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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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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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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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Pye, Patricia Jane. "Sound and modernity in Joseph Conrad's London fiction." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590932.
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While Conrad's representation of London has previously been discussed, these readings have not considered his auditory impressions of the city. This thesis explores this neglected area, in the context of London's changing 'soundscape' in the late-Victorian and early Edwardian period. These changes encompassed a reconstructed topography and conflicts over public spaces, in addition to the appearance of new auditory technologies. The thesis argues for the significance of Conrad's sound impressions in this urban context, posing the original question of whether his fictionalized city 'sounds modern'. Alongside the rapid development of a popular press, the 1890s also witnessed a resurgence of interest in oratory, as the power of the 'platform' played its own part in influencing social change. Chapter I focuses on The Nigger of the 'Narcissus ' and considers Conrad's representation of London's social agitators, together with his auditory impressions of the city's vast crowd. More broadly, the chapter also explores the contemporary figure of the 'workman orator', as characterized through The Secret Agent's Verloc. Chapter 2 focuses on the silences and noises of 'The Return' , arguing that these express much about London's social topographics and contemporary fears about urban disorder. Chapter 3 traces the progress of the 'news' across the city in The Secret Agent, arguing that this novel reflects its transitional era, when the newly literate negotiated the move from a traditionally oral- to print-based culture. Finally, Chapter 4 argues for the influence of music hall on Conrad's work, in particular the contemporary interest in the verbal artistry of its comedians. Marlow's comedic tone in Chance is, located in this context, as an expression of popular performance from a notably modem and urbane figure. The thesis concludes by identifying some interrelated themes which reveal the significance of Conrad's sound impressions to wider discussions about the modernity of his fiction.
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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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Grayson, Erik. "Towards a postmodern absurd : the fiction of Joseph Heller." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19693.
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This thesis examines the entirety of Joseph Heller's career as a novelist and explores the various existential themes uniting a seemingly diverse body of work. Considering Heller's relationship to the philosophy of Albert Camus and Jean-Paul Sartre, "Towards a Postmodern Absurd: The Fiction of Joseph Heller" suggests that the novelist promotes the same existentially authentic lifestyle of revolt originally articulated by the French existentialists. Refuting the critical assessment of Heller's fiction as formless, this thesis argues that Heller deliberately structures his fiction around the concept of dejd vu in order to buttress the author's existential concerns with the absurdity of human existence. Finally, in response to the recent debates over Joseph Heller's place in the postmodern American canon, the thesis identifies the author's use of such postmodern concepts as pastiche and paranoia as a further reinforcement of the relevance of an absurdist worldview in contemporary America.
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Buyu, Mathew Osunga. "Racial intercourse in Joseph Conrad's Malayan and African fiction." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362812.
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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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Glazzard, Andrew. "Character types from populist genres in Joseph Conrad's urban fiction." Thesis, Royal Holloway, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590818.
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This thesis investigates the relationship between literary and popular/populist fiction by examining Conrad's use of five character types common in popular fiction in the late nineteenth and early twentieth centuries: the detective, the infonner/spy, the spymaster, the anarchist/terrorist, and the swindler. Conrad's fiction has previously been situated in relation to 'exotic' genres such as adventure fiction ; what is original about my thesis is its use of a very wide range of texts from 'urban' genres such as detective and espionage fiction to reconstruct what Conrad's contemporary readers would have expected from novels featuring the character types listed above. This enables a more thorough examination of Conrad's engagement with urban genres than has previously been attempted, using popular texts not previously examined in relation to Conrad. The thesis argues that Conrad appropriated character types from populist genres for three reasons: as a commercial strategy to make his fiction marketable, as a way of responding to topical or contentious social and political issues, and as a means of creative experimentation. The thesis argues that Conrad's fictions are simultaneously ' literary' and 'popular', and that Conrad achieved distinctive aesthetic effects by applying particular literary techniques - what he called "treatment" - to popular subjects such as crime and espionage. This rewriting of genre fiction enabled Conrad to balance the demands of the literary marketplace with artistic and ethical aspirations, and to produce a wide range of narratives that varied significantly in aesthetic effect.
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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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Rojas, René. "Language and the system : the closed world of Joseph Heller's fiction." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22626.
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This is a study of the use of language in Joseph Heller's novels Catch-22, Something Happened, Good as Gold, God Knows and Picture This. Heller's fiction is characterized by self-negating sentences and logic, a repetitive story line and circular structure. Each novel concerns the relationship between people and language, but the relationship invariably is circular and inherently non-progressive. The separation between people and language, analogous to the separation between existence and expression, is the basis for Heller's thematics.Joseph Heller is a novelist who writes about language. Heller's novels all contain or evoke a common system characterized by self-containment and self-reference. In this system, language and literature are self-referential. It is implicit within Heller's writing that literature is a self-contained, non-progressive system, and consequently, it cannot yield a conclusive resolution. The self-contained system of his novels becomes analogous for literature, language, and finally knowledge. Definitive knowledge, being a derivative of language, is impossible. Eventually, Heller's fiction allows no final resolution because of the inconclusive nature of language itself.
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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.
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Teranishi, Masayuki. "Polyphony in fiction : a stylistic analysis of Middlemarch, Nostromo, and Herzog /." Oxford ; Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien : Lang, 2008. http://d-nb.info/987953192/04.
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Chilton, Mark Daniel. ""Purposely mingled resonance" : strategies of misdirection in early Wells and Conrad /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102157.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 330-346). Also available for download via the World Wide Web; free to University of Oregon users.
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al-Rifaei, Abd-Alelah H. al-Nehar. "Cultural diversity and intercultural discourse in the shorter fiction of Joseph Conrad." Thesis, University of Glasgow, 1991. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.731961.
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Eyeington, Mark. "Joseph Conrad and the ideology of fiction : a study of four works." Doctoral thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7969.
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Includes bibliographical references.This dissertation argues the priority of politics in the interpretation of Conrad's fiction. It does so by establishing a critical dialogue with, and around, Fredric Jameson's Marxist classic, The Political Unconscious (1981). Jameson's proposition that Conrad's fiction is to be understood as a """"Political Unconscious"""" - that is, that Conrad's works produce political meanings in the same way that Freud suggested thwarted human instincts produce neuroses or psychopathologies - is put to the test here. This dissertaion seeks to extend the application of Jameson's hypothesis into some of the areas of Conrad's oeuvre that Jameson himself did not treat, or treated only briefly.
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Salmons, Kim. "The representation of food in modern literature : Thomas Hardy and Joseph Conrad." Thesis, St Mary's University, Twickenham, 2015. http://research.stmarys.ac.uk/912/.
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This thesis will examine the representation of food in the works of Thomas Hardy and Joseph Conrad to demonstrate how food is used to chart the progress of modernity from the beginning of the nineteenth century through the continuing emergence of capitalism and consumerism to the first decade of the twentieth century when the stability of the British Empire was being questioned. Food becomes the measure of how modern society responded to new innovations in transport, technology and the way in which British society viewed both itself and the colonies from which much of its food was being imported. As a cultural language, traditions and rituals of food solidified notions of what it meant to be civilized but when this cultural language was fused with the food of the Other, the definitions of ‘civilized’ and ‘savage’ became increasingly difficult to define. This thesis begins with Section One which introduces the scope and approach of my research. The section is broken into three chapters: the first serves as an introduction considering Conrad’s use of a family anecdote to examine how he borrows from real life experiences while blending fact and fiction to suit his purposes as an author. Chapter two is an analysis of realism, focussing on nineteenth-century debates about its use in the novel and investigating how Hardy and Conrad viewed the process of novel writing. This chapter will also briefly examine food in Charles Dickens’ Great Expectations as an example of a traditional realist novel and consider how its handling of food differs from that of Hardy and Conrad’s Modern approach. To conclude, I have provided an overview of the critical reception of these two authors. Finally, to signal my broadly historicist approach, chapter three outlines the changing place of food within British society through the nineteenth and early-twentieth centuries. I have chosen to focus my study on the works of Thomas Hardy and Joseph Conrad because, in their novels, these authors span this crucial historical period and between them reflect the changing face of the national food-producing landscape, in Hardy’s case, and the international world which increasingly became the source of imported food, in Conrad’s case. These authors necessarily respond to the key methodologies that provide the frame of reference for this thesis, namely those of history, anthropology, sociology and politics. By narrowing the focus to just two authors, it is possible to consider in greater depth the production, consumption, psychological impact and metaphorical range of food in literature. Thomas Hardy and Joseph Conrad not only sit well chronologically – Hardy published his last novel Jude the Obscure in 1895, the same year that Conrad published his first, Almayer’s Folly – but also thematically: where Hardy concentrates on the effects of modernity at a national level, Conrad’s perspective is international. Where Hardy laments the decline in the production of food in England and its impact on gender, the countryside and tradition, Conrad considers the impact of colonial expansion at a time when the morality of the Imperial mission was under scrutiny. Food plays an inherent role in this engagement with the Other, posing questions about morality, the rise of globalization, issues of identity, political ideology and the growing power of capitalism. Both Hardy and Conrad respond to the two great social truths about British life during the nineteenth and early-twentieth centuries: the great shift of population from the countryside to the cities and anxieties about the decline of the British Empire. Hardy’s novels provide a survey of the changing face of nineteenth-century Britain through the politics of food production; while, drawing upon twenty years in the merchant navy, Conrad brings the colonial world, the world of Greater Britain, into the English novel, and with it the food of the outer world. Selecting these two particular authors enables an investigation into the pervasiveness of food in Modern fiction.
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Sutton, Malcolm. "Ontologies of Community in Postmodernist American Fiction." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20695.
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Using a number of structurally innovative novels from the 1970s, 1980s and 1990s as a basis for study, this dissertation examines the representation of communities in postmodernist American fiction. While novels have often been critically studied from the standpoint of the individual and society, here the often neglected category of community is put under scrutiny. Yet rather than considering it from a sociological point of view, which can potentially favour historical, economic or political grounds for community, this study focuses on the ontological binds formed between individual and community. On one level this study connects formal qualities of postmodernist novels to a representation of community – especially literary conventions from the past that are foregrounded in the present texts. On another level it interrogates the limits of the individual in relation to others – how we emerge from others, how we are discrete from others, how much we can actually share with others, at what cost we stay or break with the others who have most influenced us. The primary novels studied here, each of which is deeply invested in the community as a locus for ontological interrogation, are Robert Coover’s "Gerald’s Party" (1985) and "John’s Wife" (1996), Gilbert Sorrentino’s "Crystal Vision" (1981) and "Odd Number" (1985), Harry Mathews’s "Cigarettes" (1987), Joseph McElroy’s "Women and Men" (1987), and Toni Morrison’s "Paradise" (1997). Despite their varied representations of and attitudes toward the individual in community, these texts share a common spectre of American Romanticism that inflects how we read the possibility of community in the postmodernist period.
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Pappas, P. A. "The hallucination of the Malay archipelago : critical contexts for Joseph Conrad's Asian fiction." Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363447.
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Hantke, Steffen. "Conspiracy and paranoia in contemporary American fiction : the works of Don DeLillo and Joseph McElroy." Frankfurt am Main ; Bern ; New York : P. Lang, 1994. http://catalogue.bnf.fr/ark:/12148/cb376145796.
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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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Symondson, Kate. "Abstraction and fiction : reading the 'double vision' of Joseph Conrad, E.M. Forster, and Virginia Woolf." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/abstraction-and-fiction(dfe76474-0d06-4b99-a4b2-7ec21e7056bb).html.
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This thesis explores abstraction in the writing of Joseph Conrad, E. M. Forster, and Virginia Woolf. It argues that the “abstract”, a familiar concept in the visual arts, is also invaluable for reading certain aesthetic innovations in Modernist fiction. The scientific and philosophical discoveries of the late nineteenth and early twentieth century had a profound impact upon concepts of truth and reality. The dualism that had dominated western philosophy for centuries was deeply undermined by various intellectual advances: relativity and uncertainty reigned in the stead of balanced, absolute opposites. The abstract experimentation of Conrad, Forster, and Woolf is deeply entrenched in the contemporary crisis of dualism. Each of these authors appropriates and reimagines a traditional, philosophical dualism in order to add another, expansive dimension to familiar and descriptive language. The manifestations of abstraction in their fiction varies greatly: ranging from the use of geometric, abstract images, to the invocation of related abstract concepts, like negativity and ineffability. Despite the diversity of form, each of these abstractions depends upon a conceptual dualism, between the concrete and metaphysical, visible and invisible. Embattled dualisms pervade the novels examined here: Conrad’s Nigger of the ‘Narcissus’, Lord Jim and The Secret Agent; Forster’s Maurice, Howards End and A Passage to India; and Woolf’s To the Lighthouse and The Waves. The dualistic play of each of these authors proves crucial for expressing their fundamental vision. Conrad’s alliance of irreconcilable antagonisms structures a perpetual tension and stalemate, effecting something of his pessimism and horror at the fundamental senselessness of existence. Whereas Forster’s abstractions promote his more optimistic outlook. The interminable oscillation between opposites in his writing is a source of truth, rather than an admission of a fundamental ignorance. Forster’s dualisms are a stimulus for connection, realising his central ethos – ‘only connect’ – in the very aesthetics of his literature. For Woolf, abstraction helped her overcome the fundamental problem facing the artist: the struggle to find an image to convey what s/he means. Woolf’s abstraction translates the metaphysical vision of the artist into a concrete image: it reconciles vision with design. By reading the metaphysical dimension of Conrad, Forster, and Woolf’s ‘double vision’ as abstract, we can appreciate their stylistic innovations as strategies for responding to and realising shifting concepts of reality.
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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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Johnston, Kelly Scott. "R. Joseph della Reina and his damnation in the fiction of I. B. Singer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31115.
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The following thesis focuses on the medieval kabbalistic legend of R. Joseph della Reina who, using traditions of esoteric magic, conjured Satan in order to slaughter him in an unsuccessful bid to force the Redemption of Israel. A translation of a version from eighteenth century Amsterdam is presented. Influenced by the heretical ideas of Sabbatianism, this version carries two opposing significations: that of a cautionary tale on one hand, that of a tragic tale of mystical heroism on the other. Based on evidence from the fiction of Isaac Bashevis Singer, the case is made that the modern author, in line with his philosophy of political passivism and historical pessimism, makes full use of the Faustian fascination of R. Joseph della Reina's fearsome story while repeatedly presenting the legend in such a way as to purge it of traditional ambiguity, undermine its tragic character, and leave behind only the aspect of caution or warning.
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Greaney, Michael. "Linguistic utopia : speech communities and narrative methods in the major fiction of Joseph Conrad." Thesis, Lancaster University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242816.
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Manocha, Nisha. "Generic insistence : Joseph Conrad and the document in selected British and American modernist fiction." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:f28ba054-3443-4ba3-9e1b-c7939edc3d91.
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This thesis explores the citation of documents in the modernist novel. From contracts to newspaper articles, telegrams to reports, documents are invoked as interleaved texts in ways that, to date, have not been critically interrogated. I consider a range of novels, including works by Ford Madox Ford, Virginia Woolf, Nella Larsen, and Willa Cather, which are selected, in part, as a litmus of Anglo-American modernism, though they can more productively also be understood as coalescing around the example set by Joseph Conrad. Replete with allusions to documents, Conrad’s oeuvre is developed across the thesis as a meta-commentary on the document in modernist literature. In placing the document at the centre of analysis, and in using Conrad as a diagnostic of the document in modernity, the manifold ways in which authors use interpolated texts to perform denotative and connotative “work” in their narratives emerge, with the effect of revising our understanding of documents. These authors reveal the power of mass produced documents to lay claim to novelistic language; the historical role of documents in reifying inequality; on the level of narrative, the thematic potential of the document as a reiterable text; and finally, the capacity of the document, in its most depersonalized form, to realize social collectivity and community. This project therefore asks us to rethink and relocate the document as central to the modernist novel.
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Gokulsing, Tanya. "An amazing bloody foreigner : language(s) and modernism in the early fiction of Joseph Conrad." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432122.
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Hollywood, Paul. "'The voice of dynamite' : anarchism, popular fiction and the late political novels of Joseph Conrad." Thesis, University of Kent, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281600.
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Pauly, Véronique. "Le regard conradien : esthetique de la perception dans la fiction de joseph conrad 1898-1911." Paris 3, 1996. http://www.theses.fr/1996PA030144.
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Le regard, la vue, la vision, la visibilite, le visible et, a l'oppose, la cecite, l'invisibilite, l'invisible : la perception, dans la fiction de joseph conrad fait l'objet d'un discours qui s'immisce dans les diegeses et envahit la surface verbale des textes. Le champ du regard se deploie, principalement, selon trois axes: un axe esthetique, ou est interrogee la place du regard dans la representation, un axe ontologique et phenomenologique, ou se tissent les liens qui unissent le regard, le visible et l'autre, et un axe ideologique, ou, au fil des textes, s'ecrit la valeur de la perception. Oscillant entre le desir d'apprehender le visible, de le reprendre "sous garde" et l'impossible satisfaction de ce desir, le regard conradien est celui d'un moderne pris entre le constat d'une perte de sens, de la faillite de l'utopie referentielle, et la necessite imperieuse de poser au monde la question epistemologique de son sens. Le regard conradien fait apparaitre les beances que la rhetorique coloniale et les totalitarismes du sens, tentent de refermer, et redonne leurs places a l'alterite, aux sens et au qualitatif. En ce sens, la sphere perceptive, dans la fiction de joseph conrad est investie de valeurs de resistance, selon un mouvement ou l'esthetique, l'ontologique et l'ideologique ont partie lieePerception is, in joseph conrad's fiction, the object of a discourse which filters through the narration and haunts the verbal surface of the texts. The field of perception develops along three main axes : the axis of aesthetics along which is questioned the function of perception in the representation; an ontological and phenomenological axis, along which are interwoven the threads linking perception, the visible universe and the question of otherness; and finally, an ideological axis, where are defined the political (in the broadest sense of the term) values of perception. Oscillating between a desire to render justice to the visible universe, to capture its shimmering surfaces as well as unfathomable depths, and the inevitable unfulfillment of this desire, the conradian gaze is that of a modern caught between the sense of a loss of meaning in a changing world and the deeply-felt necessity to ask the world the epistemological question of its meaning. The conradian gaze widens the gaps which the rhetorics of colonialism and the totalitarianisms of the world attempt to negate. By reaffirming the positions of the other, the senses and the realm of the qualitative, the aesthetics of perception has an ideological role to play in the conradian fiction
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Smith, Laurel Ann. "Joseph Campbell's Functions of Myth in Science Fiction: A Modern Mythology and the Historical and Ahistorical Duality of Time." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/25350.
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This document explores the relationships between science fiction and mythology, utilizing the theories of Joseph Campbell and Carl Jung in particular. Conclusions are then drawn that argue that science fiction performs the same functions as mythology in the modern world. The author provides examples of these functions being performed in science fiction by analyzing two novels: The Forest of Hands and Teeth, and Stranger in a Strange Land. Finally, the document explores the narratives' uses of time in historical and ahistorical modes as a vehicle for its functions, and argues that the various uses of time are key to science fiction acting as modern mythology.Master of Arts
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Funge, Benjamin Peter. "The representation of Latin America in the fiction of Joseph Conrad, D.H. Lawrence and Malcolm Lowry." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/47175/.
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With a language, landscape and culture unfamiliar to the majority of British readers, Latin America is a puzzling and anomalous presence in British modernist fiction. Yet, in the work of Conrad, Lawrence and Lowry it is also a setting that constitues a minor tradition in its own right and one that offers a distorted reflection of the concerns an anxieties back home: from uncertainties over the future of the British Empire to the traumatic recogntion of loss that attended the First and Second World Wars. In addition to these political and historical concerns, the representation of Latin America in British modernist fiction is also entangled with a corresponding crisis of culture. Consistently Latin America offers itself to writers in English as a suitable correlative to concerns which range from disturbing visions of the natural worls to the disorientation that attended the engagement with the culturally unfamiliar along with the uncertainties that were related to the emergence of a truly global economy in which Britain modernist fiction is far from static. As this interest in Latin America matures, there is a progressive movement from the initial sense of doubt (Conrad) along with a contrary sense of desperation (Lawrence) towards a final sense of resignation (Lowry). As such, Latin America can be thought of as a fictional space in the British modernist novel - in the end, more of a fantasy than a reality - that reflects the frightening apprehension of a new world in which British fiction had found a suitable place to come to terms with some of its deepest fears and anxieties.
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Burgoyne, Mary M. "'At work on short stories' : the making, marketing, and reception of Joseph Conrad's early short fiction." Thesis, St Mary's University, Twickenham, 2016. http://research.stmarys.ac.uk/1167/.
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Almeida, Giuliana Teixeira de. "Pelo prisma biográfico: Joseph Frank e Dostoiévski." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-25062013-095450/.
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Muitas biografias foram escritas sobre Fiódor Dostoiévski, nome central da literatura russa do século XIX. Dentre os títulos dedicados à vida do escritor russo destaca-se Dostoiévski de Joseph Frank, um grande esforço de investigação elaborado ao longo de quase três décadas. A obra escrita pelo scholar norte-americano consiste em uma síntese da história cultural da Rússia no século XIX, contexto no qual Dostoiévski viveu, além de um esforço de interpretação da ficção do romancista. Essa pesquisa visa analisar a biografia de autoria de Joseph Frank, assim como efetuar uma comparação entre essa obra e outras biografias importantes escritas sobre o escritor russo. Paralelamente, pretende-se investigar as questões teóricas e metodológicas concernentes ao gênero biográfico. Tendo em vista a grande repercussão da obra nas publicações norteamericanas, essa pesquisa também examinará de modo panorâmico a recepção da biografia de Frank nos Estados Unidos e os percursos da eslavística norte-americana nas últimas décadas.Many biographies have been written about Fyodor Dostoevsky, a prominent 19th century Russian literature novelist. Among all these titles, Joseph Frank\'s Dostoevsky stands out as a great synthesis of the Russian writer\'s life and era. Written along three decades, Frank\'s work recreates the Russian cultural history in the second half of the 19th century and proposes an interpretation for Dostoevsky\'s literary works. After this biography, Frank has become one of the most important North American\'s experts in Russian literature and Dostoevsky. This research aims to analyze this monumental biography, to compare this work with other biographies written about the thrilling life of Dostoevsky and to investigate the theoretical and methodological problems of the biography genre. Finally, considering the repercussion of Dostoevsky for the intellectual community of United States of America, we will also analyze the reception and the critiques of Frank\'s biography and the situation of the last decades of Slavic studies in that country.
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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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Lavery, Charne. "Writing the Indian Ocean in selected fiction by Joseph Conrad, Amitav Ghosh, Abdulrazak Gurnah and Lindsey Collen." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:bc0865da-1b17-47c6-8bb8-46a4fe0962bc.
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Tracked and inscribed across the centuries by traders, pilgrims and imperial competitors, the Indian Ocean is written into literature in English by Joseph Conrad, and later by selected novelists from the region. As this thesis suggests, the Indian Ocean is imagined as a space of littoral interconnections, nomadic cosmopolitanisms, ancient networks of trade and contemporary networks of cooperation and crime. This thesis considers selected fiction written in English from or about the Indian Ocean—from the particular culture around its shores, and about the interconnections among its port cities. It focuses on Conrad, alongside Amitav Ghosh, Abdulrazak Gurnah and Lindsey Collen, whose work in many ways captures the geographical scope of the Indian Ocean: India, East Africa and a mid-point, Mauritius. Conrad’s work is examined as a foundational text for writing of the space, while the later writers, in turn, proleptically suggest a rereading of Conrad’s oeuvre through an oceanic lens. Alongside their diverse interests and emphases, the authors considered in this thesis write the Indian Ocean as a space in and through which to represent and interrogate historical gaps, the ethics and aesthetics of heterogeneity, and alternative geographies. The Indian Ocean allows the authors to write with empire at a distance, to subvert Eurocentric narratives and to explore the space as paradigmatic of widely connected human relations. In turn, they provide a longer imaginative history and an alternative cognitive map to imposed imperial and national boundaries. The fiction in this way brings the Indian Ocean into being, not only its borders and networks, but also its vivid, sensuous, storied world. The authors considered invoke and evoke the Indian Ocean as a representational space—producing imaginative depth that feeds into and shapes wider cultural, including historical, figurations.
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Sauvêtre, Maïté. "Joseph d'Arimathie et les romans du Graal." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL176.
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À l’orée du XIIIe siècle, Joseph d’Arimathie fait son entrée dans les romans du Graal. Lors la mise au tombeau du Christ, il aurait recueilli le saint sang dans un Vessel dont nous connaissons la postérité. L’étude d’un tel personnage permet d’interroger les liens que peut entretenir le corpus graalien avec les Écritures. La figure biblique fait entrer le Graal dans l’Histoire sainte. Par sa présence, les œuvres prétendent éclairer des vérités chrétiennes tout en restant malgré tout des fictions. Dès lors, le statut du personnage demande à être précisé. Acquiert-il des caractéristiques romanesques ? Dans quelle mesure réfère-t-il aux temps de la Passion mais aussi au monde arthurien ? Ces questions n’appellent pas toujours les mêmes réponses. Joseph d’Arimathie garantit l’unité des romans du Graal tout en instaurant des différences entre eux. Son histoire et sa poétique varient et reflètent par leurs changements les enjeux de chaque œuvre. Elles donnent à voir comment la prose se distingue du vers et comment la matière de Judée prend une forme nouvelle dans les textes graaliens. Les auteurs assument une prétention à dire vrai et à écrire l’Histoire tout en l’adaptant aux besoins du récit et d’un lectorat aristocratique. Instrument de légitimation du fait son origine biblique, Joseph d’Arimathie valorise le roman. Il révèle également comment l’aristocratie laïque reprend et infléchit le discours des clercs à son propre compte afin de s’accorder une nouvelle place dans le domaine spirituel. Il en ressort que le personnage répond à des enjeux tout à la fois poétiques, littéraires et sociohistoriques qu’il convient de mettre en lumièreIn the early XIIIth century, Joseph of Arimathea starts making an appearance in the Holy Grail stories. When Christ was laid to rest, Joseph of Arimathea is supposed to have collected the Holy Blood in a Vessel whose posterity is well-known. The study of such a historical figure leads us to assess how intertwined the Grail corpus and the Scriptures can be. The biblical figure ushers the Grail into the Sacred History. Through his existence, the literary works mean to highlight some Christian truths while eventually remaining works of fiction. From then on, the status of the character calls for clarification. Does he get bestowed with fictional features ? To what extent does he relate to the time of Passion as well as to the Arthurian legends ? These questions do not always call for the same type of answer. Joseph of Arimathea safeguards the unity of the Grail Romances, while delineating differences between them. His life story and poetic persona vary and these changes reflect the literary intent in each of the literary works. They go to show the distinction between prose and verse and how the Judea matter takes a new shape in the Grail texts. The authors claim responsibility for stating the truth and for recording History, while adjusting to the requirements of the narrative and to their upper-class readership. Thanks to his biblical origin, Joseph of Arimathea is instrumental in giving legitimacy to the story, thereby giving it additional value. He also reveals how the secular aristocracy take up and inflect the clerics’ discourse to their own benefit, in order to grant themselves a new stance in the spiritual real. What is emerging is that this figure invites various levels of analysis, be they of poetic, literary and socio-historical nature, which all need to be brought to light
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Moutet, Muriel Colin René-Pierre. "Un homme de trop à bord figuration du monde maritime dans les récits de fiction de Joseph Conrad, Herman Melville et Victor Hugo /." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/moutet_m.
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Francis, A. J. "'In the way of business' : the role and representation of commerce in the Asian fiction of Joseph Conrad." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599169.
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This thesis argues that in his Asian fiction Conrad writes through, and interrogates, commerce as part of his depictions of aliens within the commercial, political, and social contexts of the largely colonial south-east Asia of the second half of the nineteenth century, including Arab, Chinese, and Malay trading, and reflects the expansion and globalisation of an increasingly capitalist trade. The thesis aims to demonstrate four main aspects of commerce in this fiction. First, that it is crucial to shaping, and often vivifying, its world. Secondly, that it is pervasive and inextricable from that world. Thirdly, that time and space are increasingly commercialised, and fourthly, that Conrad’s treatment of the complexity of commerce in an informed, historically specific context resists often reductive readings of commerce as simple, homogeneous or necessarily pernicious. The Introduction provides a summary of the methodology and contexts. Chapters 1-3 examine the Lingard Trilogy and the waning of Lingard’s mode of trade in the face of increasing competition and globalisation. Chapter 4 explores Lord Jim, Conrad’s broadest representation of commerce and colonialism in the Asian fiction. Chapter 5 discusses ‘Falk’ and The Shadow-Line as investigations of commerce and dependability. Chapter 6 discusses ‘The End of the Tether’ and 6 discusses ‘The End of the Tether’ and Victory as representations of the forces of later colonial capitalism. The aims of this thesis are pursued by close, often phenomenological, readings of the texts with reference to the region’s –particularly the Dutch East Indies’ – histories, seeking to recover the business conditions present in the culturally specific texture and detail, and in the lived experience of commerce. The readings reflect the particular commercial topics arising in individual works, for example, economic botany in Almayer’s Folly and Lord Jim.
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Donaldson, Eileen. "The Amazon goes nova considering the female hero in speculative fiction /." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11092004-144531/.
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Cattermole, Grant. "School reports : university fiction in the masculine tradition of New Zealand literature." Thesis, University of Canterbury. English, 2011. http://hdl.handle.net/10092/9709.
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This thesis will investigate the fictional discourse that has developed around academia and how this discourse has manifested itself in the New Zealand literary tradition, primarily in the works of M.K. Joseph, Dan Davin and James K. Baxter. These three writers have been selected because of their status within Kai Jensen's conception of “a literary tradition of excitement about masculinity”; in other words, the masculine tradition in New Zealand literature which provides fictional representations of factual events and tensions. This literary approach is also utilised in the tradition of British university fiction, in which the behaviour of students and faculty are often deliberately exaggerated in order to provide a representation of campus life that captures the essence of the reality without being wholly factual. The fact that these three writers attempt, consciously or unconsciously, to combine the two traditions is a matter of great literary interest: Joseph's A Pound of Saffron (1962) appropriates tropes of the British university novel while extending them to include concerns specific to New Zealand; Davin's Cliffs of Fall (1945), Not Here, Not Now (1970) and Brides of Price (1972) attempt to blend traditions of university fiction with the masculine realist tradition in New Zealand literature, though, as we will see, with limited success; Baxter's station as the maternal grandson of a noted professor allows him to criticise the elitist New Zealand university system in Horse (1985) from a unique position, for he was more sympathetic towards what he considered the working class “peasant wisdom” of his father, Archie, than the “professorial knowledge” of Archie's father-in-law. These three authors have been chosen also because of the way they explore attitudes towards universities amongst mainstream New Zealand society in their writing, for while most novels in the British tradition demonstrate little tension between those within the university walls and those without, in New Zealand fiction the tension is palpable. The motivations for this tension will also be explored in due course, but before we can grapple with how the tradition of British university fiction has impacted New Zealand literature, we must first examine the tradition itself.
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Fraser, Caroline Gail. "The larger pattern : formal and thematic links between selected novels and shorter fictions by Joseph Conrad." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27075.
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The formal and thematic links between Conrad's short fiction and his novels provide a useful context in which one can study individual works. Thus, one of Conrad's earliest short stories, "An Outpost of Progress," anticipates some of the ironic techniques that control the reader's responses in The Secret Agent and the later fiction in general. Similarly, in "The Lagoon" and "Karain" Conrad experiments with the "teller and listener" device, which he then develops and refines in more complex works such as "Heart of Darkness" and Lord Jim. In contrast to the ironic mode, this type of narration reflects man's attempts to integrate personal experiences with the social order and to affirm certain moral values or "saving illusions." The coexistence of these two modes in Conrad's earliest short fictions points to his search for appropriate techniques to express a conflict that was deeply rooted in his outlook.
A close study of "Youth" brings into relief Conrad's use of a dramatized narrator to mediate between contrasting views of the world and to direct our interpretation of moral issues. Because Conrad developed these and other aspects of the short fiction in Lord Jim and "Heart of Darkness," the analysis of "Youth" attempts to shed light on the longer works as well. Similarly, in "Amy Foster" Conrad presents another variation on the told-tale device in a way that reveals larger, formal patterns in his writing as a whole.
While the most significant links between these five short fictions and Conrad's novels are formal rather than thematic, in the case of "Heart of Darkness" and "The Secret Sharer" there are important thematic ties with Lord Jim and Under Western Eyes. By adapting certain basic situations and motifs from one work to the other Conrad explores different aspects of a central idea or theme. Thus, in "Heart of Darkness" and Lord Jim he treats Kurtz and Jim as complementary portraits of idealistic egoists, while in "The Secret Sharer" and Under Western Eyes he depicts contrasting responses to a plea for understanding and assistance. The dialectical approach reflects the complex structure of his creative imagination. Therefore, a study of the connecting links yields a more comprehensive understanding of Conrad's meaning than analyzing the works separately.Arts, Faculty of
English, Department of
Graduate
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McMaster, Iain George. "Inside men : confession, masculinity, and form in American fiction since the Second World War." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33211.
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This thesis examines the use of form and spatial language in confessional fiction by men to elucidate how they conceptualise and negotiate material, corporeal, and psychological boundaries amidst the shifting social and political landscape of the United States since the Second World War. In light of increasingly urgent calls to address gender and racial discrimination in the United States, this study offers timely insight into an identity that, while culturally dominant, often escapes examination: white, heterosexual masculinity. Focusing on the representation of forms and spatial imagery, the chapters explore how five formally experimental novelists-Vladimir Nabokov, Joseph McElroy, Harry Mathews, William H. Gass, and Peter Dimock- employ the confessional genre to illustrate the way men perceive themselves as spatially and temporally circumscribed, and to look at the way they reinforce or transgress the boundaries of masculine identity. The post-war period in the United States witnessed a proliferation of confessional writing that coincided with the popularisation of Freudian psychoanalysis, the cold war rhetoric of suspicion, and the rise of second-wave feminism. As a result, the concept of the self increasingly becomes a repository for fantasies of potential discovery and hidden danger that rely, significantly, on metaphors of surface and depth. It is within, and often against, this cultural preoccupation with the self that these writers address, both directly and indirectly, the status of white masculinity. Drawing on innovative theories of forms and spatiality, this study examines the diverse language and imagery men use to describe their sense of selfhood as well as the bonds they form with others. The works considered in this study demonstrate a common preoccupation with the boundaries that separate interior from exterior and private from public. In response to pressures both intimate and impersonal, the narrators of the texts discussed in this thesis turn to confessional practices of written self-examination to locate themselves within networks of fluctuating relations and obligations. The question that this thesis seeks to resolve is whether the forms and spatial language the narrators employ enable or obstruct their efforts to negotiate the competing demands of ethical responsibilities to others and the desire to preserve a stable sense of self.
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Goss, Sarah Judith. "The agony of consciousness : history and memory in nineteenth-century Irish gothic novels /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3102166.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-231). Also available for download via the World Wide Web; free to University of Oregon users.
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Brinkley, Marlan E. "The hero's journey in the formation of the homosexual identity in gay teen fiction." Connect to this title online, 2004. http://hdl.handle.net/1901/89.
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"A Master's paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science."Title from PDF title page (viewed on Apr. 25, 2006). "May 2004." Includes bibliographical references (p. 45-47).
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Millet, Baudouin. ""Ceci n'est pas un roman" : l'évolution du statut de la fiction en Angleterre de 1652 à 1754." Lyon 2, 2004. http://theses.univ-lyon2.fr/documents/lyon2/2004/millet_b.
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Cette étude porte sur les discours théoriques et les dispositifs rhétoriques auxquels la fiction de langue anglaise a recours pour se légitimer, dans un contexte de ferme condamnation morale et de mépris de la part des doctes. Ces discours et ces dispositifs se déploient dans des titres, des préfaces et au coeur même des récits. Les auteurs les mobilisent pour affirmer que leur récit contient une vérité morale ou, le plus souvent, pour présenter ce dernier comme un compte-rendu factuel. Cette revendication de l'historicité fait intervenir la figure du narrateur témoin, garant de la véracité des faits relatés, ainsi que celle de l'éditeur de manuscrit, qui s'impose à partir des années 1700. Avec la parution de Joseph Andrews (1742) de Henry Fielding la fiction se met à exhiber sa propre fonctionnalité : elle devient autoréflexiveThis dissertation explores the theoretical discourses and rhetorical devices used by writers to legitimate fiction at a time when it was considered immoral by moralists and despised by scholars. The use of such discourses and devices is found in titles, prefaces and throughout the narratives themselves ; they are employed to assert that the narratives contain moral truths or to assert their status as fact, thus rendering the narratives acceptable to the readership. The claim to authenticity is asserted by the figure of the narrator-as-witness, who guarantees the veracity of the facts relayed, and, from 1700 onwards, by that of the manuscript editor. Following the publication of Henry Fielding's Joseph Andrews in 1742, the fiction of the period begins to flaunt its own fictionality, marking the emergence of self-reflexive fiction
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Garrett, Oliver James. "Fictions of ethics and identity : ideological negotiations and representations in the works of Joseph Conrad and J. M. Coetzee." Thesis, University of Exeter, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496172.
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This thesis sets out to consider Joseph Conrad's and J. M. Coetzee's approaches to, and interrogations of, theories of ethics and identity. In pursuit of this task, the study presents an analysis of the authors' distinctive and complementary address to the ways in which certain influential concepts are 'applied' by, and within, their cultures. Especially relevant in this respect, as extensive preoccupations of both Conrad and Coetzee, are the authors' literary expressions of 'consciousness' and 'conscience'. In noting the special attention paid by these authors to the writing of consciousness, and to the consciousness of writing, the thesis illustrates particular thematic representations and engagements with the notion of the 'self and the 'human good'.
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Hilton, C. M. "The nature and status of the human mind in the writings of Joseph Conrad considered with reference to contemporary thought." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384764.
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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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Ingham, David Keith. "Mediation and the indirect metafiction of Randolph Stow, M. K. Joseph, and Timothy Findley." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25819.
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In order to explore the range of indirect metafiction as presented in three exemplary novels, this dissertation begins by examining how the assumptions of "realism" on the one hand and "postmodernism" on the other relate to the paradigmatic triad of story-teller, story, and audience. From this context emerges the view that the range of metafiction is determined by how it reveals the processes and nature of fiction according to a spectrum of mediation: that of the writer between his "raw materials" and the text, that of the text between writer and reader, and that of the reader between the text and his interpretation.
Indirect metafiction (or "pretend realism") mediates between realism and postmodernism, revealing without breaking the illusions of realism.
Each of the next three chapters, after initially placing the key novel within the context of the author's work as a whole, discusses in detail a novel whose metafictional focus is on one of the three mediations. Accordingly, Chapter II focusses on Randolph Stow's The Girl Green as Elderflower (1980) and on the way it reveals the mediation of the author by presenting a writer's fiction as a synthesis of his personal and literary experiences. Chapter III notes how M. K. Joseph's A Soldier's Tale (1976) reflects the mediation of the reader by depicting a writer's interpretation and literary redaction of an oral tale. And Chapter IV shows how Timothy Findley's Famous Last Words (1981) demonstrates the mediation of the text by presenting a writer whose text "crystallizes" the illusions of fiction, then undercuts and exposes them. The analyses of the key texts employ both postmodern and traditional critical approaches, demonstrating them to be complementary; by noting the interpenetration of metafictional and traditional import and significance, the analyses also highlight the mediary nature of indirect metafiction.
The fifth chapter draws theoretical conclusions from ideas in the practical chapters: from metafictional revelations through the paradigm of mediation comes an "anatomy" of fiction, delineating its elements; from a sense of how the mind "structures" experience through "fictional" representations of both "reality" and fictional texts comes a "physiology," a sense of how fiction works through language. This discussion leads to definitions of realistic, unrealistic, and self-conscious fiction, and of metafiction, both direct and indirect; the dissertation concludes by remarking on the inter-relations of language, "fiction," and "reality."Arts, Faculty of
English, Department of
Graduate
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Levin, Christoffer. "The Hero’s Journey in J.R.R. Tolkien’s The Hobbit, or, There and Back Again : Using Joseph Campbell’s Narrative Structure for an Analysis of Mythopoeic Fiction." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-21253.
Full textAbstract:
This essay investigates the applicability of Joseph Campbell’s notion of the Hero’s Journey from his theoretical work The Hero with a Thousand Faces on J.R.R. Tolkien’s The Hobbit, or, There and Back Again. This has been done by outlining the essential aspects of Campbell’s theory and then performing a reading and analysis of Tolkien’s work. Furthermore, this essay focuses on the narrative structure proposed by Campbell, but also the heroic character’s development—in this instance, Bilbo Baggins’ development. As such, a brief examination of Campbell’s attitude and use of Freudian psychoanalysis has been performed as well as a presentation of Bilbo Baggins’ character and dual nature before the adventure. As a possible line of argument Tolkien’s knowledge of myth is also briefly expounded on. This essay does not research or make any definitive statements on the universal applicability of Campbell’s theory, but merely finds that Tolkien’s The Hobbit, or, There and Back Again appears to conform well to Campbell’s proposed narrative structure and that the development of Bilbo’s heroic character, or his character arc, is in concurrence with this as well.