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1
Nakai, Asako. "Conrad's inheritors : colonial and postcolonial literatures." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308867.
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Teng, Hong-Shu. "Joseph Conrad and conspiracy." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313431.
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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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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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Stedall, Ellie. "Herman Melville, Joseph Conrad and transatlantic sea literature, 1797-1924." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648378.
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Alexander, Martin John. "Foreshadowing the postcolonial : representations of masculinity in the works of Joseph Conrad /." Thesis, Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18685407.
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Jones, Susan. "Representation and identity : women and the work of Joseph Conrad (1857-1924)." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318964.
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Panagopoulos, Nikolaos. "Between Schopenhauer and Nietzsche : a study of five novels by Joseph Conrad." Thesis, Royal Holloway, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284742.
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Morfoot, Liz. "Development of narrative structure and theme the early work of Joseph Conrad." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.237498.
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10
Marcus, Miriam. "Configurations of imperialism and their displacements in the novels of Joseph Conrad." Thesis, Queen Mary, University of London, 1998. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1665.
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This thesis examines certain configurations of imperialism and their displacements in the novels of Joseph Conrad beginning from the premise that imperialism is rationalised through a dualistic model of self/"other" and functions as a hierarchy of domination/subordination. In chapters one and two it argues that both Heart of Darkness and Lord Jim configure this model of imperialism as a split between Europe/not-Europe. The third and fourth chapters consider displacements of this model: onto a split within Europe and an act of "internal" imperialism in Under Western Eyes and onto unequal gender relations in the public and private spheres in Chance. Each chapter provides a reading of the selected novel in relation to one or more contemporary (or near contemporary) primary source and analyses these texts using various strands of cultural theory. Chapter one, on Heart of Darkness, investigates the historical background to British imperialism by focusing on the textual production of history in a variety of written forms which comprise the diary, travel writing, government report, fiction. It considers how versions of (imperial) history/knowledge are constructed through the writing up of experience. In chapter two, on Lord Jim, the hero figure is analysed as a product of the imperial ideology and the protagonist's failure is explored through the application of evolutionary theory. Chapters three and four, on Under Western Eyes and Chance, investigate displacements of the imperial model: the failure of an "enlightened" Western Europe to challenge Russian imperialism in Poland forms the basis for reading Under Western Eyes with Rousseau's writings and a nineteenth-century history of the French Revolution. Chance presents a further displacement of this model in its relocation of imperialist imperatives in the sexual/gender inequalities practised in the "mother" country.
11
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.
12
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.
13
Attridge, John. "Impressionism and professionalism Joseph Conrad, Ford Madox Ford, and the performance of authorship /." Connect to full text, 2006. http://hdl.handle.net/2123/5825.
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Thesis (Ph. D.)--University of Sydney, 2007.Title from title screen (viewed 28 January 2010). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.
14
Doherty, Helen. "The motif of initiation in selected works by Joseph Conrad." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002263.
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This thesis explores the archetypal theme of initiation in selected texts by Joseph Conrad. The Introduction first surveys critical attention to initiatory motifs in Conrad with the objective of demonstrating the need for an approach to the topic informed by a more formal and theorized understanding of initiation. It then offers a prima facie case for the centrality of the idea of initiation in Conrad's oeuvre, based on references culled from a range of the author's writings. Chapter One seeks to contextualise initiation by providing a history of anthropological research into and theorisations of the rite, proceeding to a description of its typical structure and functions. A detailed account is given of the most widely accepted model of initiation, Arnold van Gennep's tripartite schema. Moving on to Conrad's writing, Chapter Two draws on both his fiction and more personal writings in order to provide a provisional account of the writer's own understanding of initiation and its importance, and to offer some explanation of why Conrad should have been prompted to accord the motif such prominence in his work. Conrad's presentation and (impliedly) his understanding of initiation was never entirely consistent and underwent some change in the course of his writing career. The critical assessment of "Typhoon" in Chapter Three depicts Conrad's more optimistic conception of initiation as a rite benefitting both society, by promoting solidarity, and the individual, by advancing self-knowledge. Chapter Four introduces, via analyses of the novellas "Youth" and "The Shadow Line", that variation on the motif of initiation which is more typical of its manifestation in Conrad: the failure of individuals to complete their cycles of initiation. Chapter Five identifies those characteristics of initiation which appear to be determinative in the representations of incomplete initiation in Conrad's work. Initiation seems to play out approximately seven paradoxes; the impact of some of these is examined through analysis of the initiatory ordeals of the main protagonists in The Secret Agent. Integral to this discussion is an attempt to demonstrate the vital role which initiation plays in the healthy maintenance not only of social order but also of faith and life itself. The Conclusion summarises the more important findings of the study and indicates some directions for further, related research.
15
Bagnall, Peter Mark. "Joseph Conrad and Jack the Ripper, or 'The unfortunate alias of Martin Ricardo'." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270887.
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Newbrook, Carl John. "The workman of art : an historical account of the career of Joseph Conrad." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315990.
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17
Bohlmann, Otto. "An exploration of major existential elements in the principal novels of Joseph Conrad." Doctoral thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/23074.
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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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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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20
Park, Jong-Seong. "An exploration of the outsider's role in selected works by Joseph Conrad, Malcolm Lowry, V.S. Naipaul." Thesis, Queen Mary, University of London, 1996. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1578.
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This thesis explores ways in which the outsider questions rather than confirms dominant cultural values whilst avoiding the crudity of overt politicisation. I argue that the outsider's preference for an observer's stance is not so much an act which denies responsibility to the world of his day, but rather a means of reassessing its priorities. In Section One, I discuss Conrad's role as an outsider in the age of Empires. I demonstrate the ways in which Conrad employs narrators, frequently using strategies of irony which can be and have been read in very different ways. I argue that Conrad uses irony as a tool for condemnation rather than condonement of imperialist practice, if not its ideology. In Section Two, I discuss Lowry as an emigre from England (so contrasting him with Conrad, the immigrant from Europe), and examine his dissenting voice which opposes bourgeois prejudice against the working class, a totalising ideology like Fascism, and a Western rationalism which sees too rigid a distinction between sanity and madness. I demonstrate how Lowry as an outsider reacts to the age of twentieth century World Wars. In Section Three, I discuss Naipaul's role as an outsider in the age of decolonisation, when bogus liberals and false redeemers fail to rebuild the newly independent post-colonial states. As in Conrad's case, I show how a failure to read Naipaul's ironic tone of voice has given rise to radically divergent views as to what he is about. I also link Conrad and Naipaul through their cultural negotiation between the 'centre' and its peripheries. By looking at these three writers in chronological order and offering a comparative perspective on their work, I highlight the outsider's disturbing, yet illuminating role within a historical context. I also draw attention to creative tensions between artistic concerns and a serious political purpose. I assess the outsider as observer and man of conscience rather than as a` mere onlooker. I conclude that the outsider also fulfils a social obligation by promoting critical awareness on the reader's side by means of his defamiliarising perspective.
21
Sudbery, Rodie. "Stormie seas : a study of the part played by suicide in the life and work of Joseph Conrad." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313635.
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Massie, Eric. "Stevenson, Conrad and the proto-modernist novel." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/21610.
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This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
23
Griffith, John Wylie. "Degeneration, atavism, survival, and regeneration : anthropological and zoological doctrines in some works of Joseph Conrad, H.G. Wells and D.H. Lawrence." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316801.
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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.
25
Joyce, Beverly Rose. "An analysis of "The Real," as reflected in Conrad's Heart of darkness." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232244552.
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Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on Apr. 20, 2009). Includes bibliographical references (p. 109-110). Available online via the OhioLINK ETD Center. Also available in print.
26
Boney, Kristy Rickards. "Mapping topographies in the anglo and German narratives of Joseph Conrad, Anna Seghers, James Joyce, and Uwe Johnson." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1164813302.
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Vinson, Haili Ann. "The Time Machine and Heart of Darkness: H.G. Wells, Joseph Conrad, and the fin de siecle." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3396.
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Much work has been done on the relationship between fin de siècle authors H.G. Wells, Joseph Conrad, Henry James, Stephen Crane, and Ford Madox Ford. As Nicholas Delbanco explains, these writers lived closely to one another in Kent during the transition into the Twentieth Century. While scholars have stressed the collaboration between Conrad and Ford and the disagreements between Wells and James, fewer have treated the relationship of Wells and Conrad. Their most widely read works, The Time Machine and Heart of Darkness, share remarkable similarities that reveal common topical influences on both writers. Furthermore, I argue that Wells and his novella influenced some aspects of Conrad's most popular text.
From a historical contextual approach, I examine the relationship between the two authors, several themes shared by the two works, and their balance between social criticism and aesthetic responses. The novels feature a movement through time and space, a divided humanity, and cannibalism. The Time Machine critiques England's socioeconomic circumstances and the Social Darwinist belief in progress, while Heart of Darkness depicts the Belgian Congo under the merciless King Leopold II. Wells and Conrad rejected the artistic labels of impressionism and aestheticism, though their novels fulfill many aims of these movements. An understanding of the Wells-Conrad friendship and fin de siècle society opens each text to interpretations from diverse areas of criticism and is key in identifying the most important elements of the novels.
28
Henderson, Cynthia Joy. "Winnie Verloc and Heroism in The Secret Agent." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500940/.
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Winnie Verloc's role in "The Secret Agent" has received little initial critical attention. However, this character emerges as Conrad's hero in this novel because she is an exception to what afflicts the other characters: institutionalism. In the first chapter, I discuss the effect of institutions on the characters in the novel as well as on London, and how both the characters and the city lack hope and humanity. Chapter II is an analysis of Winnie's character, concentrating on her philosophy that "life doesn't stand much looking into," and how this view, coupled with her disturbing experience of having looked into the "abyss," makes Winnie heroic in her affirmative existentialism. Chapters III and IV broaden the focus, comparing Winnie to Conrad's other protagonists and to his other female characters.
29
Ying, Pui-sze Rosa. "Rationality and irrationality in modernist writing." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161367.
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Wey, Shyh-chyi. "A rhetorical analysis of Joseph Conrad's Heart of darkness." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/923.
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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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Bulut, Bilge. "Betrayal In Under Western Eyes By Joseph Conrad, The Painted Veil By Somerset Maugham, And Bir Dugun Gecesi By Adalet Agaoglu." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/2/12611311/index.pdf.
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This study examines the theme of betrayal in three different literary works.Betrayal is seen in different forms in the three novels. In the first chapter of the thesis, the protagonist&rsquos betrayal to his friend in the English writer Joseph Conrad&rsquo
s Under Western Eyes is evaluated in terms of the reasons, process, and results. Psychological analysis of the character that betrays is made. In the second chapter adultery is examined in The Painted Veil by Somerset Maugham, who is another English writer. The reasons for the adultery the woman commits, her guilty conscience after the adultery, and the enlightenment process are discussed. In the third chapter, two characters&rsquo
betrayal to their ideology is examined with the background set as Turkey in the 1970s in Bir Dü
gü
n Gecesi by Adalet Agaoglu, who is a Turkish writer. Psychological status of the characters is studied based on their feelings at a wedding night with their reasons to have deviated from their political views.Themes such as lack of love and dilemma, which collect the three novels under the same title, are particularly examined.
33
Cook, Corina K. "Hollow at the core apocalyptic visions in Joseph Conrad's Heart of darkness and T.S. Eliot's The waste land /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2002. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2002.Source: Masters Abstracts International, Volume: 45-06, page: 2842. Typescript. Abstract precedes thesis as preliminary leaves 1-2. Includes bibliographical references (leaves 81-86).
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Stott, Rebecca Kathleen. "The kiss of death : a demystification of the late-nineteenth century 'femme fatale' in the works of Bram Stoker, Rider Haggard, Joseph Conrad and Thomas Hardy." Thesis, University of York, 1989. http://etheses.whiterose.ac.uk/4267/.
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The thesis takes its beginnings from the work of Mario Praz, The Romantic Agony and from Michel Foucault's The History of Sexuality, Vol. 1. Praz has argued that the construction of the 'femme fatale' as a recognizable type is a phenomenon of the late nineteenth century. Foucault proposes that the nineteenth century is characterised not by a repression of sexual discourses but by a multiplication of centres from which such discourses are produced. The thesis places the 'femme fatale' in the socio-historical context of the 90s and searches both for the plurality of discourses mobilised to define her, and for her presence in other non-literary discourses of the period such as those of evolutionary theory, craniology, criminology and imperialist discourses. It locates this figure in a wide range of contexts: late nineteenth-century debates about female sexuality, biological determinism, theories of decadence and degeneration, invasion anxieties and the censorship debate. It juxtaposes two 'popular' novelists (Stoker and Haggard) with two 'major' novelists (Conrad and Hardy) to demonstrate that the particular discourses mobilised to describe the 'femme fatale' are to be found in works of differing literary 'quality' and in different literary genres. Chapter One examines the representation of the female vampires in Bram Stoker's Dracula in the context of Foucauldian theory about the production of sexual discourses in medicine and science in this period. These 'sexualised' women are contagious and must be annihilated. Chapter No explores the conflation of sexual and imperialist discourses in Rider Haggard's adventure fiction, particularly in She and King Solomon's Mines. Ayesha is an invading sexual being and FET- 'death in the flames can be seen as a 'devolution' into a 'monkey woman': an unveiling. This chapter also examines the other female 'missing links' of Haggard's fiction. Chapter Three continues the exploration of sexual and imperialist discourses, here in the early novels of Conrad: Almayer's Folly and An Outcast of the Islands, in particular. It explores the way in which Conrad's native women merge into jungle landscapes and into twilight; they signify the threatening 'otherness' of the jungle and of language. This chapter concludes with an examination of Winnie Verloc of the Secret Agent as female murderess and as 'free woman'. Chapter Four focuses on Hardy's Tess as victim and as murderess. It proposes a reading of Tess of the d'Urbervilles as a response to the enforced censorship of the text (Tess) expressed via the moral censure and execution of Tess. A short theoretical Afterword draws on feminist theory and Derridean analysis of phallocentrism to propose that the 'femme fatale' of this period is a sign signifying a multiple or conflated 'otherness': a multiplicity of cultural anxieties.
35
Chan, Lit-chung. "Sherlock Holmes, The secret agent, and ideas of justice." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31643462.
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McIntyre, John 1966. "Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and Woolf." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38232.
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This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected.I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.
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Elewa, Salah Ahmed. "In search of the other/self : colonial and postcolonial narratives and identities /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262130.
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Pieterse, Annel. "Islands under threat : heterotopia and the disintegration of the ideal in Joseph Conrad's Heart of darkness, Antjie Krog's Country of my skull and Irvan Welsh's Marabou stork nightmares." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50382.
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Thesis (MA)--Stellenbosch University, 2005.ENGLISH ABSTRACT: The stories and histories of the human race are littered with the remnants of utopia. These utopias always exist in some "far away" place, whether this place be removed in terms of time (either as a nostalgically remembered past, or an idealistically projected future), or in terms of space (as a place that one must arrive at). In our attempts to attain these utopias, we construct our worlddefinitions in accordance with our projections of these ideal places and ways of "being". Our discourses come to embody and perpetuate these ideals, which are maintained by excluding any definitions of the world that run counter to these ideals. The continued existence of utopia relies on the subjects of that utopia continuing their belief in its ideals, and not questioning its construction. Counter-discourse to utopia manifests in the same space as the original utopia and gives rise to questions that threaten the stability of the ideal. Questions challenge belief, and therefore the discourse of the ideal must neutralise those who question and challenge it. This process of neutralisation requires that more definitions be constructed within utopian discourse - definitions that allow the subjects of the discourse to objectify the questioner. However, as these new definitions arise, they create yet more counter-definitions, thereby increasing the fragmentation of the aforementioned space. A subject of any "dominant" discourse, removed from that discourse, is exposed to the questions inherent in counter-discourse. In such circumstances, the definitions of the questioner - the "other" - that have previously enabled the subject to disregard the questioner's existence and/or point of view are no longer reinforced, and the subject begins to question those definitions. Once this questioning process starts, the utopia of the subject is re-defined as dystopia, for the questioning highlights the (often violent) methods of exclusion needed to maintain that utopia. Foucault's theory of heterotopia, used as the basis for the analysis of the three texts in question, suggests a space in which several conflicting and contradictory discourses which seemingly bear no relation to each other are found grouped together. Whereas utopia sustains myth in discourse, running with the grain of language, heterotopias run against the grain, undermining the order that we create through language, because they destroy the syntax that holds words and things together. The narrators in the three texts dealt with are all subjects of dominant discourses sustained by exclusive definitions and informed by ideals that require this exclusion in order to exist. Displaced into spaces that subvert the definitions within their discourses, the narrators experience a sense of "madness", resulting from the disintegration of their perception of "order". However, through embracing and perpetuating that which challenged their established sense of identity, the narrators can regain their sense of agency, and so their narratives become vehicles for the reconstitution of the subject-status of the narrators, as well as a means of perpetuating the counter-discourse.
AFRIKAANSE OPSOMMING: Utopias spikkel die landskap van menseheugenis as plekke in "lank lank gelede" of "eendag", in "n land baie ver van hier", en is dus altyd verwyderd van die huidige, óf in ruimte, óf in tyd. In ons strewe na die ideale, skep ons definisies van die wêreld wat in voeling is met hierdie idealistiese plekke en bestaanswyses. Sulke definisies sypel deur die diskoers, of taal, waarmee ons ons omgewing beskryf. Die ideale wat dan in die diskoers omvat word, word onderhou deur die uitsluiting van enige definisie wat teenstrydig is met dié in die idealistiese diskoers. Die volgehoue bestaan van utopie berus daarop dat die subjekte van daardie utopie voortdurend glo in die ideale voorgehou in en onderhou deur die diskoers, en dus nie die diskoers se konstruksie bevraagteken nie. Die manifestering van teen-diskoers in dieselfde ruimte as die utopie, gee aanleiding tot vrae wat die bestaan van die ideaal bedreig omdat geloof in die ideaal noodsaaklik is vir die ideaal se voortbestaan. Aangesien bevraagtekening dikwels geloof uitdaag en ontwrig, lei dit daartoe dat die diskoers wat die ideaal onderhou, diegene wat dit bevraagteken, neutraliseer. Hierdie neutraliseringsproses behels die vorming van nog definisies binne die diskoers wat die vraagsteller objektiveer. Die vorming van nuwe definisies loop op sy beurt uit op die vorming van teen-definisies wat bloot verdere verbrokkeling van die voorgenoemde ruimte veroorsaak. "n Subjek van die "dominante" diskoers van die utopie wat hom- /haarself buite die spergebiede van sy/haar diskoers bevind, word blootgestel aan vrae wat in teen-diskoers omvat word. In sulke omstandighede is die subjek verwyder van die versterking van daardie definisies wat die vraagsteller - die "ander" - se opinies of bestaan as nietig voorgestel het, en die subjek mag dan hierdie definisies bevraagteken. Sodra hierdie proses begin, vind "n herdefinisie van ruimte plaas, en utopie word distopie soos die vrae (soms geweldadige) uitsluitingsmetodes wat die onderhoud van die ideaal behels, aan die lig bring en, in sommige gevalle, aan die kaak stel. Hierdie tesis gebruik Foucault se teorie van "heterotopia" om die drie tekste te analiseer. Dié teorie veronderstel "n ruimte waarin die oorvleueling van verskeie teenstrydighede (diskoerse) plaasvind. Waar utopie die bestaan van fabels en diskoerse akkommodeer, ondermyn heterotopia die orde wat ons deur taal en definisie skep omdat dit die sintaks vernietig wat woorde aan konsepte koppel. Die drie vertellers is elkeen "n subjek van "n "dominante diskoers" wat onderhou word deur uitsluitende definisies in "n utopia waar die voortgesette bestaan van die ideale wat in die diskoers omvat word op eksklusiwiteit staatmaak. Omdat die vertellers verplaas is na ruimtes wat hulle eksklusiewe definisies omverwerp, vind hulle dat hulle aan "n soort waansin grens wat veroorsaak is deur die verbrokkeling van hul sin van "orde". Deur die teen-diskoers in hul stories in te bou as verteltaal, of te implementeer as die meganisme van oordrag, kan die vertellers hul "selfsin" herwin. Deur vertelling hervestig die vertellers dus hul status as subjek, en verseker hulle hul plek in die opkomende diskoers deur middel van hulle voortsetting daarvan.
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Jakani, Yasmine. "Résurgences dostoïevskiennes dans "Lord Jim" de Conrad, "La Chute" de Camus et "Le Maître de Pétersbourg" de Coetzee : la figure de l'errant." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20093/document.
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Joseph Conrad, Albert Camus et John-Maxwell Coetzee s’intéressent au travers de leurs romans au thème de l’errance. C’est plus particulièrement la figure de l’errant confronté aux paradoxes de l’altérité et de la culpabilité que nous nous proposons ici de mettre en évidence. Avant eux, Dostoievski instaure, avec la figure de Raskolnikov, le schisme puissant de la conscience tourmentée qui se met en errance. Il s’agit, en prenant comme point de départ Crime et châtiment, d’interpeller, d’interroger et de heurter les uns contre les autres des textes où les figures de l’errance entreprennent la paradoxale et laborieuse quête de l’identité. Lord Jim, La Chute et Le Maître de Pétersbourg permettent d’identifier la nature des interactions qui unissent, au travers du prisme raskolnikovien, culpabilité et souffrance, autarcie et rôle social. Au-delà, il s’agit de ramener le questionnement identitaire à ce socle commun qu’est celui du chemin de l’errance au sein de romans du XXe siècle. A travers l’analyse de ces romans, cette thèse se propose donc de montrer comment l’évolution de la figure de l’errant renverse les paradigmes traditionnels liés au mécanisme salut-souffrance et comment elle permet à un nouveau nihilisme de voir le jourJoseph Conrad, Albert Camus and John-Maxwell Coetzee take an interest in the theme of wandering through their novels. Especially, confronting the figure of the wanderer with the paradoxes of alterity and guilt is what we offer to highlight. Before them, Fyodor Dostoevsky establishes with the figure of Raskolnikov the powerful tormented conscience’s schism about to wander. Taking as a starting point Crime and punishment, it is about calling out, questioning and bringing the texts face to face where the wandering figures undertake the paradoxical and laborious identity quest. Lord Jim, The Fall and The Master of Petersburg allow to identify the nature of interactions that bond guilt and suffering, autarky and social role through the raskolnikovian prism. Beyond that, it is about bringing back the identitary questioning to the common base of the wandering way in the 20th century novels. Through the analysis of these novels, this PhD offers to show how the evolution of the wanderer’s figure inverts the traditional paradigms linked to the salvation-suffering mechanism, and how it allows a new nihilism to see the light of the day
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Vasic, Alexandra. "L'oeuvre de Louis Guilloux : le romanesque en jeu." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA026.
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Romancier reconnu de son vivant, Louis Guilloux n’a néanmoins pas accédé au statut de grand écrivain. Nous voudrions mettre ici en valeur la diversité des formes littéraires exploitées par le romancier, en proposant un parcours générique et diachronique de son œuvre, à partir du Sang noir. L’approche poétique de ses récits sera ancrée dans l’histoire des idées et des représentations. Nous souhaiterions également éclairer les choix esthétiques de Louis Guilloux par les stratégies de positionnement qu’il a adoptées pour renforcer sa place dans le champ littéraire. Nous nous appuierons sur des documents d’archives pour mieux comprendre le geste littéraire de l’écrivain et sa conception du roman. Louis Guilloux s’est distingué par Le Sang noir avec lequel il a renouvelé l’horizon d’attente de la littérature de guerre. Il n’a cessé par la suite d’interroger les rapports entre la fiction et l’Histoire, en problématisant leurs frontières et en s’essayant à des genres en marge du roman, le témoignage et le reportage. Néanmoins, à partir des années cinquante, son œuvre et sa carrière prennent un nouveau tournant. Alors qu’il entre dans une phase de consécration, il aspire à renouveler fondamentalement son art. Les modalités de son engagement politique changent également : il soutient la diffusion de la culture. Louis Guilloux rompt avec son univers romanesque et se réapproprie les codes de la littérature d’évasion. Il s’engage par ailleurs dans un ultime projet autobiographique dans lequel il propose une dernière variation romanesque de son parcours. L’œuvre de Louis Guilloux illustre ainsi une exploration foisonnante du genre romanesque. Elle recouvre également de nombreuses tensions qu’il s’agira d’éclairerAlthough Louis Guilloux was a recognized novelist in his lifetime, he was never considered as a major writer. The purpose of my thesis is to emphasize the diversity of the literary forms he used and to offer a generic as well as a diachronic reading of his work, starting from Le Sang noir. The poetical approach to his narratives will be grounded in the history of ideas and representations. Guilloux’s aesthetic choices will also be discussed in the light of the positioning strategies he adopted to carve out a place for himself in the literary world. Archival documents will be a starting point for a better understanding of the writers’s literary achievements and his conception of the novel. Louis Guilloux became famous for Le Sang noir, which created new expectations for war literature. Subsequently, he ceaselessly explored the link between fiction and history, looking at their dividing line and trying his hand at accounts and reports, two genres close to the novel. However, in the 1950s, he came to a turning point both in his career and his work. Even as he was consecrated as a writer, he became eager to renew his art completely. His political commitment also changed in its form as he now supported the diffusion of culture. Guilloux broke away from the world of his novels and appropriated the codes of escapist literature. Moreover he launched into his last autobiographical attempt, in which he offered one ultimate novelistic variation on his progress. Louis Guilloux’s work thus exemplifies a rich exploration of the novel as a genre. It is also fraught with numerous tensions that will have to be clarified
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Geisler, Oliver. "Areale der Tat." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-97332.
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Ausgehend von dem vielfach formulierten Befund, dass körperliche Gewalt ein dem Erzählen widerständiges Ereignis ist, untersucht die Arbeit Romane, in denen mittels erzählter Räume dem Ereignis der Gewalt dennoch eine literarische Mitteilung abgerungen wird. Romane von Jospeh Conrad, Edlef Köppen, Imre Kertész und Norbert Gstrein werden dahingehend befragt, wie "Areale der Tat" erzählt werden und wie dadurch - gerade in seiner Entzogenheit und Unzugänglichkeit - ein Ereignis der Gewalt lesbar wird.
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Connolly, Matthew C. "Reading as Forgetting: Sympathetic Transport and the Victorian Literary Marketplace." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531503253619764.
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Mathews, Alice McWhirter. "The Path to Paradox: The Effects of the Falls in Milton's "Paradise Lost" and Conrad's "Lord Jim"." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc332146/.
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This study arranges symptoms of polarity into a causal sequence# beginning with the origin of contrarieties and ending with the ultimate effect. The origin is considered as the fall of man, denoting both a mythic concept and a specific act of betrayal. This study argues that a sense of separateness precedes the fall or act of separation; the act of separation produces various kinds of fragmentation; and the fragments are reunited through paradox. Therefore, a causal relationship exists between the "fall" motif and the concept of paradox.
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Ludtke, Laura Elizabeth. "The lightscape of literary London, 1880-1950." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:99e199bf-6a17-4635-bfbf-0f38a02c6319.
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From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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Singh, Taramattie M. "Joseph Conrad's ironic use of racism /." 2004. http://www.consuls.org/record=b27083317.
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Thesis (M.A.)--Central Connecticut State University, 2004.Thesis advisor: Melissa Mentzer. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 62-68). Also available via the World Wide Web.
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KIRCHNER, RENATE EDELTRUD. "THOMAS MANN, "DER TOD IN VENEDIG" AND JOSEPH CONRAD, "HEART OF DARKNESS": A COMPARISON. (GERMAN TEXT)." Thesis, 1985. http://hdl.handle.net/1911/13143.
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Soane, Berverley-Anne. "The centrifugal discourse of myth : women and the 'saving illusion' in selected works of Joseph Conrad." Thesis, 1997. http://hdl.handle.net/10530/533.
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Submitted in partial fulfillment for the requirements of the Degree of Doctor of Philosophy in the Department of English in the Faculty of Arts at the University of Zululand, 1997.The primary aim of this thesis is to demonstrate that the women characters in Joseph Conrad's works function in the narratives to present a 'saving illusion' which is in contrast to masculine existential despair. The women characters are characterised by 'being' not 'becoming'. They are also frequently associated with that which is stable because it is fixed, and with notions of courage, faith and fidelity. These notions constitute the 'saving illusion' for male characters who are threatened with moral collapse when illusions fail. The representation of the women characters as 'saving illusion' arises from a mythology of 'woman' which inheres in masculine imagination. In the terms of myth theory, Conrad's women characters can be said to offer the male characters the life-affirming possibilities that traditional myth does. The representation of the women characters as myth functions as a competing discourse with that of authoritative masculine discourse. The women characters' discourse is thus centrifugal in that it resists the centripetal, unitary discourse of male characters, and demonstrates that narratives are essentially heteroglossic rather than monoglossic. Women's discourse can either comply with or resist the way they are defined by male characters. Depicted as silent, passive and iconic, the women characters are also frequently attributed with unwavering commitment and fidelity. However their discourse seeks to resist such constructions. Mythologising women renders them 'other', and the underlying suspicion and awe that leads to their mythologising renders them objects in the relationships of knowledge and power. Women characters have their existence in patriarchal structures which bear a resemblance to colonial structures. Mythologised women are similar to colonised 'other' in that both serve to demarcate the space of the coloniser. Like the colonised subject, women are frequently associated with 'chthonian' forces of nature which the coloniser regards as threatening, uncontrollable and in need of taming. As mythologised, colonised 'objects', the women characters are in a state of ontological arrest; hence they do not participate in an exchange of knowledge because they are symbolised by it. A study of the women characters in the novels will reveal that they play significant roles in the mythologies of male characters, providing a 'sustaining illusion' which counters masculine disillusionment.
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Engley, Robert Christian. "Idol fantasies: toward an ethics of image-making in Wilde, Conrad, and Hitchcock." Thesis, 2018. https://hdl.handle.net/2144/33250.
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This dissertation examines the motif of idolatry in the work of two modernist authors, Oscar Wilde and Joseph Conrad, and one modernist filmmaker, Alfred Hitchcock. The idols in these texts serve a contradictory role, signifying both increasing commodification under capitalism and an attempt to formulate a new ethics of image-making in response to this global transition.
Chapter 1 analyzes Wilde’s play Salomé. Attending to the original French and to biblical allusion, I demonstrate that the text’s key generative trope is idolatry, which occupies a position both sacred and profane. The play superimposes two moments of historical rupture, positing Salomé as the embodiment of a new artistic potential of idolatry under monopoly capitalism. Chapter 2 analyzes Conrad’s early fiction, particularly The Nigger of the “Narcissus,” “The Return,” “Karain,” and Nostromo. I track a three-stage development in Conrad’s representations of idols, whereby the idol is associated with utopian fantasy, false ideals, and the artistic process. I also identify a new image-making technique, “retroactive modification,” which attempts to destabilize the image and thus counter problems of narrative representation, particularly reification and historical inauthenticity. Chapter 3 analyzes Hitchcock’s Blackmail, Saboteur, and Shadow of a Doubt, and challenges the notion of Hitchcock as auteur. The first two films culminate in sequences featuring monumental and iconic statuary. In the earlier British film, this process signifies a reckoning with history; in the later American film, it signifies the threat of history’s erasure and the degradation of art. Shadow of a Doubt signals a shift to a post-modern global-capitalist paradigm and a focus on the celebrity idol.
My methodology builds on the work of Fredric Jameson and Slavoj Žižek to elucidate cultural fantasies underlying the texts and the ways in which the texts perform the psychical maneuver of disavowal, whereby a proposition is simultaneously asserted and denied. This double movement in Wilde, Conrad, and Hitchcock’s texts bespeaks a striving, through the motif of idolatry, to represent the image in motion. Though this desire is finally realized in the technology of film, the authenticity of that realization is undermined by the historical contradictions that enable its production.2020-12-11T00:00:00Z
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"Conflictual self in the modern world: a study of selected works by Joseph Conrad and Yasunari Kawabata." 2007. http://library.cuhk.edu.hk/record=b5893185.
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Lau, Chi Sum Garfield.Thesis (M.Phil.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (leaves 136-137).
Abstracts in English and Chinese.
Introduction: Conflictual Self in the Modern Era: Conrad and Kawabata --- p.6
Chapter Chapter One: --- Immorality and Conflictual Self in Conrad's The Return --- p.20
Chapter Chapter Two: --- The Past and Split Self in Kawabata's Thousand Cranes --- p.50
Chapter Chapter Three: --- Conflictual Self and Split Self in Conrad's The Secret Agent and Kawabata's The Sound of the Mountain --- p.81
Conclusion: Conflictual Self in Occidental and Oriental Contexts --- p.117
Bibliography --- p.136
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Doubell, Raymond. "Joseph Conrad's Victory : a case study of the primary text, selected critical commentary, Natal Senior Certificate English first language examination questions and a selection of candidates' examination responses in 1990, with suggested developments in pedagogical practice." Thesis, 1995. http://hdl.handle.net/10413/8621.
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