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1
Gonçalves, Reynaldo. "Joseph Conrad." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106190.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1982.Made available in DSpace on 2013-12-05T19:33:35Z (GMT). No. of bitstreams: 1 321742.pdf: 4635971 bytes, checksum: 4b46f82077a2a3a968ff6b7315d4ef0b (MD5)
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Teng, Hong-Shu. "Joseph Conrad and conspiracy." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313431.
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Wong, Man Olive. "Men at work : masculinity, solidarity and solitude in Conrad's Fiction /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161768.
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4
Kang, Sukjin. "Joseph Conrad : his dialogic poetics." Thesis, University of Newcastle Upon Tyne, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244330.
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5
Tourchon, Patrick Paccaud-Huguet Josiane. "Joseph Conrad et Borneo, 1895-1920 chronotopes borneens dans l'oeuvre de J. Conrad /." Lyon : Université Lumière Lyon 2, 2004. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2004/tourchon_p.
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Erdinast-Vulcan, D. "Joseph Conrad and the modern temper." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384049.
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7
Lepaludier, Laurent. "Ordres et désordres chez Joseph Conrad." Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb375949057.
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8
Kim, Jong-Seok. "Seeing the self in the other : narcissism and the double in Joseph Conrad's fiction /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901249.
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9
Jenvey, Brandon John. "Subject of Conrad : a Lacanian reading of subjectivity in Joseph Conrad's fiction." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23438.
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This thesis examines how the fiction of Joseph Conrad anticipates and enacts the elaborate model of subjectivity that is later formalised in the psychoanalytic theory of Jacques Lacan. While modernist criticism has often utilised the work of post‐structuralism in reading key texts of modernism, the complexity and profundity of the conceptual relationship between Conrad and Lacan has not yet been explored in depth. Conrad’s work captures the impact and influence of emerging transnational capital upon forms of the subject in the later nineteenth and early twentieth centuries. Further, his fiction is also sensitive to how nascent global capital structures forms of space that the subject is embedded within in their daily experience. I argue that it is the intricate and finely woven theories of Lacan that are necessary in identifying this area of the novelist’s work, as Lacan’s model contends with both the individual psychic structure of the subject, and, crucially, how the individual is located and constituted within the broader matrix of social reality. Using four of Conrad’s novels from his early period to the end of his major phase, the thesis traces the evolution of the various fundamental modalities of Lacan’s subject across Conrad’s fiction. I examine how Almayer’s Folly offers the key tenets of Lacan’s primary model of the subject of desire, while Lord Jim presents the transition of the subject of desire into Lacan’s later mode of the subject of drive. Subsequently, The Secret Agent is shown to critique the role of rationalism in the structuring of the subject’s consciousness, while, finally, I read Under Western Eyes as a tour de force of Lacan’s four discourses. The deep and fundamental relationship between the two figures’ work attests to their acuity in observing the development of the subject in the twentieth century, while the method of theoretical analysis also, on a wider disciplinary level, suggests and helps to confirm the continued validity of the mode of deep reading in literary interpretation.
10
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
11
Vali, Gholami. "Conrad and narrative theory : a narratological reading of selected novels of Joseph Conrad." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669219.
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Caminero-Santangelo, Byron. "African fiction and Joseph Conrad : reading postcolonial intertextuality /." Albany : State university of New York press, 2004. http://catalogue.bnf.fr/ark:/12148/cb40052366r.
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Cigdem, Turasan Ferruh. "Othering And Hybridity In Joseph Conrad'." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615593/index.pdf.
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This thesis studies Joseph Conrad&rsquos Almayer&rsquo
s Folly in terms of two theoretical concepts
othering and hybridity. The first theoretical concept, othering, is analysed from various perspectives for three main reasons: 1) The question of &ldquo
Who is other to whom?&rdquo
cannot be answered thoroughly because there is a continuous power struggle between the European and the non-European characters. 2) The theme of othering in the novel is based on a view of humanity and its conflicts that is radically ambivalent, and thus cannot be analyzed from one perspective only. 3) Conrad&rsquo
s world view which is reflected in the novel is not limited to one group of people, but tends to be universal. The second theoretical concept, hybridity, is analyzed under three subtitles: ambivalence, mimicry and hybridity.
14
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).
15
Lepaludier, Laurent. "Ordres et désordres dans l'oeuvre de Joseph Conrad." Limoges, 1985. http://www.theses.fr/1985LIMO2001.
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16
Warodell, Johan. "Distracted by detail : Joseph Conrad, margins and marginalia." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/83587/.
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Griffith, John Wylie. "Joseph Conrad and the anthropological dilemma : "bewildered traveller /." Oxford [GB] : Clarendon press, 1995. http://catalogue.bnf.fr/ark:/12148/cb36153927n.
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Oliveira, Antonio Eduardo de. "Colonialism in the fictional works of Joseph Conrad." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106167.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1981.Made available in DSpace on 2013-12-05T19:28:53Z (GMT). No. of bitstreams: 1 321728.pdf: 3522951 bytes, checksum: e7232afdf1936a14d2a12d5ae304c893 (MD5)
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Gaczol, Jean. "Les Substrats étrangers dans la langue de Joseph Conrad." Lille : A.N.R.T., Université de Lille III, 1986. http://catalogue.bnf.fr/ark:/12148/cb361054460.
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Brodsky, G. W. S. "Victory in defeat : Joseph Conrad and the idea of honour." Thesis, University of York, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234937.
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21
Hampson, Robert Gavin. "Identity and Betrayal in the Novels of Joseph Conrad." Thesis, King's College London (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.731950.
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22
Niland, Richard. "History and Representation in the Works of Joseph Conrad." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487246.
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This thesis examines the representation of time and history in the literature of Joseph Conrad. It explores the importance of nineteenth-century Polish Romantic philosophies of history on Conrad's literary development, arguing that the Polish response to the Hegelian tradition of historiography in nineteenth-century Europe influenced.Conrad's interpretation of history and time. After investigating Conrad's early career in the context of the philosophy of history and the philosophy of time, the thesis analyses Conrad's major works, Nostromo (1904), The Secret Agent (1907), and Under Western Eyes (1911) in light of Conrad's writing on the subject of Poland.These novels treat the question of the nation and history. Conrad juxtaposes his belief in an inherited Polish national identity, derived from Herder and Rousseau, with a sceptical questioning of modem nationalism. Nostromo presents the creation of the modem nation state of Sulaco; The Secret Agent explores the subject of 'foreigners' and nationality in England; while Under Western Eyes constitutes a sys~ematic attempt to undermine Russian national identity. The importance of the subject of the nation to Conrad's work ensures he is an author who examines critically the forces of nationalism and identity that troubled Europe throughout the nineteenth century and in the period before the First World War.
23
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
24
Gaye, Mamadou. "Crime et culpabilite dans quelques recits de joseph conrad." Université Marc Bloch (Strasbourg) (1971-2008), 1989. http://www.theses.fr/1989STR20008.
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Le theme du crime et de la culpabilite dans les recits de conrad occupe une place centrale dans son oeuvre. Les etudes psychologiques approfondies d'etres conscients dans des situations particulieres s'appuient sur une maitrise claire des donnees qui affectent la quietude humaine. Conrad soupconne tres tot l'equivalent des curiosites et des formules que la psychanalyse vulgarise plus tard. Bien que dans une intention toute differente, il decrit les dessous obscurs et complexes du moi partage par le jugement de ses actes et par ses motivations intimes. En toile de fond a ce bouillonnement d'idees et de symboles, un passe familial et personnel desolant. Comme byron et dickens, conrad est marque d'une blessure dont il promene la douleur a travers mers, oceans et continents. La blessure se ravive au moment ou, par la plume il reflechit, et ou a cause de la plume, il est accuse de trahison. L'art de conrad trouve son levain dans le mal subi ou imagine mais la beaute artistique va au-dela de la reverberation romanesque des episodes disparates d'une existence troubleeThe theme of crime and guilt is central in conrad's literary work. His thorough psychological-like studies of characters responding to particular situations rest on a deep awareness of some phenomena concerning the human psyche. He very soon had an intuitive perception of what was to become the area of investigation of modern psychoanalysts. Though with quite a different motivation, he analyses the obscure and hidden part of the ego torn between the evaluation of one's own acts and one's own profound motives. Such an insight into human suffering is generated by an appalling personal experience. Suffering left its mark on him, as it did on byron and dickens and haunted him wherever he went, over seas, oceans and continents. The burden of his heritage became oppressing when he began to write, and because of his writing in a foreign language he was accused of desertion. Conrad's art finds its impetus in the evil he experienced or imagined but the artistic beauty of his work goes beyond the varied episodes of his restless life
25
Robin, Christophe Paccaud-Huguet Josiane. "L'être et la lettre la tragédie de l'écriture dans la fiction de Joseph Conrad /." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/robin_c.
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Laouyene, Atef. "The deterioration of the colonial protagonist in three novels by Joseph Conrad, La détérioration du héros colonial dans trois récits de Joseph Conrad." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60728.pdf.
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27
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.
28
O'Connor, Gerard. "Three types of irony in the novels of Joseph Conrad." Thesis, University of Canterbury. English, 1986. http://hdl.handle.net/10092/4601.
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Although the notion of irony occurs frequently in the criticism of Joseph Conrad's works, little effort has been made to discuss the various possibilities for different types of irony and their manifestations in the literature. This thesis is a textual examination of the different types of irony in the major fiction of Conrad. In the critical accounts of Conrad's irony, the notion of irony is usually synonymous with a straightforward form like satire with an accompanying contention of narratorial moral presupposition. However, in this thesis, three types of irony are explored: specific, general, Romantic (D.C. Muecke's terms).
The irony issues from the sustained organising structures of the works - character interrelationships, dramatic irony, retrospective narratives, inconsistent narrators - and the verbal irony of the narrators in their act of narrating. The essential element of irony is a juxtaposition of incongruous elements - in either its structural or verbal form - which indicates that the ostensible meaning of a particular context is in need of dismantling and reconstruction. Accordingly, detecting irony constitutes a search for incongruity, paradox, contradiction, or ambivalence, and then determining to what extent the narrator has control over the linguistic duality. The three types of irony mentioned above have distinct functions: specific ironists admonish, general ironists acknowledge that a given character is in a predicament that deserves some sympathy, and Romantic ironists (whose source is the aphoristic thought of the German Romantic, Friedrich Schlegel) see all existence as illusory and seek a multiplicity of intellectual perspectives, eventually establishing the irony as dialectical.
It becomes clear that the narrators, the architects of the irony, consistently explore the viability of an idealised identity in a harsh and uncompromising reality, external to the transmutations of an idealising imagination. Further scrutiny shows that the best way of exploring idealism in Conrad is through acknowledging the presence of a form of quixotism, by which several of Conrad's characters seek aggrandisement through a powerfully idealised notion of their identity, which fuels their sense of adventure even to the point of bizarre severance from their surrounding physical or social environment. Quixotism in Conrad's fiction does not deal only with a parodied chivalry; the notion is extended to apply more generally to the obsessive psychological commitment to an ideal. Although the notion of quixotism has been noted before in Conrad's fiction, it has usually carried with it pejorative connotations. Examination of the fiction indicates that while parody, as a form of specific irony, is linked with quixotism, the irony of quixotism at its most complex level becomes a sophisticated narratorial scrutiny of the various illusions by which characters fashion their identities. This type of irony generates in Marlow's two early narratives, Heart of Darkness and Lord Jim, an incorrigible self-reflectiveness, which extends even to Marlow's self-consciousness in his role of narrator and instigates the scrutiny of the efficacy of language to convey effectively the complexity of experience.
The early fiction is examined briefly, and it is shown that the essential ingredients of Marlow's irony are already present in the fiction, but several factors mitigate against the construction of elaborate ironic mechanisms. The rest of the fiction discussed is seen in contrast to the irony of Marlow's two early narratives, and it is shown that the fiction after these two novels, with the exception of The Secret Agent, does not sustain the same complex ironic structures.
29
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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Sewlall, Haripersad. "Joseph Conrad : situating identity in a postcolonial space / H. Sewlall." Thesis, North-West University, 2004. http://hdl.handle.net/10394/394.
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This thesis is premised on the notion, drawn mainly from a postcolonial
perspective (which is subsumed under the poststructuralist as well as the
postmodern), that Conrad's early writing reflects his abiding concern with how people
construct their identities vis-a-vis the other/Other in contact zones on the periphery
of empire far from the reach of social, racial and national identities that sustain them
at home.
It sets out to explore the problematic of race, culture, gender and identity in a
selection of the writer's early works set mainly, but not exclusively, in the East, using
the theoretical perspective of postcoloniality as a point of entry, nuanced by the
configurations of spatiality which are factored into discourses about the other/Other.
Predicated mainly on the theoretical constructs about culture and identity espoused
by Homi Bhabha, Edward Said and Stuart Hall, this study proposes the idea of an in between
"third space" for the interrogation of identity in Conrad's work. This
postcolonial space, the central contribution of this thesis, frees his writings from the
stranglehold of the Manichean paradigm in terms of which alterity or otherness is
perceived. Based on the hypothesis that identities are never fixed but constantly in
a state of performance, this project underwrites postcoloniality as a viable theoretical
mode of intervention in Conrad's early works.
The writer's early oeuvre yields richly to the contingency of our times in the early
twenty-first century as issues of race, gender and identity remain contested terrain.
This study adopts the position that Conrad stood both inside and outside Victorian
cultural and ethical space, developing an ambivalent mode of representation which
recuperated and simultaneously subverted the entrenched prejudices of his age.
Conceived proleptically, the characters of Conrad's early phase, traditionally
dismissed as those of an apprentice writer, pose a constant challenge to how we view
alterity in our everyday lives.Thesis (Ph.D. (English))--North-West University, Potchefstroom Campus, 2004.
31
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
32
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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Lesage, Claudine. "Sources et metamorphoses de la creation litteraire chez joseph conrad." Amiens, 1987. http://www.theses.fr/1987AMIE0008.
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Le propos s'articule en deux parties qui correspondent aux tomes 1 et 2 , le troisieme tome est consacre au dossier iconographique. La premiere partie s'interesse plus particulierement a la periode marseillaise de joseph conrad (1874-1878). Elle tente de prouver le role primordial de ces annees de formation qui allaient ressurgir plus tard tout au long de son oeuvre litteraire. Elle fait sortir de l'oubli des gens rencontres, des lieux frequentes, des lectures faites a cette epoque en exploitant des documents tras varies (roles d'equipages, journaux, plans, photographies, lettres, guides historiques, etc. . . ). La seconde partie traite de l7afrique dans l'oeuvre de joseph conrad. On tente de definir la part de l'ecriture qui correspond a la realite africaine du debut du siecle; par des rapprochements avec des ecrits d'explorateurs africains comme stanley et living stone, on essaie d'analyser les procedes d'ecriture employes par conrad. Un parrallele est etabli entre l'ecriture conradienne et la peinture ainsi que les arts sceniques et la musique, tentant de definir ainsi le symbolisme de conradThe two main parts (book 1; book 2) deal with facts and fiction in joseph conrad's works; book 3 contains documents, photographs, engravings, maps. Book one deals with conrad's years in marseilles (1874-1878). It is an attempt to show how the seeds were then sown of certain themes that were to reappear many years later and play a fundamental part in conrad's works. It sheds a fresh light on some of the people he met, the places he went to and the books he read. The documents pertaining to that period, in book 3 are very varied: nautical lists, newspapers, photographs, plans, letters guides, ect. . . Book 2 is about africa and particulary life in africa at the time when conrad travelled on the river congo, how he transmitted his own experienceinto his writing. It compares conrad's approach to writing with that of stanley and livingstone. Il shows conrad's ability to create new, original techniques. A comparison with painting, music and stage arts explores conrad's symbolism
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Lesage, Claudine. "Sources et métamorphoses de la création littéraire chez Joseph Conrad." Lille 3 : ANRT, 1990. http://catalogue.bnf.fr/ark:/12148/cb37607368h.
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Roy, Rajadipta. "Between culture and Empire : Reading Select Novels of Joseph conrad." Thesis, University of North Bengal, 2013. http://hdl.handle.net/123456789/1576.
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Kopkowski, Rafał. "Polskie dziedzictwo Conrada." Doctoral thesis, Katowice : Uniwersytet Śląski, 2012. http://hdl.handle.net/20.500.12128/5335.
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Rozprawa niniejsza podejmując zagadnienie polskiego dziedzictwa Conrada-Korzeniowskiego koncentruje się przede wszystkim na dwóch jego wymiarach: biograficznym i ideowym. Poza obszarem bezpośredniego zainteresowania pozostaje w niej aspekt literacki wpływu tradycji polskiej na całokształt dzieła autora „Nostromo”. Celem pracy nie jest więc wskazanie i analiza szczegółowych związków prozy Conrada z literaturą polską: czy to w warstwie językowej – stylu, składni i słownictwa; czy w zakresie licznych zapożyczeń, aż do przeniesienia do własnych utworów całych fragmentów dzieł pisarzy polskich; czy wreszcie w płaszczyźnie aktualizowania i rozwijania w twórczości autora „Lorda Jima” trwale zakorzenionych w polskim piśmiennictwie sytuacji, problematyki moralnej, typów bohaterów. Wymienione elementy, jeśli funkcjonują to jedynie na marginesie poniższych rozważań. Obszar problematyki prezentowanej dysertacji zawiera się bowiem w ramach kilku wybranych zagadnień sytuowanych w sferze przekonań politycznych i ideowych, a także określonych wzorów kulturowych znajdujących swój wyraz zarówno w twórczości literackiej, jak i modelujących życiowe postawy Conrada. Wskazanie ich polskiej genealogii, określenie stopnia pokrewieństwa Conradowskiej mentalności z dystynktywnymi cechami i składnikami polskiej tożsamości narodowej, z tradycyjnymi wartościami, pojęciami oraz kategoriami wpisanymi w polską historię i kulturę, stanowi najbardziej ogólną treść podejmowanych w niniejszej rozprawie rozważań.
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Cheng, Albert. "Thematics, narrative techniques and imperialism in Conrad's fiction." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272076.
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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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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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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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Neuhold, Birgit. "Measuring the sadness Conrad, Joyce, Woolf and European epiphany." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2008. http://d-nb.info/995943214/04.
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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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Berry, Robert James. "Conrad and Dostoevsky : an unsuspected brotherhood." Thesis, University of Stirling, 1993. http://hdl.handle.net/1893/2015.
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This thesis attempts a comparative study of Conrad and Dostoevsky. In doing so, it proposes a significant relationship between the ideological, political and literary worlds of both authors. The work is undertaken in eight chapters. Chapter One explores Conrad and Dostoevsky's respective national and cultural identities. It reflects on Conrad's recorded reactions to Dostoevsky and his work, and speculates on the latter's likely response to Conrad. Chapter Two challenges established critical formulae that suggest Dostoevsky is a purely 'Dionysian' writer. The view that Conrad is a consummate 'Apollonian' artist is similarly brought into question. Chapter Three considers Conrad and Dostoevsky as major literary innovators. To support my argument, Bakhtin's critical concepts of 'polyphony' and 'monology' are introduced, and applied in a Dostoevskyan and Conradian context. Especially highlighted is my debate on Conrad's 'polyphonic' narrative technique in Lord Jim (1900). The notable fusion of disparate literary genres in Conrad and Dostoevsky's novels is explored in Chapter Four. Elements of 'adventure', 'thriller', 'romance', and 'detective' fiction are identified in each novelist's world. My argument, however, restricts itself to an extensive analysis of the surprising importance of the 'Gothic' elements in both writers' worlds. Chapters Five and Six, concentrate on Conrad and Dostoevsky's profound insights into the fundamental character of the human personality. Chapter Five considers their parallel interpretations of mankind's quintessentially materialist nature. Chapter Six looks at their strikingly similar visions of man's violent and carnal identity, and his primary urge to dominate other weaker individuals. Chapters Seven and Eight consider two central themes in Conrad and Dostoevsky's fiction, that of anarchist politics and nihilism respectively. Their political and ideological responses to these issues are investigated in some detail, and significant interpretive parallels established. Finally, the conclusion undertakes to once again assure the reader of the surprising and unsuspected bonds that exist between these two seemingly alien writers.
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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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Chu, Ngan-fung Teresa. "A harvest of names : a study of the naming strategies in Virginia Woolf's Mrs. Dalloway and Joseph Conrad's heart of darkness /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18685304.
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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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Panagopoulos, Nikolaos. "Between Schopenhauer and Nietzsche : a study of five novels by Joseph Conrad." Thesis, Royal Holloway, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284742.
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Morfoot, Liz. "Development of narrative structure and theme the early work of Joseph Conrad." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.237498.
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Marcus, Miriam. "Configurations of imperialism and their displacements in the novels of Joseph Conrad." Thesis, Queen Mary, University of London, 1998. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1665.
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This thesis examines certain configurations of imperialism and their displacements in the novels of Joseph Conrad beginning from the premise that imperialism is rationalised through a dualistic model of self/"other" and functions as a hierarchy of domination/subordination. In chapters one and two it argues that both Heart of Darkness and Lord Jim configure this model of imperialism as a split between Europe/not-Europe. The third and fourth chapters consider displacements of this model: onto a split within Europe and an act of "internal" imperialism in Under Western Eyes and onto unequal gender relations in the public and private spheres in Chance. Each chapter provides a reading of the selected novel in relation to one or more contemporary (or near contemporary) primary source and analyses these texts using various strands of cultural theory. Chapter one, on Heart of Darkness, investigates the historical background to British imperialism by focusing on the textual production of history in a variety of written forms which comprise the diary, travel writing, government report, fiction. It considers how versions of (imperial) history/knowledge are constructed through the writing up of experience. In chapter two, on Lord Jim, the hero figure is analysed as a product of the imperial ideology and the protagonist's failure is explored through the application of evolutionary theory. Chapters three and four, on Under Western Eyes and Chance, investigate displacements of the imperial model: the failure of an "enlightened" Western Europe to challenge Russian imperialism in Poland forms the basis for reading Under Western Eyes with Rousseau's writings and a nineteenth-century history of the French Revolution. Chance presents a further displacement of this model in its relocation of imperialist imperatives in the sexual/gender inequalities practised in the "mother" country.
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Ribeiro, Daniel Mendelski. "A idéia de terrorismo na literatura: o agente secreto de Joseph Conrad." Pontifícia Universidade Católica do Rio Grande do Sul, 2008. http://hdl.handle.net/10923/4145.
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Previous issue date: 2008Joseph Conrad’s The Secret Agent was first published in 1907 and has been read and debated – especially by scholars – since then due to its unique literary techniques and approach on the subject of espionage, politics and domestic drama. In the 9/11 aftermath, however, The Secret Agent was rediscovered as a "prophetic text", since its plot contains disturbingly familiar elements to us. To enlist some: a group of men who hate the modern capitalist society and wishes to destroy it; a conspiracy targeting a main symbol of such society; an outrage made with "destructive ferocity so absurd as to be incomprehensible"; a terrorist who walks by the streets seeking for an opportunity to blow himself and anyone around. Such elements, despite of their temporal distance of a hundred years from the release of Conrad's book, send us in a questioning not only about the usual literary subjects – plot, narrator, style – but also in a sociological and historical perspective between ours and Conrad’s turn-of-the-century perceptions. In order to analyze the novel in such perspectives, a multidisciplinary approach was used. It led us to conclude that "The Secret Agent" describes extremely human and universal feelings and behaviors that surpass any ordinary historical or sociological categorizations, reaching a deep and dreadful truth about timeless human nature.
O agente secreto de Joseph Conrad foi publicado pela primeira vez em 1907 e, desde então, foi lido e debatido - principalmente por estudiosos da literatura - devido a sua técnica literária única e ao tratamento dado pela narrativa a temas como a espionagem, política e drama familiar. Após os atentados do "Onze de Setembro", entretanto, O agente secreto foi redescoberto sob uma perspectiva "profética", uma vez que seu enredo contém elementos tristemente familiares para nós: um grupo de homens que odeiam a moderna sociedade capitalista e desejam destruí-la; uma conspiração para atacar um dos principais símbolos dessa sociedade; um atentado com uma "ferocidade destrutiva tão absurda quanto incompreensível"; um terrorista que vaga pelas ruas em busca de uma oportunidade para explodir a sim mesmo e todos em torno. Tais elementos, a despeito de escritos há cem anos, nos remetem a uma busca não apenas sobre os elementos literários de praxe – enredo, narração, estilo – mas numa perspectiva histórica e sociológica entre a percepção da nossa virada de século (XXI) e aquela da época de Conrad (XX). Para completar essa busca, servimo-nos de uma abordagem multidisciplinar. Concluímos que O agente secreto descreve ações e sentimentos de extrema humanidade e universalidade. Tais ações e sentimentos ultrapassam classificações históricas e sociais e também revelam algumas das profundas e terríveis verdades sobre a atemporal natureza humana.