à catégoriser. Est-ce que Naipaul réécrit, de façon à critiquer, ou d'une manière d'adopter et de justifier, l’idéologie impériale? Comme pas toute réécriture est une forme de « writing back » en termes de critique anticoloniale, la position de Naipaul continue d'être considérée comme l’énigmatique entre-deux d'un «insider» devenu «outsider». Prenant acte de ses différentes perceptions critiques peut devenir un moyen de mettre en évidence de manière efficace la lecture erronée d’Achebe et le détournement de Naipaul du modèle Conradien, un moyen de fixer un cadre pour la conversation simulée cette thèse vise à créer entre les trois romanciersIn the wake of decolonization, colonialist narratives have systematically been rewritten from indigenous perspectives. This phenomenon is referred to as “the Empire writes back to the centre” – a trend that asserted itself in late twentieth-century postcolonial criticism. The aim of such acts of writing back is to read colonialist texts in a Barthesian way inside-out or à l’envers, to deconstruct the Orientalist and colonialist dogmas, and eventually create a dialogue where there was only a monologue. Turning the colonial text inside-out and rereading it through the lens of a later code allows the postcolonial text to unlock the closures of its colonial precursor and change it from the inside. Under this critical scholarship, Joseph Conrad’s Heart of Darkness (1899) has been a particularly influential text for Chinua Achebe and V. S. Naipaul. Their novels Things Fall Apart (1958) and A Bend in the River (1979) can be seen as a rewriting of Conrad’s novella. However, before examining their different rewriting strategies, it would be fruitful to locate them within the postcolonial tradition of rewriting. While Achebe clearly stands as the leading figure of the movement, the Trinidadian novelist is, in fact, difficult to pigeonhole. Does Naipaul write back to, that is criticize, or does he rewrite, and in a way adopt and justify, imperial ideology? Since not all rewriting involves writing back in terms of anti-colonial critique, Naipaul’s position continues to be explored as the enigmatic in-betweenness and double-edgedness of an “insider” turned “outsider.” Taking cognizance of these different critical perceptions can become a way to effectively highlight Achebe’s “(mis)-reading” and Naipaul’s “(mis)-appropriation” of Conrad, a way to set the framework for the simulated conversation this thesis seeks to create between the three novelists
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Texier, Vandamme Christine. "Espace et écriture ou l'herméneutique dans "Heart of darkness" de Joseph Conrad, "Under the volcano" de Malcolm Lowry et "Voss" de Patrick White." Lyon 2, 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/texier_c.
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L'objet de cette thèse est d'interroger l'affirmation selon laquelle le roman à partir du XXe siècle est résolument " spatial ", en s'appuyant sur trois romans qui encadrent et traversent la période moderniste : Heart of Darkness de Joseph Conrad, Under the Volcano de Malcolm Lowry et Voss de Patrick White. Après un premier chapitre consacré à un tour d'horizon de la notion d'écriture spatiale dans la critique depuis les thèses de Joseph Frank et en passant par les analyses de Bakhtine, Todorov, Barthes et Ricoeur, deux positions critiques se dégagent : soit définir les œuvres " spatiales " comme des romans qui s'éloignent d'un modèle logico-temporel tel qu'on peut l'observer dans nombre de romans au XIXe, inspiré d'une esthétique à visée référentielle et mimétique, soit les définir par leurs caractéristiques propres qui sont celles d'œuvres dont la cohérence et la structure reflètent une logique interne et non externe. La première position est étudiée au deuxième chapitre qui porte par conséquent sur tous les avatars de la ligne logico-temporelle et leur remise en cause dans ces trois romans : la ligne logique et narrative, la ligne des origines ou téléologique, la ligne herméneutique et enfin la ligne organique. Dans le troisième chapitre, il s'agit de voir dans quelle mesure on peut parler d'une structuration à dominante spatiale dans Heart of Darkness, Under the Volcano et Voss et cette fois-ci de manière " positive " et non plus à contrario. Le paradigme de la ligne se voit remplacé par celui de l'étoilement des points de vue, des voix et des mots. Brouillage de la perspective, polyphonie et étoilement du signifiant redonnent du volume à la structuration linéaire héritée du XIXe. En dernier lieu se pose alors la question de la position du sujet (Personnage, narrateur, auteur, lecteur) dans ses rapports avec les autres, le monde, les mots et selon trois figures spatiales principales : la faille, l'entre-deux et une prédilection pour la surface.
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Rozakis, Dimitrios. "Poétique et philosophie de l'action : raisons et motifs à l'enseigne du roman réaliste." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0074.
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La question que je pose dans ce travail est de savoir si l'on doit rendre compte de la présentation romanesque de la "vie intérieure" dans les termes fournis par une tradition qui prône la dissociation conceptuelle des "événements mentaux" des événements du monde extérieur. L'oeuvre de Conrad met au contraire en oeuvre un critère qui relie et oppose les descriptions de soi du héros et les descriptions objectives de sa conduite de manière à corriger la "perspective subjective" de l'argent non pas à la lumière du comportement visible mais d'après l'articulation de noeuds et de liens entre son vocabulaire moral et ses sources refoulées. Les termes initiaux dans lesquels le personnage vit ses dilemmes et ses allégeances conflictuelles peuvent se modifier aux yeux du lecteur. La vraissemblance romanesque gît désormais dans la possibilité de transformer, au cours de l'intrigue, le sens initial des termes dont on dispose pour juger de la qualité de l'action et de la personne. Il se dégage ainsi un concept de tragique moderne, où la chute du héros est montrée comme le produit d'une défaillance intérieure conçue comme l'incohérence entre plusieurs idéaux qui commandent allégeance : dépasser cette incohérence sans nier sa réalité dramatique et vécue, c'est la fonction de la fiction dans la recherche rationnelle d'un bien architectoniqueThe present work asls the question wether we should comprehend the novel's presentation of inner life in the terms provided by a philosophical traditions whose basis is the conceptual dissociation of "mental events" from the events of the external world. I studied Conrad's novel Lord Jim, which, instead of following the traditional criteria of poetic plausibility, associating causally character and action in a univocal manner, forges a new criterion which connects the agent's practical perspective to her/his visible behaviour, by retrieving and articulating the ties between the moral vocabulary that underlies this perspective and its hidden moral sources. The initial terms which the character in the novel comes to grips with moral dilemmas and conflictual loyalities can be modified, throughout the experience of reading. The novel' specific criterion of vraisemblance lies in the possibility to transform, through the unfolding of the plot, the initial meaning of the moral concepts which enter in the assessment of character and action
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Martinez, Louis-Antony. "La voix, le regard et le style dans les Trois contes de Gustave Flaubert ainsi que dans les Tales of unrest de Joseph Conrad." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20020/document.
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Cette thèse de doctorat n’a pas visé à établir « le » sens du texte. Au contraire, elle a cherché à concevoir le pluriel du texte par l’intermédiaire du concept lacanien d’objet a (objet petit a). Ce dernier ne peut être saisi que par l’intermédiaire de ses effets. En tant qu’objets partiels, la voix, le regard et le style sont des figurations métonymiques de l’objet a.Certes, il est patent que le concept d’objet a a constitué l’ossature logique de nos analyses littéraires, mais ces analyses ont été tout sauf pures. Assurément, nous nous sommes fréquemment référés à des concepts psychanalytiques, toutefois nous nous sommes souvent permis d’orienter nos recherches vers d’autres approches (philosophique, générique, idéologique, structurale, rythmique, stylistique, etc.).L’étude des Trois Contes de Gustave Flaubert et les Tales of Unrest de Joseph Conrad nous a donné l’occasion de mettre au jour l’existence de deux forces : d’une part, la force qui concerne la parole, l’œil et le style comme objet du désir de maîtrise de l’écrivain-artisan ; d’autre part, la force qui relève de la voix, du regard et du style comme « signifiance », c’est-à-dire comme « travail radical (il ne laisse rien intact) à travers lequel le sujet explore comment la langue le travaille et le défait dès lors qu’il y entre »This doctoral thesis has not aimed at establishing “the” meaning of the text. On the contrary, it has sought to conceive the plurality of the text through Lacan’s concept of objet petit a (object small a). The latter can be grasped only through its effects. As part-objects, voice, gaze, and style are metonymic figurations of objet petit a.Admittedly, it is patently obvious that the object a has constituted the logical framework of our literary analyses, but these analyses have been anything but pure ones. Of course, we have frequently referred to psychoanalytic concepts, however, we have often permitted ourselves to orient our investigation towards other approaches (philosophical, generic, ideological, structural, rhythmical, stylistic etc.).The study of two collection of tales by two different authors – Trois Contes by Gustave Flaubert and Joseph Conrad’s Tales of Unrest – has been the occasion to bring to light the existence of two forces: on the one hand, the force which concerns speech, eye, and style as the object of the desire of the writer as a craftsman, and, on the other, the force which pertains to voice, gaze, and style as a signifying production (signifiance), i.e. as “radical work (which leaves nothing intact) through which the subject explores how language works him and undoes him as soon as he stops observing it and enters it”
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Pieterse, Annel. "Islands under threat : heterotopia and the disintegration of the ideal in Joseph Conrad's Heart of darkness, Antjie Krog's Country of my skull and Irvan Welsh's Marabou stork nightmares." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50382.
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Thesis (MA)--Stellenbosch University, 2005.ENGLISH ABSTRACT: The stories and histories of the human race are littered with the remnants of utopia. These utopias always exist in some "far away" place, whether this place be removed in terms of time (either as a nostalgically remembered past, or an idealistically projected future), or in terms of space (as a place that one must arrive at). In our attempts to attain these utopias, we construct our worlddefinitions in accordance with our projections of these ideal places and ways of "being". Our discourses come to embody and perpetuate these ideals, which are maintained by excluding any definitions of the world that run counter to these ideals. The continued existence of utopia relies on the subjects of that utopia continuing their belief in its ideals, and not questioning its construction. Counter-discourse to utopia manifests in the same space as the original utopia and gives rise to questions that threaten the stability of the ideal. Questions challenge belief, and therefore the discourse of the ideal must neutralise those who question and challenge it. This process of neutralisation requires that more definitions be constructed within utopian discourse - definitions that allow the subjects of the discourse to objectify the questioner. However, as these new definitions arise, they create yet more counter-definitions, thereby increasing the fragmentation of the aforementioned space. A subject of any "dominant" discourse, removed from that discourse, is exposed to the questions inherent in counter-discourse. In such circumstances, the definitions of the questioner - the "other" - that have previously enabled the subject to disregard the questioner's existence and/or point of view are no longer reinforced, and the subject begins to question those definitions. Once this questioning process starts, the utopia of the subject is re-defined as dystopia, for the questioning highlights the (often violent) methods of exclusion needed to maintain that utopia. Foucault's theory of heterotopia, used as the basis for the analysis of the three texts in question, suggests a space in which several conflicting and contradictory discourses which seemingly bear no relation to each other are found grouped together. Whereas utopia sustains myth in discourse, running with the grain of language, heterotopias run against the grain, undermining the order that we create through language, because they destroy the syntax that holds words and things together. The narrators in the three texts dealt with are all subjects of dominant discourses sustained by exclusive definitions and informed by ideals that require this exclusion in order to exist. Displaced into spaces that subvert the definitions within their discourses, the narrators experience a sense of "madness", resulting from the disintegration of their perception of "order". However, through embracing and perpetuating that which challenged their established sense of identity, the narrators can regain their sense of agency, and so their narratives become vehicles for the reconstitution of the subject-status of the narrators, as well as a means of perpetuating the counter-discourse.
AFRIKAANSE OPSOMMING: Utopias spikkel die landskap van menseheugenis as plekke in "lank lank gelede" of "eendag", in "n land baie ver van hier", en is dus altyd verwyderd van die huidige, óf in ruimte, óf in tyd. In ons strewe na die ideale, skep ons definisies van die wêreld wat in voeling is met hierdie idealistiese plekke en bestaanswyses. Sulke definisies sypel deur die diskoers, of taal, waarmee ons ons omgewing beskryf. Die ideale wat dan in die diskoers omvat word, word onderhou deur die uitsluiting van enige definisie wat teenstrydig is met dié in die idealistiese diskoers. Die volgehoue bestaan van utopie berus daarop dat die subjekte van daardie utopie voortdurend glo in die ideale voorgehou in en onderhou deur die diskoers, en dus nie die diskoers se konstruksie bevraagteken nie. Die manifestering van teen-diskoers in dieselfde ruimte as die utopie, gee aanleiding tot vrae wat die bestaan van die ideaal bedreig omdat geloof in die ideaal noodsaaklik is vir die ideaal se voortbestaan. Aangesien bevraagtekening dikwels geloof uitdaag en ontwrig, lei dit daartoe dat die diskoers wat die ideaal onderhou, diegene wat dit bevraagteken, neutraliseer. Hierdie neutraliseringsproses behels die vorming van nog definisies binne die diskoers wat die vraagsteller objektiveer. Die vorming van nuwe definisies loop op sy beurt uit op die vorming van teen-definisies wat bloot verdere verbrokkeling van die voorgenoemde ruimte veroorsaak. "n Subjek van die "dominante" diskoers van die utopie wat hom- /haarself buite die spergebiede van sy/haar diskoers bevind, word blootgestel aan vrae wat in teen-diskoers omvat word. In sulke omstandighede is die subjek verwyder van die versterking van daardie definisies wat die vraagsteller - die "ander" - se opinies of bestaan as nietig voorgestel het, en die subjek mag dan hierdie definisies bevraagteken. Sodra hierdie proses begin, vind "n herdefinisie van ruimte plaas, en utopie word distopie soos die vrae (soms geweldadige) uitsluitingsmetodes wat die onderhoud van die ideaal behels, aan die lig bring en, in sommige gevalle, aan die kaak stel. Hierdie tesis gebruik Foucault se teorie van "heterotopia" om die drie tekste te analiseer. Dié teorie veronderstel "n ruimte waarin die oorvleueling van verskeie teenstrydighede (diskoerse) plaasvind. Waar utopie die bestaan van fabels en diskoerse akkommodeer, ondermyn heterotopia die orde wat ons deur taal en definisie skep omdat dit die sintaks vernietig wat woorde aan konsepte koppel. Die drie vertellers is elkeen "n subjek van "n "dominante diskoers" wat onderhou word deur uitsluitende definisies in "n utopia waar die voortgesette bestaan van die ideale wat in die diskoers omvat word op eksklusiwiteit staatmaak. Omdat die vertellers verplaas is na ruimtes wat hulle eksklusiewe definisies omverwerp, vind hulle dat hulle aan "n soort waansin grens wat veroorsaak is deur die verbrokkeling van hul sin van "orde". Deur die teen-diskoers in hul stories in te bou as verteltaal, of te implementeer as die meganisme van oordrag, kan die vertellers hul "selfsin" herwin. Deur vertelling hervestig die vertellers dus hul status as subjek, en verseker hulle hul plek in die opkomende diskoers deur middel van hulle voortsetting daarvan.
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Kane, Bouna. "L'Interculturalité au regard du roman victorien et africain : essai d'analyse des romans de Chinua Achebe et Ngugi wa Thiong'o au miroir de Thomas Hardy et Joseph Conrad." Paris 3, 2008. http://www.theses.fr/2008PA030011.
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L’étude de l’hybridité culturelle en littérature est restée liée à la théorie qui définit les littératures postcoloniales en termes d’opposition avec l’Occident. Dans cette étude, nous avons tenté de porter un regard différent, en allant au-delà du « writing back to the center ». Nous ne négligeons pas les différentes positions révélées par la critique mais nous avons choisi, à travers cette approche comparative, de montrer que l’Afrique est un acteur à part entière d’une littérature universelle. En s’appropriant les techniques littéraires de Thomas Hardy et Joseph Conrad, les écrivains africains confirment la porosité des cultures et la communication entre des peuples d’horizons divers. En comparant le clan écossais et la tribu africaine, nous avons trouvé plusieurs similitudes en termes d’organisation sociale et de mode de vie. Comme Scott et Hardy, Ngugi et Achebe tirent la substance de leurs romans du folklore et des traditions populaires de leurs communautés. Les romanciers africains et victoriens ont une claire conscience du malaise de l’individu et montrent combien le destin peut être cruel envers luiThe study of cultural hybridity in literature remained tied to a theory which defines postcolonial literatures in terms of their oppositional relationship with the West. In this thesis, we attempted to go beyond the “writing back to the center”. We have not ignored the debate over standard criticism but we have chosen to demonstrate by means of this comparative study that the African novel is part of a larger fictional universe. By appropriating the techniques of the Victorian literary tradition associated with Thomas Hardy and Joseph Conrad, African writers create a useful device for developing greater understanding and improved communication among people from different cultural, racial and ethnic groups. We found striking similarities between the Scottish clan and the African tribe in terms of social organisation and way of life. Like Scott and Hardy, Ngugi and Achebe draw the substance of their novels from the folklore and popular traditions of their communities. African and Victorian novelists have a clear awareness of the human predicament and show how fate can be cruel to the individual
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Léonard-Roques, Véronique. "Réécritures du mythe de Caïn au XXe siècle : Le compagnon secret (Joseph Conrad), Abel Sanchez (Miguel de Unamuno), Demian (Hermann Hesse), A l'Est d'Eden (John Steinbeck), L'emploi du temps (Michel Butor), Le roi des Aulnes (Michel Tournier)." Clermont-Ferrand 2, 1999. http://www.theses.fr/1999CLF20013.
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La spécificité et l'originalité des réécritures du mythe de Caïn dans les romans étudiés seront mieux saisies à l'issue d'un panorama diachronique qui, partant du récit biblique (Genèse IV), s'arrêtera sur ses principales lectures exégétiques, puis sur les grandes articulations de son histoire littéraire. Le Caïn du 20e est inséparable de la crise du sujet et des valeurs, des fractures historiques à l'oeuvre dans la modernité. La bipartition traditionnelle qui opposait Caïn et Abel selon un système axiologique radical, mais susceptible de se retourner, est frappée d'hybridité, vouée à l'ouverture et à la mobilité. L'équivocité que partagent les avatars des deux frères bibliques s'accompagne de l'exploration de la richesse d'un parcours caïnique tendu entre meurtre et création. L'ambiguïté de cet inténaire est idéale pour figurer le travail du négatif, la fécondité des déchirures, le processus de séparation et d'individuation autant d'éléments formulés par les penseurs de la modernité. Homo Faber, Caïn le civilisateur épouse la crise de la raison, ses risques de dérive vers la barbarie technicienne. Mais, père des artistes, il révèle aussi l'opposition entre monde hétéroclite de la vie et monde harmonieux de l'art, et la fonction d'antidote dévolue à celui-ci par une modernité qui cherche à unifier ses multiples fractures. Figure tragique mais porteuse d'espoir, le nouveau Caïn est placé au centre du processus dialectique de la création littéraire
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Giglio, Mirella de Lemos. "Coração das trevas: uma expressão simbólica da depressão." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20229.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
This project aims to analyze the symbols of Heart of Darkness, searching for elements of depression, using the theories developed by Carl G. Jung. Depression is a subject frequently heard, either presented in formal academic texts or chats among acquaintances. This theme is seen in the history of human kind since the first historical documents, however, its definition would suffer changes according to the point of view men had of themselves. The theory developed by Carl G. Jung depicted that depression might have a creative function for those who suffer from it, as long as the ego encounters the unconsciousness. Joseph Conrad, the author of Heart of Darkness, presented depressive symptoms in his life. He had a life in which he lost his parents at a young age and decided to live alone in the sea, as a sailor. These situations with different obstacles prevented his psychic to develop a strong structure as an adult. His traumas and his sea journeys inspired him to express his private contents and contemplate subjective themes about the human existence. Heart of Darkness presents a plethora of symbols. Some of them express the archetypal journey to Hades’ world, the inner darkness, as the depression process that may result in the transcendence of the consciousness
Esta pesquisa tem como objetivo analisar os símbolos da obra Coração das Trevas, em busca de elementos da depressão por meios da teoria junguiana. A depressão é um assunto tratado frequentemente, seja em formato formal de textos acadêmicos, ou batepapos entre conhecidos. A presença desse assunto está na humanidade desde os primeiros registros históricos, porém a sua definição era diferente de acordo com a visão de homem que as pessoas tinham em cada período. Atualmente, a depressão atinge 350 milhões de indivíduos. Mesmo assim, nos deparamos com uma diversidade de interpretações sobre o assunto e como tratá-lo. A teoria elaborada por Carl G. Jung revelou que a depressão pode ter uma função criativa e transformadora para quem passa por ela, contanto que exista um espaço para o encontro do Ego com o inconsciente. Joseph Conrad, o autor do livro Coração das Trevas, apresentou sintomas depressivos em sua vida. Ele teve uma vida com obstáculos, na qual perdeu os pais na infância e decidiu viver sozinho no mar, como marinheiro. Essas situações dificultaram o fortalecimento de uma estrutura psíquica de um ser adulto. Seus traumas e suas viagens marítimas foram inspirações para o autor expressar seus conteúdos íntimos e comtemplar assuntos subjetivos para toda a humanidade. Coração das Trevas apresenta diversos símbolos. Alguns deles expressam a jornada simbólica ao mundo de Hades, as trevas internas, como o processo da depressão que pode resultar na ampliação de consciência como forma de transcender
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Gay, Julie. "Évolutions du motif de l'île déserte dans la littérature d'aventures victorienne (Stevenson, Conrad et Wells) : "Fin de siècle" et mutation du genre." Electronic Thesis or Diss., Bordeaux 3, 2019. http://www.theses.fr/2019BOR30035.
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L’île déserte constitue un motif privilégié de la littérature d’aventures, une des marques de fabrique du genre en réalité, et il s’agit de comprendre l’intérêt littéraire qu’il revêt, en déterminant la spécificité de ce lieu et des œuvres qui s’y rattachent, afin de définir leurs codes et leurs motifs typiques ainsi que l’évolution de ces derniers dans l’histoire littéraire. Cette thèse s’intéresse en particulier à la mutation que traversent cet espace et ce genre au tournant du XIXe siècle, notamment chez Stevenson, Conrad et Wells. L’ambition de ce travail est ainsi de montrer que l’île est pour ces auteurs bien plus qu’un décor : elle constitue en outre une sorte de laboratoire littéraire, un lieu où s’élabore l’écriture utopique, encore à venir. En effet, bien que l’île déserte soit un espace littéraire surcodé et surdéterminé, il est également le lieu où tout semble possible tant en termes d’aventure que d’écriture : une sorte de brèche, hors de l’espace-temps, propice à la construction d’une autre réalité. Entre stabilité et flottement, utopie et réalité, l’île est à la fois un lieu d’ancrage, établi scientifiquement, mais aussi un lieu qui semble parfois flottant et indéterminé, qui apparaît et disparaît de la carte : un lieu de tension entre le réel et l’imaginaire, le moi et l’autre, le centre et la périphérie. Partant, cette thèse vise à évaluer dans quelle mesure la littérature d’aventures peut être déterminée par la spécificité de ce chronotope insulaire, et si réciproquement l’aventure donne également forme à l’île, créant de ce fait un sous-genre spécifique que nous appelons l’aventure insulaire. Il s’agit ainsi d’analyser l’impact de l’évolution de ce chronotope sur la poétique aventureuse de nos trois auteurs au tournant du siècle, par le biais d’une approche géocritique et géopoétique de leurs œuvres. Cette approche méthodologique originale a pour objet d’étudier les liens qui unissent espace et littérature, et permet ainsi d’élaborer une géographie littéraire et même une géopoétique de l’aventure insulaire, en montrant qu’il existe un certain isomorphisme entre espace insulaire et forme littéraireThe desert island is one of the central motifs of the adventure novel, and the objective of this doctoral thesis is to understand why it is so crucial to the definition of this genre, by determining the specificity of this place and of the works that resort to it, in order to define their particular codes and motifs, as well as their evolution throughout literary history. It focuses in particular on the mutation undergone by this genre and this space at the turn of the 19th century, especially in the works of Stevenson, Conrad and Wells. It aims to show that the island is much more than a simple setting: that it actually constitutes a literary laboratory, where a utopic form of writing can be developed. Indeed, although the desert island is an extremely coded and overdetermined literary space, it is also paradoxically a place where everything seems to be possible in terms of adventure as well as of writing: some sort of breach, out of space-time, conducive to the creation of a new reality. Between stability and wavering, utopia and reality, the island is simultaneously a scientifically established anchorage point, and a place that sometimes seems to be particularly fleeting, appearing and disappearing from the map: a contact zone between the real and the imaginary, the self and the other, the centre and the periphery. Therefore, this dissertation aims to assess to what extent adventure literature is shaped by the specificity of the island chronotope, and conversely, how adventure shapes the island’s contours, thus creating a new sub-genre that we call insular adventure. It more specifically analyses the impact of this chronotope’s evolution on the three authors’ poetics of adventure at the turn of the century, relying on a geocritical and a geopoetic approach of their works. This new methodology allows us to study the link between space and literature and to draw the outlines of a literary geography or a geopoetics of insular adventure, showing that there is indeed a certain isomorphism between the insular space and the literary form
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Mathews, Alice McWhirter. "The Path to Paradox: The Effects of the Falls in Milton's "Paradise Lost" and Conrad's "Lord Jim"." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc332146/.
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This study arranges symptoms of polarity into a causal sequence# beginning with the origin of contrarieties and ending with the ultimate effect. The origin is considered as the fall of man, denoting both a mythic concept and a specific act of betrayal. This study argues that a sense of separateness precedes the fall or act of separation; the act of separation produces various kinds of fragmentation; and the fragments are reunited through paradox. Therefore, a causal relationship exists between the "fall" motif and the concept of paradox.
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Jakani, Yasmine. "Résurgences dostoïevskiennes dans "Lord Jim" de Conrad, "La Chute" de Camus et "Le Maître de Pétersbourg" de Coetzee : la figure de l'errant." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20093/document.
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Joseph Conrad, Albert Camus et John-Maxwell Coetzee s’intéressent au travers de leurs romans au thème de l’errance. C’est plus particulièrement la figure de l’errant confronté aux paradoxes de l’altérité et de la culpabilité que nous nous proposons ici de mettre en évidence. Avant eux, Dostoievski instaure, avec la figure de Raskolnikov, le schisme puissant de la conscience tourmentée qui se met en errance. Il s’agit, en prenant comme point de départ Crime et châtiment, d’interpeller, d’interroger et de heurter les uns contre les autres des textes où les figures de l’errance entreprennent la paradoxale et laborieuse quête de l’identité. Lord Jim, La Chute et Le Maître de Pétersbourg permettent d’identifier la nature des interactions qui unissent, au travers du prisme raskolnikovien, culpabilité et souffrance, autarcie et rôle social. Au-delà, il s’agit de ramener le questionnement identitaire à ce socle commun qu’est celui du chemin de l’errance au sein de romans du XXe siècle. A travers l’analyse de ces romans, cette thèse se propose donc de montrer comment l’évolution de la figure de l’errant renverse les paradigmes traditionnels liés au mécanisme salut-souffrance et comment elle permet à un nouveau nihilisme de voir le jourJoseph Conrad, Albert Camus and John-Maxwell Coetzee take an interest in the theme of wandering through their novels. Especially, confronting the figure of the wanderer with the paradoxes of alterity and guilt is what we offer to highlight. Before them, Fyodor Dostoevsky establishes with the figure of Raskolnikov the powerful tormented conscience’s schism about to wander. Taking as a starting point Crime and punishment, it is about calling out, questioning and bringing the texts face to face where the wandering figures undertake the paradoxical and laborious identity quest. Lord Jim, The Fall and The Master of Petersburg allow to identify the nature of interactions that bond guilt and suffering, autarky and social role through the raskolnikovian prism. Beyond that, it is about bringing back the identitary questioning to the common base of the wandering way in the 20th century novels. Through the analysis of these novels, this PhD offers to show how the evolution of the wanderer’s figure inverts the traditional paradigms linked to the salvation-suffering mechanism, and how it allows a new nihilism to see the light of the day
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Benson, Stéphanie. "Les aventuriers de la langue fourchue : écriture multilingue et la désintégration de l'espace colonial." Bordeaux 3, 2011. http://www.theses.fr/2011BOR30028.
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Les œuvres d’écrivains multilingues témoignent d’une conscience particulière de la langue étrangère qui, dans le contexte colonial, devient la langue de l’autre. Face au réalème de la colonisation, la décolonisation et du post-colonial, ces écrivains répondent par un travail d’écriture qui pose comme préalable à l’appréhension de l’autre sa langue et, découlant de la langue, sa culture. Partant d’un questionnement du fait colonial par l’intégration de la langue étrangère au sein de la narration, certaines œuvres problématisent plus explicitement la relation coloniale tout en dialoguant avec les théories littéraires et philosophiques de leur époque. Au début du modernisme, Joseph Conrad, dans sa fiction malaise ainsi que dans ses romans, fait apparaître l’autre colonial dans un miroir sémantique qui passe par la langue étrangère comme révélatrice d’altérité. Plus tard, Anthony Burgess, dans ses premiers romans, interroge les rôles historiquement assignés au colonisateur et à son autre colonisé pour inverser les problématiques du maître et de l’esclave. Défini par la critique comme écrivain post-colonial, Salman Rushdie, aussi bien dans ses romans que dans ses essais, remet en question la notion d’une écriture de l’autre s’opposant à une écriture nationale. Réfutant les binarismes de la colonisation, ces écrivains créent un espace littéraire qui questionne et dépasse le fait colonial pour se positionner en tant que véritable réponse à la notion de maître dans une société qui se dirige vers la globalisation économique et culturelleThe works of multilingual writers show a particular consciousness of foreign language, which in the colonial context becomes the language of the other. Faced with the “realeme” of colonisation, decolonisation and the post-colonial, these writers respond with written works that presuppose the other’s language and, from there, culture, to any apprehension of the other. Beginning with a questioning of the colonial space through the integration of foreign languages within the narration, some works question more explicitly the colonial relationship while, at the same time, dialoguing with contemporary literary theory and philosophy. At the beginning of modernism, Joseph Conrad, in his Malay fiction as in his novels, brings the colonial other to light in a semantic mirror, which uses foreign language as a means to reveal alterity. Later, Anthony Burgess, in his early novels, questions the historically assigned roles of the coloniser and his colonised other to invert the master/slave problematic. Critically assigned to the role of post-colonial writer, Salman Rushdie, both in his novels and in his essays, questions the notion of other as opposed to national literature. Refusing the binary categorisations of colonisation, these writers create a literary space which questions and goes beyond the colonial world and its accompanying divisions to be positioned as a real response to the notion of master in a world moving towards economic and cultural globalisation
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Ferdjani, Youssef. "Le voyage intérieur dans Le tiers livre de Rabelais, Le voyage sentimental de Sterne, Au coeur des ténêbres de Conrad et Voyage au bout de la nuit de Céline." Paris 3, 2008. http://www.theses.fr/2008PA030016.
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Le Tiers livre,le Voyage sentimental,Au coeur des ténèbres et Voyage au bout de la nuit racontent des voyages dans lesquels les endroits que le personnage principal visite ont moins d’importance que les changements qui ont lieu dans sa conscience. Le voyage devient une quête du sens perdu,à travers laquelle les auteurs proposent une réflexion sur l’interprétation,la compréhension de l’autre et la possibilité d’atteindre la connaissance. Il s’agit donc de voyages intérieurs qui permettent aux personnages de mieux se connaître eux-mêmes. Ces oeuvres,qui sont modernes puisqu’elles sont influencées par différents genres,ont également une dimension philosophique et métaphysique car elles analysent la place et le rôle de l’homme dans l’universThe Third Book,A Sentimental Journey,Heart of Darkness and Journey to the End of the Night tell the story of a journey in which the places visited by the main character have less importance than the changes taking place in his consciousness. The journey becomes a quest for the lost meaning of things,through which the authors suggest a reflection on interpretation understanding of the other and the possibility to reach knowledge. These are therefore inner journeys that allow characters to know themselves better. These works,which are modern since they are influenced by various genres,also have a philosophical and metaphysical dimension because they analyse the place and the role of man in the universe
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Delmas, Catherine. "L'Orient dans le roman britannique, 1895-1950 : mythe et réalité." Paris 4, 1996. http://www.theses.fr/1996PA040016.
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La représentation de l'Orient dans le roman britannique moderne ne peut se limiter à l'exotisme et au pittoresque de sa couleur locale. Au-delà du mythe réducteur d'un Orient fabuleux de nombreux romans présentent une vision de l'Orient qui si elle a pu être influencée par l'orientalisme et le contexte idéologique impérialiste de l'époque, n'en offre pas moins la représentation d'une réalité: celle d'un retour au sacré, d'une part, pour des écrivains tels que Forster et Kipling qui se tournent vers l'hindouisme et le bouddhisme pour y puiser de nouveaux mythes; celle de l'imaginaire, d'autre part, lorsque les mythes associés à l'Orient dans les romans du corpus révèlent certains archétypes ancrés au plus profond de notre imaginaire. Le roman d'aventures devient ainsi celui de l'aventure de l'âme et le voyage mythologique l'expression métaphorique d'une quête existentielle menant le héros dans le monde clos de son refuge où il mêle de façon paradoxale repli sur soi et quête de transcendance. Lorsque le mythe paradisiaque se fait descente aux enfers, mythe et réalité de l'Orient s'inscrivent alors dans une représentation métaphysique plus vaste du mondeThe way the east is represented in the modern British novel cannot be limited to an exotic or a picturesque description. Beyond the clichés and the limitations imposed by the myth of the fabulous east, most novels offer a vision which comes close to reality - although it may have been influenced by orientalism and the imperialistic context of the time: firstly when such as foster and Kipling turn to the sacred myths of Hindu and Buddhist civilizations and cultures; secondly when the myths that are usually associated with the east reveal various archetypes anchored in man's imagination. The adventure novel becomes the soty of an inner journey into the self. The mythological voyage is then the metaphorical representation of an existential quest undertaken by a hero looking for an eastern refuge where he hopes to forget the outside world and reach transcendence. When the myth of the Garden of Eden becomes a descent into hell, the myth and the reality of the east are ultimately part of a metaphysical representation of the world
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Marty, Christophe. "L’aventure coloniale dans le roman britannique vue par le cinéma américain : King Solomon’s Mines (1950), Kim (1950), The Quiet American (1958 ; 2002), The Man Who Would Be King (1975), Apocalypse Now (1979 ; 2001)." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030125.
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Portant sur six adaptations hollywoodiennes de récits de Rider Haggard, Kipling, Conrad et Greene, ce travail analyse la manière dont le cinéma américain retravaille divers aspects des supports littéraires à des fins esthétiques [attention aux détails exotiques, remaniements narratifs, jeu des acteurs, couleurs, décors] et idéologiques [réflexion sur l’impérialisme colonial]. En confrontant les films et les récits qui les précèdent, il s’agit d’examiner la manière dont le cinéma prend appui sur la littérature pour tisser un réseau où transparaît le regard que Hollywood porte sur la tentation impérialiste américaineThe study focuses on six adaptations of narratives by Rider Haggard, Kipling, Conrad and Greene. It addresses the way Hollywood worked over several aspects of the literary works for aesthetic [attention to exotic details, reshaping of narratives, acting, colours, setting] as well as ideological purposes [a reflection on colonial imperialism]. Comparing the films with their literary antecedents, the study analyses the manner cinema is backed by literature to weave a network of signs which reveal Hollywood’s approach to American imperialist temptation
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Ludtke, Laura Elizabeth. "The lightscape of literary London, 1880-1950." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:99e199bf-6a17-4635-bfbf-0f38a02c6319.
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From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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Bergheaud, Lise. "Raymond Queneau, une formation au modernisme et à la modernité : 1917-1938, lectures fondatrices du récit anglo-saxon des XIXe-XXe siècles." Paris 3, 2008. http://www.theses.fr/2008PA030075.
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Le présent travail se donne pour objectif d’éclairer les liens entre l’œuvre narrative de Raymond QUENEAU et les récits anglo-saxons qu’il a lus et recensés de 1917 à 1938. Dans un premier temps, un classement raisonné à partir des listes de lectures queniennes nous a permis de délimiter une assemblée de dix auteurs, précurseurs ou emblèmes de la modernité en littérature, dont les écrits entrent en résonance précoce et prolongée avec les textes queniens (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Erskine CALDWELL). L’établissement de ce socle empirique nous a permis, dans un second temps, de dépasser les filiations déjà amplement discutées par la critique et, grâce à une confrontation minutieuse des écritures, d’identifier des corrélations plus souterraines, parfois méconnues. C’est dans ce cadre que nous avons cherché à répondre à nos questions : comment QUENEAU inscrit-il sa singularité littéraire dans le terreau d’une poétique moderne qui déstabilise radicalement les composantes de la fiction classique en soupçonnant la viabilité d’une représentation signifiante ? Ou encore : comment QUENEAU, entouré de ses pairs anglo-saxons favoris, figure-t-il littérairement l’ontologie de l’inquiétude face à l’abolition possible du sens du monde et des êtres ?This study aims at clarifying the connections between Raymond QUENEAU’s prose works and the narratives from the English-speaking world which he read and listed from 1917 to 1938. On the basis of a rational perusal of QUENEAU’s reading lists, we first delineated a group of ten writers who announce or epitomize literary modernity and whose writings reveal a concurrence, both precocious and lasting, with the French writer’s own texts (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Erskine CALDWELL). This empirical foundation having been firmly established, we were then able to go beyond the links which have been widely discussed in current criticism and to identify less detectable and sometimes underrated relations. Within that framework we investigated several issues : how does QUENEAU express his literary originality against the background of modern poetics where the basic features of classical fiction are thoroughly undermined because of the doubt cast upon the validity of meaningful representation? Once seen in the company of his favourite English-speaking authors, how does Queneau use the art of writing to outline an ontology of anxiety when facing the possible annihilation of both mundane reality and beings?
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"Conflictual self in the modern world: a study of selected works by Joseph Conrad and Yasunari Kawabata." 2007. http://library.cuhk.edu.hk/record=b5893185.
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Lau, Chi Sum Garfield.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 136-137).
Abstracts in English and Chinese.
Introduction: Conflictual Self in the Modern Era: Conrad and Kawabata --- p.6
Chapter Chapter One: --- Immorality and Conflictual Self in Conrad's The Return --- p.20
Chapter Chapter Two: --- The Past and Split Self in Kawabata's Thousand Cranes --- p.50
Chapter Chapter Three: --- Conflictual Self and Split Self in Conrad's The Secret Agent and Kawabata's The Sound of the Mountain --- p.81
Conclusion: Conflictual Self in Occidental and Oriental Contexts --- p.117
Bibliography --- p.136
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Costa, Ana Maria da Silva Tavares Guimarães Soares da. "Da representação do espaço ao diálogo com a alteridade : uma leitura de Joseph Conrad e Ferreira de Castro." Doctoral thesis, 2013. http://hdl.handle.net/10400.2/3243.
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Tese de Doutoramento em Literatura apresentada à Universidade AbertaApesar do espaço e do tempo que separam “An Outpost of Progress” e Heart of Darkness, de Joseph Conrad, e A Selva e Instinto Supremo, de Ferreira de Castr,o pareceu-nos possível reflectir sobre eventuais analogias não só na representação do espaço como das estratégias de diálogo com a alteridade. Nesta perspectiva, a existência do Outro, por vezes o Mesmo, assume protagonismo. Deste modo, o confronto com o espaço, com quem nele habita e, consequentemente, consigo próprio, consubstancia-se no trabalho apresentado. Atendendo à natureza eclética de que estas obras se revestem, recorremos, em termos de metodologia crítica, a uma estratégia interdisciplinar. Esta abordagem prismática revelou-se pertinente para um melhor entendimento da diversidade que percorre espaço e personagens que nele actuam e com ele se confrontam. Decorrente desta opção, e na intenção de clareza e equilíbrio nos tópicos abordados e na articulação entre eles estabelecida, optámos por uma metodologia que se traduziu na estruturação do trabalho em três capítulos. O primeiro centrou-se nas duas obras de Conrad que foram analisadas individualmente, obedecendo aos tópicos por nós considerados relevantes, nomeadamente …. Os conflitos entre os diferentes agentes intervenientes nestes espaços são assim analisados de acordo com aqueles vectores tópicos. Apesar deste enfoque no espaço, enfatizamos o factor humano que continua a ser objecto de reflexão e análise no seu diálogo com a alteridade. A dicotomia exterior/interior estará presente na forma como a envolvência é perspectivada por quem a observa, ao mesmo tempo que tentamos compreender de que forma ela pode influenciar, ou não, quem habita aquele espaço. O segundo capítulo replica estruturalmente o primeiro, sendo A Selva e Instinto Supremo, de Ferreira de Castro, objecto de análise. Os pontos e subpontos, que subscrevem um rumo idêntico ao verificado no primeiro capítulo, salvaguardam contudo a especificidade das obras em estudo. O terceiro capítulo agrega as semelhanças e dissemelhanças das quatro narrativas em análise, numa perspectiva comparatista, representa o corolário do trabalho. Nele verificámos que as semelhanças referentes aos subpontos selecionados se encontravam em maior número do que as dissemelhanças, numa confirmação do que, ao longo da leitura analítica, se foi delineando.
Despite the space and time that separate "An Outpost of Progress" and Heart of Darkness by Joseph Conrad, and A Selva and Instinto Supremo by Ferreira de Castro it seemed to be possible to reflect on possible analogies not only in the representation of space as the strategies for dialogue with otherness. In this perspective, the existence of the Other, sometimes the Same, assumes relevance. Thus, the confrontation with the space, who dwells in it and thus with himself, is embodied in the submitted work. Given the eclectic nature of these works, and in terms of critical methodology, we have turned to an interdisciplinary strategy. This prismatic approach proved relevant for a better understanding of the diversity that traverses space and characters that act in it and also confront it. Under this option, and the intention of clarity and balance in the topics covered and the articulation between them established, we opted for a methodology which led to the structuring of work in three chapters. The first focused on the two works by Conrad that were analyzed individually, according to the topics that we considered relevant, namely: “White versus White. White versus Native” and its connection with “Space Environment”. Conflicts between the different actors involved in these spaces are therefore analyzed according to those vectorial topics. Despite this focus on space, we emphasize the human factor that remains the subject of reflection and analysis in the dialogue with otherness. The dichotomy exterior / interior will be present in the way the surroundings is viewed by those who observe it, while we try to understand how it can influence or not, who inhabits that space. The second chapter structurally replicates the first being A Selva and Instinto Supremo by Ferreira de Castro, the subject of analysis. However the points and sub-points, which subscribe to a course identical to that seen in the first chapter, safeguard the specificity of the works studied. The third chapter that aggregates the similarities and dissimilarities of the four analyzed narratives in a comparative perspective, is the corollary of the work. Then it was found that the similarities regarding the selected sub-points were more than the dissimilarities, a confirmation of what was outlining along the analytical reading.
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Macieira, Luís Gonçalo Faro. "O génio e o mal." Master's thesis, 2020. http://hdl.handle.net/10451/44283.
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Based on Joseph Conrad's Heart of Darkness and its film adaptation Apocalypse Now by Francis Ford Coppola, my aim in this dissertation is to put two powerful human constituents head to head - genius (the gift of artistic creation) and evil, that is, the physis and its negative. Following an initial examination of the relationship between these forces which are so integral to and primordial in the construction of human identity, I follow the clues that both Conrad and Copolla leave us in the abovementioned works, building the concept, throughout this theoretical text, that both the gift of artistic creation and evil can reside in the same identity abyss which exists in the innermost part of each one of us. There, the possibility of creation and destruction may simultaneously exist. This premise immediately begs the question - Could it be that the artistic representation of evil allows us to touch upon it without leading to contamination from it or, in contrast, like Conrad's Kurtz, we take the risk of entering the Heart of Darkness and from there be restrained by our inner evil? The answer that we rehearse here sets of from the following hypothesis: The horror of the abyss of otherness may, therefore, be what compels those who possess the gift of artistic creation - or genius - to go on a journey into their own inner void, into their heart of darkness. However, when confronted with what Philippe Lacoue-Labarthe refers to as the "complete absence of the self" by going on this journey into their own abyss, artists may succumb to vertigo. And, if they do not adhere to the plan that Nature intended for them by bestowing this gift upon them - not bringing a masterpiece back from the abyss - they may unload evil (in another way).
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Glovinsky, Will. "Unfeeling Empire: The Realist Novel in Imperial Britain." Thesis, 2021. https://doi.org/10.7916/d8-4cyr-hb47.
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This dissertation considers the role of affective management in realist aesthetics and British imperial culture. Drawing on formalist analyses of English novels, nineteenth-century theories of emotion, and postcolonial accounts that identify the colonizer’s affective desensitization as the ground from which ongoing violence can be perpetrated, this study explores how domestic English novels developed new techniques for deflating the heightened feelings surrounding empire and distant intimacy. Through satires of sensibility, the replacement of epistolary style with impersonal omniscience, and newly dispassionate presentations of villains and protagonists alike, realist novelists explored affective restraint as at once a generic characteristic and an increasingly central element of British imperial and racial identities. This dissertation therefore argues, through readings of works by Jane Austen, William Makepeace Thackeray, George Eliot, and Joseph Conrad, for the deep influence of imperial culture on the realist novel’s distinguishing formal features. At the same time, it prompts critics to revisit longstanding accounts of the relationship between the novel and sympathy. Since the Victorian era, critics have readily understood the realist novel as concerned with the expansion of readers’ sympathies: this study reframes this important account by examining how the insistence on sympathy in novels often rerouted more turbulent reactions to empire’s dislocations—such as longing, desire for vengeance, and guilt—into cooler, more tractable feelings.
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Waddington, George Roland. ""Something more than fantasy": fathering postcolonial identities through Shakespeare." Thesis, 2005. http://hdl.handle.net/2152/2356.
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