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Thematische Bibliographien / Conrad / Dissertationen

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Dissertationen zum Thema „Conrad“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2024

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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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2

Fox, Emma. „Conrad and masculinity“. Thesis, University of Birmingham, 1995. http://etheses.bham.ac.uk//id/eprint/4072/.

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The thesis seeks to demonstrate that Conrad does not fit at all into the manly-heroic tradition which his work is often approached as belonging to. By tracing the entwining of masculine and homoerotic imagery in his major and minor works, as well as in the often neglected late novels, it is possible to discover ample evidence to suggest that he would be more accurately- if somewhat shockingly for critical tradition placed in the tradition of homosexual literature. Appended to the main body of the thesis is a glossary of homosexual codewords- words that were widely understood to refer to what was then the otherwise unmentionable crime of homosexuality from the late nineteenth and early twentieth centuries. This glossary is drawn both from the homosexual prose and poetry of the era, as well as from what evidence we have of wider public usages in contemporary newspapers, court-reports, diaries, letters, etc. At present, there is no recognition of, or collation of, the vast majority of these words in any dictionary of historical or sexual slang.

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3

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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4

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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5

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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6

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 Conrad
Conradian critics often take no account of topography. From Robert Lee to John Stape, many scholars hold geographical references as irrelevant, shifting the emphasis on alleged allegorical, symbolic or psychological aspects. The starting point of this thesis is to question such assumptions and to accept the possiblility for space and time, inasmuch as they are literary categories as well, to be essential in Conrad's novels and short stories. Once Conrad is re-inserted into space-time, the Bakhtinian concept of chronotope becomes applicable. Which means that a rich, complex theoretical appartus becomes available. For chronotopes not only merge space and time, they also imply questions about the subject's emergence, as they lead to study the various voices that can be heard in a text to form a potential polyphony. The Bakhtinina concept, provided it is backed up by a Peircean semiotics and enriched by Lacan's more recent developments, thus encompasses narratology as well as pragmatics, psychoanalysis as well as rhetoric. Now, Joseph Conrad proves so "chronotopic" a writer that a typology of his work can be based on a thorough location of his stories setting. Among these settings, Borneo stands out as the place Conrad never really left : from his first novel (Almayer's Folly, 1895) to the penultimate (published) one (The Rescue, 1920), he pays persistent visits to the island. A Bakhtinian approach could but shed light on such a recurring signifier, and therefore on Conrad's creativity

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7

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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8

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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9

Conrad, Dieter [Verfasser]. „Freiheitsrechte und Arbeitsverfassung. / Dieter Conrad“. Berlin : Duncker & Humblot, 2019. http://d-nb.info/1237891604/34.

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10

Conrad, Sebastian [Verfasser]. „Der sogenannte Justizverwaltungsakt. / Sebastian Conrad“. Berlin : Duncker & Humblot, 2011. http://d-nb.info/1238364357/34.

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11

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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12

West, Russell Brian. „Conrad and Gide : translation and intertextuality“. Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387504.

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13

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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14

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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15

Bell, John. „Telling tales : Conrad and narrative technique“. Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285346.

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This thesis seeks to suggest that prevailing critical approaches to Conrad's work serve to restrict interpretative possibilities rather than to free them. I argue that the segmenting methods of classical narratology have been carried over to Conradian criticism, but that these methods prove inadequate to the technical versatility of Conradian narrative. Furthermore, I suggest that these methods have sometimes been applied inflexibly, to the extent that some of Conrad's most technically original works have been condemned simply because they do not adhere to the narrative structures narratology privileges. I examine in detail Conrad's use, and critical responses to that use, of non-linear chronology, variable perspective, narrative levels, personalised narrators, fragmented narrative, binary thematics and the quintessentially Conradian technique delayed decoding. My illustrations are not drawn exclusively from Conrad's major works, but from wherever I find narrative originality. Consequently, as well as references to many of Conrad's minor works, there are extended discussions of focalisation in the short story 'The Partner', of narrative levels in 'The Tale', and of narrative multiplicity in The Nigger of the ·Narcissus~. My conclusion is that Conrad was a more technically inventive writer than has been recognised, and that that invention tends one way: away from the notion of a single truth hidden at the heart of a work, and towards an art recognising the limits of representation. Many of the techniques I discuss can be seen as provoking the reader to see differently: incommensurable presentations of the same events from different perspectives, multiple conflicting interpretations of characters, narrators whose unreliability is explicitly highlighted rather than implied, narrative mobility, covert plotting. I suggest that in addition to asking his readers to see differently, Conrad, in his most successful works, actually requires us to be otherwise as we read.

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16

Marques, Édi Vieira. „Conrad Hotel: uma experiência em hospitalidade“. Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29956.

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O presente relatório de estágio curricular intitulado de “Conrad Hotel: Uma Experiência em Hospitalidade” foi desenvolvido e apresentado tendo como meta a obtenção do grau de habilitação de mestre do curso de Mestrado em Turismo e Desenvolvimento de Destinos e Produtos, da Universidade de Évora. Decorre da oportunidade que o aluno teve em realizar um estágio curricular na unidade hoteleira Conrad Algarve que comercializa a marca da empresa multinacional Hilton Worldwide. A hospitalidade está inserida nas entidades hoteleiras, nos serviços, transportes ou produtos turísticos. Assim sendo, foi realizado um enquadramento teórico com o objetivo de analisar e proceder à caracterização da hospitalidade no mercado turístico, tal como o seu impacto e a sua evolução. Procedeu-se à caraterização detalhada da unidade de alojamento em que foi efetuado o estágio curricular, através da caraterização do tipo de serviço prestado e do seu relacionamento com os tipos de turismo da região, da comunicação interna e externa do hotel e, também, da toda a sua estrutura, funcionamento e prestação de serviços. Por último, realizou-se uma reflexão crítica e autocrítica, colocando em perspetiva a experiência na unidade de alojamento e uma análise, de forma sucinta, das atividades e competências desenvolvidos no estágio curricular. Existe, ainda, um breve apontamento das limitações sentidas durante a realização do estágio curricular e do presente relatório de estágio; Abstract: Conrad Hotel: An Hospitality Experience The present curricular internship report entitled “Conrad Hotel: An Experience in Hospitality” was developed and presented with the goal of obtaining a master's degree in the Master's course in Tourism and Development of Destinations and Products, from the University of Évora. It results from the opportunity that the student had to carry out a curricular internship at the Conrad Algarve hotel that sells the brand of the multinational company Hilton Worldwide. Hospitality is inserted in hotels, services, transport or tourist products. Therefore, a theoretical framework was carried out in order to analyze and characterize hospitality in the tourist market, as well as its impact and evolution. Was elaborated a detailed characterization of the accommodation unit in which the curricular internship was carried out, through the characterization of the type of service provided and its relationship with the types of tourism in the region, the hotel's internal and external communication and, also, its entire structure, operation, and service provision. Lastly, there was a critical and self-critical reflection, putting in perspective the experience in the accommodation unit and a succinct analysis of the activities and skills developed in the curricular internship. There is also a brief note of the limitations felt during the completion of the curricular internship and the elaborated internship report.

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17

Lepaludier, Laurent. „Ordres et désordres chez Joseph Conrad“. Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb375949057.

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18

Wald, Conrad [Verfasser]. „Wittgenstein and the Nonsense Predicament / Conrad Wald“. Bonn : Universitäts- und Landesbibliothek Bonn, 2016. http://d-nb.info/1109790481/34.

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19

Massie, Eric. „Stevenson, Conrad and the proto-modernist novel“. Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.

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This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.

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20

Day, Marisa. „Conrad Wise Chapman and the Mexican Landscape“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/228.

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This thesis focuses on several paintings of the Mexican landscape produced by Conrad Wise Chapman (1842 – 1910) and held by the Valentine Richmond History Center in Richmond, Virginia. Chapman lived in Mexico from 1865 to 1867 and from 1883 to 1908 (with a few short absences), and during this period, produced a large number of landscapes, which are the subject of this thesis and will be considered as an amalgamation of both nineteenth-century Mexican landscape painting and traveler-art. It is the purpose of this study to demonstrate that Chapman’s artistic style embodies both classical components of landscape painting and characteristics commonly associated with traveler-art. This investigation of Chapman’s Mexican oeuvre provides significant insight into a period of the artist’s career that has long been neglected, and it examines several works of art not yet considered by scholars.

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21

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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22

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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23

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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24

Sugars, Cynthia Conchita. „The letters of Conrad Aiken and Malcolm Lowry“. Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28178.

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The fascinating relationship between Conrad Aiken (1889-1973) and Malcolm Lowry (1909-1957) has formed the subject of a number of critical studies and fictional treatments. The study of this relationship is of value both for its biographical interest and literary significance, particularly in terms of the literary influence of one writer upon the other. Through Aiken and Lowry's entertaining and extremely articulate correspondence, one has access to what is possibly the most intimate view of this relationship available to date. Although a number of these letters have been previously published, often in incomplete form, In Selected Letters of Conrad Aiken ed. Joseph Killorin, and Selected Letters of Malcolm Lowry eds. Harvey Breit and Margerie Bonner Lowry, three-quarters of the letters have remained unpublished. This volume provides the first complete collection of Aiken and Lowry's correspondence. It comprises eighty-nine letters from the two writers, including photographs, poems, and drawings which they enclosed in their letters, written between 1929, the year when Lowry wrote his first letter of introduction to Aiken, and 1954. This collection contains the complete texts of all letters together with editorial notes and commentary. In addition, it provides textual notes outlining the changes made by each writer at the time of composition. These letters not only reveal the mutual admiration of Lowry and Aiken, and at times their jealousy of each other, but are literary works in their own right.
Arts, Faculty of
English, Department of
Graduate

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25

Weavis, Daniel. „Exploring literary impressionism : Conrad, Crane, James and Ford“. Thesis, University of Leicester, 2002. http://hdl.handle.net/2381/30276.

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As a literary category, 'impressionism' has only recently begun to receive regular critical attention. Where impressionism is firmly enshrined in Art History, the term has often been thought redundant in literary criticism. Several scholars have attempted to define and defend impressionism as a literary phenomenon, and while the present study seeks also to bolster its status emphasising how it constitutes a crucial moment in the development of modern literature it also scrutinises the deeper implications of the aesthetic. It is, in addition, the first comprehensive exploration of the literary relationship between the fictional work of the four central exponents of literary impressionism in the English language: Joseph Conrad, Stephen Crane, Ford Madox Ford, and Henry James. Chapter One traces and summarises the aesthetic and cultural origins of literary impressionism. Chapter Two presents a working definition of impressionism, and considers the problems surrounding any such attempt. Chapter Three explores the unique and complex interaction between author, text and reader in impressionist fiction, and observes the potential contradictions involved. The moral and political capacity and alignment of the impressionist aesthetic are the subject of Chapter Four. Chapter Five examines the representations of, and implications for, identity, while Chapter Six develops the more radical implications of the fifth: investigating the consequences, opportunities and dangers of heightened subjectivity. The Conclusion locates the position and status of impressionism in literary history, looking beyond its relationship with modernism to anticipations of the theories and practices of our own time.

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26

Cigdem, Turasan Ferruh. „Othering And Hybridity In Joseph Conrad&#039“. Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615593/index.pdf.

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This thesis studies Joseph Conrad&rsquo
s 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.

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27

Conrad, Rachel [Verfasser]. „Trafficking of voltage-activated calcium channels / Rachel Conrad“. Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2017. http://d-nb.info/1136717919/34.

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28

Lurk, Tabea [Verfasser]. „Tony Conrad : Video – und darüber hinaus / Tabea Lurk“. Bern : Peter Lang AG, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/1144802458/34.

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29

Smith, Jeremy Mark. „Conviction in the everyday : Joseph Conrad and skepticism“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59889.

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Heart of Darkness, Chance, and Lord Jim can be described as philosophical works if considered in light of "ordinary language" philosophy. Conrad wrestled with skepticism much as Wittgenstein later would, but his struggle with the "bewitchment" of skeptical thinking took a narratival form. His champion was Marlow, raconteur of the three novels, who recurrently loses and recovers his words and his capacity to tell (to judge, to narrate). In these works the Marlovian investigation of human convention, linguistic and otherwise, is shown to be a necessary but perilous task. The possibility that we may be dissatisfied with the ordinary or transcendental conditions of living is dramatized in all three novels, often (but not only) by threats to marriage. Heart of Darkness demonstrates the loss of linguistic attunement that may follow upon taking human relation to be a problem of knowledge, and links this to Kurtz's world-devouring repudiation of the ordinary. Chance explores in melodramatic form the "germ of destruction at the source of our strength", and unmasks men's denial of women as one face of skepticism. Lord Jim presents skepticism, Romanticism, and fantasy as different versions of ontological dissatisfaction, and shows how a return to the ordinary requires a practice of reading and remembering (our words).

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30

Lepaludier, Laurent. „Ordres et désordres dans l'oeuvre de Joseph Conrad“. Limoges, 1985. http://www.theses.fr/1985LIMO2001.

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31

Warodell, Johan. „Distracted by detail : Joseph Conrad, margins and marginalia“. Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/83587/.

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Cheng, Yuan-Jung. „Madness and fiction in Conrad, Woolf, and Lessing /“. Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/6695.

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33

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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34

Martin, Sylvia. „Das Unbestimmte in den informellen Werken Conrad Westpfahls... /“. Köln : Universität zu Köln, 1997. http://catalogue.bnf.fr/ark:/12148/cb37048726q.

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35

Baang, Kyung-Sook. „Conrad, Flaubert et Maupassant influence et pratique littéraire /“. Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376080636.

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36

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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37

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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39

Köllermann, Antje-Fee. „Conrad Laib : ein spätgotischer Maler aus Schwaben in Salzburg /“. Berlin : Deutscher Verlag für Kunstwissenschaft, 2007. http://catalogue.bnf.fr/ark:/12148/cb41293019z.

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40

Turner, Jennifer Christine. „Conrad, Freud and the 'Female Spectre' : a comparative analysis of women in the life and works of Joseph Conrad and Sigmund Freud“. Thesis, University of Hull, 2004. http://hydra.hull.ac.uk/resources/hull:11251.

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41

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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42

Conrad, Ines [Verfasser]. „Einfluss von Erwerbslosigkeit auf Lebensqualität im Alter / Ines Conrad“. Aachen : Shaker, 2009. http://d-nb.info/1126378747/34.

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43

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.

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Conrad, François [Verfasser]. „Variation durch Sprachkontakt : Lautliche Dubletten im Luxemburgischen / François Conrad“. Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1142096955/34.

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45

Reilly, James Dominic. „History and representation in George Eliot, Hardy and Conrad“. Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240043.

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46

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 texte
The limits of the + narrative voice ; causes conrad, judging from the way he portrays his narrators, to have recourse to + looking ;. He aims, in so doing, at supporting a voice frought with instability, indecision, fears and doubts of all sorts, due to the + demise of god ;. The necessity to recover a new unity through art urges the author to blend + voice and looking ; into a common block, whose structure pervades the different layers of the text. In granting pre-eminence to these two components on both the narrative and diegetic levels, conrad highlights their importance as repositories of truth and knowledge. Yet, a close scrutiny at the displayed unity shows how inefficient these two epistemological tools are, when it comes to penetrating the substance or truth of things and people. They both appear as hopeless instruments, whose findings do not exceed mere impressions, scraps of information, too insignificant to cast a holistic vision on the things, events and characters described. The incapacity to grasp the truth in its fullness is testimony to the + death of authority ;, religious and metaphysical as well as artistic. It reveals the end of dogmas and hegemony, which gives vent to the expression of multiplicity, discontinuity and fragmentation. Truth dissiminates into a myriad of truths and knowledge becomes in turn plural and fragmentary. Consequently, the authority the novelist invests his texts with escapes the author to become the realm of the reader. In this radical transformation where the whole edifice shows signs of irremediable fragmentation, the reader turns out to be the only valid authority , whose creative reading is likely to (re)construct a possible unity by means of fragments, thanks to his imagination. This seems to be the main intention of conrad's fiction which, in granting a central position to the reader, marks a significant shift of perspective and interest

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Boudinaud, Magali. „Figures de diplomates dans l'oeuvre de Conrad Ferdinand Meyer“. Aix-Marseille 1, 1998. http://www.theses.fr/1999AIX10065.

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Cette these a pour objet l'etude des personnages de diplomates dans l'oeuvre de l'ecrivain helvetique conrad ferdinand meyer (1825-1898). Il s'agit, au moyen d'une approche historique et linguistique, de determiner dans quelle mesure ces diplomates sont conformes a leurs modeles historiques et sont capables d'agir sur leur environnement et de manipuler autrui. Il est necessaire de s'appuyer aussibien sur une recherche historique que sur une etude linguistique et comportementale des personnages de diplomates. En effet, l'outil principal de ces acteurs de l'histoire est le langage, qu'ils manient en virtuoses, montrant des competences qui se rapprochent de celles de l'ecrivain. Une certaine mise en scene leur est necessaire pour parvenir a leurs fins, ainsi qu'un certain cynisme. Tout ces artifices impliquent qu'ils s'avancent masques, et ont peine, parfois, a definir leur propre identite. Cet aspect proteiforme et problematique du diplomate explique la place centrale qu'il occupe dans l'oeuvre de c. F. Meyer, auteur qui connut lui-meme de graves problemes psychologiques et douta sans cesse de sa propre valeur.

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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 troublee
The 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

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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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50

Conrad, Annegret [Verfasser]. „Ein verhängnisvolles Zusammenspiel : Misslungene Psychotherapie aus Klientensicht / Annegret Conrad“. Berlin : Freie Universität Berlin, 2010. http://d-nb.info/1027814166/34.

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