Dissertations / Theses: 'Literature of Joseph Conrad'

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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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5

Salmons, Kim. "The representation of food in modern literature : Thomas Hardy and Joseph Conrad." Thesis, St Mary's University, Twickenham, 2015. http://research.stmarys.ac.uk/912/.

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This thesis will examine the representation of food in the works of Thomas Hardy and Joseph Conrad to demonstrate how food is used to chart the progress of modernity from the beginning of the nineteenth century through the continuing emergence of capitalism and consumerism to the first decade of the twentieth century when the stability of the British Empire was being questioned. Food becomes the measure of how modern society responded to new innovations in transport, technology and the way in which British society viewed both itself and the colonies from which much of its food was being imported. As a cultural language, traditions and rituals of food solidified notions of what it meant to be civilized but when this cultural language was fused with the food of the Other, the definitions of ‘civilized’ and ‘savage’ became increasingly difficult to define. This thesis begins with Section One which introduces the scope and approach of my research. The section is broken into three chapters: the first serves as an introduction considering Conrad’s use of a family anecdote to examine how he borrows from real life experiences while blending fact and fiction to suit his purposes as an author. Chapter two is an analysis of realism, focussing on nineteenth-century debates about its use in the novel and investigating how Hardy and Conrad viewed the process of novel writing. This chapter will also briefly examine food in Charles Dickens’ Great Expectations as an example of a traditional realist novel and consider how its handling of food differs from that of Hardy and Conrad’s Modern approach. To conclude, I have provided an overview of the critical reception of these two authors. Finally, to signal my broadly historicist approach, chapter three outlines the changing place of food within British society through the nineteenth and early-twentieth centuries. I have chosen to focus my study on the works of Thomas Hardy and Joseph Conrad because, in their novels, these authors span this crucial historical period and between them reflect the changing face of the national food-producing landscape, in Hardy’s case, and the international world which increasingly became the source of imported food, in Conrad’s case. These authors necessarily respond to the key methodologies that provide the frame of reference for this thesis, namely those of history, anthropology, sociology and politics. By narrowing the focus to just two authors, it is possible to consider in greater depth the production, consumption, psychological impact and metaphorical range of food in literature. Thomas Hardy and Joseph Conrad not only sit well chronologically – Hardy published his last novel Jude the Obscure in 1895, the same year that Conrad published his first, Almayer’s Folly – but also thematically: where Hardy concentrates on the effects of modernity at a national level, Conrad’s perspective is international. Where Hardy laments the decline in the production of food in England and its impact on gender, the countryside and tradition, Conrad considers the impact of colonial expansion at a time when the morality of the Imperial mission was under scrutiny. Food plays an inherent role in this engagement with the Other, posing questions about morality, the rise of globalization, issues of identity, political ideology and the growing power of capitalism. Both Hardy and Conrad respond to the two great social truths about British life during the nineteenth and early-twentieth centuries: the great shift of population from the countryside to the cities and anxieties about the decline of the British Empire. Hardy’s novels provide a survey of the changing face of nineteenth-century Britain through the politics of food production; while, drawing upon twenty years in the merchant navy, Conrad brings the colonial world, the world of Greater Britain, into the English novel, and with it the food of the outer world. Selecting these two particular authors enables an investigation into the pervasiveness of food in Modern fiction.

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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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8

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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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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Marcus, Miriam. "Configurations of imperialism and their displacements in the novels of Joseph Conrad." Thesis, Queen Mary, University of London, 1998. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1665.

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This thesis examines certain configurations of imperialism and their displacements in the novels of Joseph Conrad beginning from the premise that imperialism is rationalised through a dualistic model of self/"other" and functions as a hierarchy of domination/subordination. In chapters one and two it argues that both Heart of Darkness and Lord Jim configure this model of imperialism as a split between Europe/not-Europe. The third and fourth chapters consider displacements of this model: onto a split within Europe and an act of "internal" imperialism in Under Western Eyes and onto unequal gender relations in the public and private spheres in Chance. Each chapter provides a reading of the selected novel in relation to one or more contemporary (or near contemporary) primary source and analyses these texts using various strands of cultural theory. Chapter one, on Heart of Darkness, investigates the historical background to British imperialism by focusing on the textual production of history in a variety of written forms which comprise the diary, travel writing, government report, fiction. It considers how versions of (imperial) history/knowledge are constructed through the writing up of experience. In chapter two, on Lord Jim, the hero figure is analysed as a product of the imperial ideology and the protagonist's failure is explored through the application of evolutionary theory. Chapters three and four, on Under Western Eyes and Chance, investigate displacements of the imperial model: the failure of an "enlightened" Western Europe to challenge Russian imperialism in Poland forms the basis for reading Under Western Eyes with Rousseau's writings and a nineteenth-century history of the French Revolution. Chance presents a further displacement of this model in its relocation of imperialist imperatives in the sexual/gender inequalities practised in the "mother" country.

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Eyeington, Mark. "Joseph Conrad and the ideology of fiction : a study of four works." Doctoral thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7969.

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Includes bibliographical references.
This dissertation argues the priority of politics in the interpretation of Conrad's fiction. It does so by establishing a critical dialogue with, and around, Fredric Jameson's Marxist classic, The Political Unconscious (1981). Jameson's proposition that Conrad's fiction is to be understood as a """"Political Unconscious"""" - that is, that Conrad's works produce political meanings in the same way that Freud suggested thwarted human instincts produce neuroses or psychopathologies - is put to the test here. This dissertaion seeks to extend the application of Jameson's hypothesis into some of the areas of Conrad's oeuvre that Jameson himself did not treat, or treated only briefly.

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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.

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Doherty, Helen. "The motif of initiation in selected works by Joseph Conrad." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002263.

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This thesis explores the archetypal theme of initiation in selected texts by Joseph Conrad. The Introduction first surveys critical attention to initiatory motifs in Conrad with the objective of demonstrating the need for an approach to the topic informed by a more formal and theorized understanding of initiation. It then offers a prima facie case for the centrality of the idea of initiation in Conrad's oeuvre, based on references culled from a range of the author's writings. Chapter One seeks to contextualise initiation by providing a history of anthropological research into and theorisations of the rite, proceeding to a description of its typical structure and functions. A detailed account is given of the most widely accepted model of initiation, Arnold van Gennep's tripartite schema. Moving on to Conrad's writing, Chapter Two draws on both his fiction and more personal writings in order to provide a provisional account of the writer's own understanding of initiation and its importance, and to offer some explanation of why Conrad should have been prompted to accord the motif such prominence in his work. Conrad's presentation and (impliedly) his understanding of initiation was never entirely consistent and underwent some change in the course of his writing career. The critical assessment of "Typhoon" in Chapter Three depicts Conrad's more optimistic conception of initiation as a rite benefitting both society, by promoting solidarity, and the individual, by advancing self-knowledge. Chapter Four introduces, via analyses of the novellas "Youth" and "The Shadow Line", that variation on the motif of initiation which is more typical of its manifestation in Conrad: the failure of individuals to complete their cycles of initiation. Chapter Five identifies those characteristics of initiation which appear to be determinative in the representations of incomplete initiation in Conrad's work. Initiation seems to play out approximately seven paradoxes; the impact of some of these is examined through analysis of the initiatory ordeals of the main protagonists in The Secret Agent. Integral to this discussion is an attempt to demonstrate the vital role which initiation plays in the healthy maintenance not only of social order but also of faith and life itself. The Conclusion summarises the more important findings of the study and indicates some directions for further, related research.

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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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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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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.

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Ribeiro, Daniel Mendelski. "A idéia de terrorismo na literatura: o agente secreto de Joseph Conrad." Pontifícia Universidade Católica do Rio Grande do Sul, 2008. http://hdl.handle.net/10923/4145.

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Joseph Conrad’s The Secret Agent was first published in 1907 and has been read and debated – especially by scholars – since then due to its unique literary techniques and approach on the subject of espionage, politics and domestic drama. In the 9/11 aftermath, however, The Secret Agent was rediscovered as a "prophetic text", since its plot contains disturbingly familiar elements to us. To enlist some: a group of men who hate the modern capitalist society and wishes to destroy it; a conspiracy targeting a main symbol of such society; an outrage made with "destructive ferocity so absurd as to be incomprehensible"; a terrorist who walks by the streets seeking for an opportunity to blow himself and anyone around. Such elements, despite of their temporal distance of a hundred years from the release of Conrad's book, send us in a questioning not only about the usual literary subjects – plot, narrator, style – but also in a sociological and historical perspective between ours and Conrad’s turn-of-the-century perceptions. In order to analyze the novel in such perspectives, a multidisciplinary approach was used. It led us to conclude that "The Secret Agent" describes extremely human and universal feelings and behaviors that surpass any ordinary historical or sociological categorizations, reaching a deep and dreadful truth about timeless human nature.
O agente secreto de Joseph Conrad foi publicado pela primeira vez em 1907 e, desde então, foi lido e debatido - principalmente por estudiosos da literatura - devido a sua técnica literária única e ao tratamento dado pela narrativa a temas como a espionagem, política e drama familiar. Após os atentados do "Onze de Setembro", entretanto, O agente secreto foi redescoberto sob uma perspectiva "profética", uma vez que seu enredo contém elementos tristemente familiares para nós: um grupo de homens que odeiam a moderna sociedade capitalista e desejam destruí-la; uma conspiração para atacar um dos principais símbolos dessa sociedade; um atentado com uma "ferocidade destrutiva tão absurda quanto incompreensível"; um terrorista que vaga pelas ruas em busca de uma oportunidade para explodir a sim mesmo e todos em torno. Tais elementos, a despeito de escritos há cem anos, nos remetem a uma busca não apenas sobre os elementos literários de praxe – enredo, narração, estilo – mas numa perspectiva histórica e sociológica entre a percepção da nossa virada de século (XXI) e aquela da época de Conrad (XX). Para completar essa busca, servimo-nos de uma abordagem multidisciplinar. Concluímos que O agente secreto descreve ações e sentimentos de extrema humanidade e universalidade. Tais ações e sentimentos ultrapassam classificações históricas e sociais e também revelam algumas das profundas e terríveis verdades sobre a atemporal natureza humana.

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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.

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Ribeiro, Daniel Mendelski. "A id?ia de terrorismo na literatura : o agente secreto de Joseph Conrad." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2008. http://tede2.pucrs.br/tede2/handle/tede/1865.

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O agente secreto de Joseph Conrad foi publicado pela primeira vez em 1907 e, desde ent?o, foi lido e debatido - principalmente por estudiosos da literatura - devido a sua t?cnica liter?ria ?nica e ao tratamento dado pela narrativa a temas como a espionagem, pol?tica e drama familiar. Ap?s os atentados do "Onze de Setembro", entretanto, O agente secreto foi redescoberto sob uma perspectiva "prof?tica", uma vez que seu enredo cont?m elementos tristemente familiares para n?s: um grupo de homens que odeiam a moderna sociedade capitalista e desejam destru?-la; uma conspira??o para atacar um dos principais s?mbolos dessa sociedade; um atentado com uma "ferocidade destrutiva t?o absurda quanto incompreens?vel"; um terrorista que vaga pelas ruas em busca de uma oportunidade para explodir a sim mesmo e todos em torno. Tais elementos, a despeito de escritos h? cem anos, nos remetem a uma busca n?o apenas sobre os elementos liter?rios de praxe enredo, narra??o, estilo mas numa perspectiva hist?rica e sociol?gica entre a percep??o da nossa virada de s?culo (XXI) e aquela da ?poca de Conrad (XX). Para completar essa busca, servimo-nos de uma abordagem multidisciplinar. Conclu?mos que O agente secreto descreve a??es e sentimentos de extrema humanidade e universalidade. Tais a??es e sentimentos ultrapassam classifica??es hist?ricas e sociais e tamb?m revelam algumas das profundas e terr?veis verdades sobre a atemporal natureza humana.

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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.

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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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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.

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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.

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Henderson, Cynthia Joy. "Winnie Verloc and Heroism in The Secret Agent." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500940/.

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Winnie Verloc's role in "The Secret Agent" has received little initial critical attention. However, this character emerges as Conrad's hero in this novel because she is an exception to what afflicts the other characters: institutionalism. In the first chapter, I discuss the effect of institutions on the characters in the novel as well as on London, and how both the characters and the city lack hope and humanity. Chapter II is an analysis of Winnie's character, concentrating on her philosophy that "life doesn't stand much looking into," and how this view, coupled with her disturbing experience of having looked into the "abyss," makes Winnie heroic in her affirmative existentialism. Chapters III and IV broaden the focus, comparing Winnie to Conrad's other protagonists and to his other female characters.

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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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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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Lee, Woohak. "Narrating the discourse : a reading of Joseph Conrad's novels." Thesis, University of Aberdeen, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264560.

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The major aim of this study is to interpret the narrative work of Joseph Conrad as his critical response to various social discourses of his time. Through the narrative transformation of social discourses, Conrad challenges dominant ideologies which are considered through various social discourses. Conrad is aware of the fact that particular discourses which are popular and dominant in certain socio-historical contexts play a crucial role in the maintenance of existing power relations. For him presenting these discourses in his narrative artefact is to place their assumptions in contending situations. Conflicting discourses and dynamics of ideological struggles between various social voices are the fundamental reality which Conrad attempts to present in his narrative. In order to present the dialogic reality of social struggles, Conrad has to risk the traditional narrative authority which enjoys an omniscient control over the voices of characters. As the maritime narratives of the formative period of his writing career show, Conrad is aware of the problem of the traditional narrative authority in mapping the unstable and uncertain reality of power struggles which are imbedded in conflicting social discourses. The first chapter of this study is concerned with the narrative authority which relates to images of captaincy in Conrad's sea stories. It argues that Conrad formulates narrators whose voices are shaped by their struggles with other voices which are positioned in the hierarchical power relations of the late Victorian sailing ships. The following two chapters discuss how the captain/narrator, Marlow, both in Heart of Darkness and Lord Jim, challenges colonisation through reporting colonial discourses about and of colonial "heroes". These chapters argue that the narratives, representing the colonial adventurers who are disillusioned by grand ideals of "progress" and "civilisation", attempt to subvert the culturally constructed myth of racial and class superiority. Chapter four reads Nostromo as Conrad's own version of the history of Costaguana whose social and discoursal struggles refuse to comply with the nineteenth century European historical imaginations such as "progress" and "justice".

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Buyu, Mathew Osunga. "Racial intercourse in Joseph Conrad's Malayan and African fiction." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362812.

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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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Stockdale, Mark. "Literature and the invisible : the unseen in Joseph Conrad's visible universe." Monash University, School of Literary, Visual and Performance Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5317.

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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&rsquo
s 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.

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Hjortstam, Klas. "Nedstigning, sanning och berättande : en narratologisk analys av Joseph Conrads Mörkrets hjärta." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53007.

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Pfiffer, Grace Amiel. "No Coração das Trevas: o paraíso e inferno do outro em Bernardo Carvalho e Joseph Conrad." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3822.

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Esta dissertação estuda o papel do sujeito na literatura e sua relação com a cultura e alteridade através da análise de duas obras: Nove noites, de Bernardo de Carvalho e Coração das Trevas de Joseph Conrad. As obras estudadas mostram a crise que atinge os protagonistas dos dois livros depois do encontro com outras culturas. Em Nove noites o outro é representado pelo índio e em Coração das Trevas pelos africanos. Em Nove noites o antropólogo Buell Quain se suicida depois de uma estada entre os índios Krahô, e em Coração das Trevas vemos a deterioração do homem branco representada pelo personagem de Kurtz. Considerado um homem notável e um altruísta na Europa, Kurtz teria se corrompido no contato com a realidade do Congo e se torna, nas palavras do narrador Marlow, um dos demônios da terra. A dissolução da personalidade e código moral do homem branco, representada pelos dois personagens, será estudada analisando a relação entre personalidade e cultura e como a falta de apoio e controle grupal desarticula valores até então considerados estáveis, assim como o contato com o outro. Esta desarticulação do sujeito causada pelo choque cultural se soma à crise geral do sujeito moderno e ao mal-estar na civilização, como descrito por Freud. A posição paradoxal do antropólogo, que se situa entre duas culturas, faz parte desta análise, do mesmo modo questões pertinentes a posição dos índios e africanos no Congo. No caso específico de Coração das Trevas trabalha-se a interseção entre a análise do sujeito, e suas implicações, e a construção do personagem de Kurtz como símbolo da violência colonial. O trabalho analisa também as semelhanças entre as duas obras, tanto temáticas como em suas técnicas narrativas e a influência da obra de Conrad nos romances de Carvalho
This dissertation studies the role of subject in literature and its relation to culture and alterity through the analysis of two works: Nine Nights by Bernardo Carvalho and Heart of Darkness by Joseph Conrad. This work show the crisis that the protagonists of both books faces after the encounter with other cultures. In Nine nights the Indian and Heart of Darkness by Africans represents the other. Nine nights tells the story of the anthropologist Buell Quain who commits suicide after a stay between the Indians Krahô, and in Heart of Darkness we see the deterioration of the white man represented by the character of Kurtz. Considered a remarkable man and an unselfish in Europe, Kurtz would have been corrupted by contact with the reality of the Congo and becomes, in the words of the narrator Marlow, one of the demons of the land. The dissolution of the personality and moral code of the white man, represented by two characters, will be studied by analyzing the relationship between personality and culture and how the lack of support and control of the group disarticulates values until then considered stable, as well as the contact with other cultures. The disarticulation of the subject caused by culture shock adds to the general crisis of the modern subject and the discontents of civilization, as described by Freud. The paradoxical position of the anthropologist, which is situated between two cultures, is part of this analysis, even as questions regarding the position of Indians and Africans in the Congo. In the specific case of Heart of Darkness will be studied a intersection between the analysis of the subject, and their implications, and the construction of the character of Kurtz as a symbol of colonial violence. The paper also examines the similarities between the two works, both in thematic and in narrative techniques in their work and influence of Conrad's novels Carvalho

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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.

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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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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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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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Pappas, P. A. "The hallucination of the Malay archipelago : critical contexts for Joseph Conrad's Asian fiction." Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363447.

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Burling, Kathryn. "Telling realities : the story of Winnie Verloc in Joseph Conrad's The secret agent." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10194.

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This dissertation will investigate how Conrad's "purely artistic purpose" comes under ethical review as reader, character and author renegotiate the terms of the story's telling - specifically (to pursue the novel's haunting reference to Othello) with regard to "the pity of it".

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46

Martin-Joy, Susan Elizabeth. "Capturing Experience: Marlow's Narrative about Women in Joseph Conrad's "Lord Jim" and "Chance"." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626124.

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Santos, Lidiana de Moraes dos. "O encontro da luz com as trevas: uma análise do pós-colonialismo através de Heart of Darkness." Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/4073.

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Made available in DSpace on 2013-08-07T19:01:12Z (GMT). No. of bitstreams: 1 000447487-Texto+Completo-0.pdf: 827227 bytes, checksum: 4194d0750930b9fac092948ca041c41b (MD5) Previous issue date: 2012
The goal with the present study is to reread the work Heart of Darkness, written by Joseph Conrad, through a post-colonial perspective. First a review of the post-colonial theory was made. With the study of the writings of authors such as Edward Said, Homi K. Bhabha and Gayatri Chakravarty Spivak will be possible to comprehend the post-colonial thought. Also, some literary texts were revisited in a way that their colonialist points of view help to built a counterpoint to the post-colonial precepts. In a second moment, Heart of Darkness was analyzed in a special way, through the recovery of meaningful parts of the text that can illustrate the mistakes and understandings of the criticisms made to Conrad‘s literary text by names that emerged in the post-colonial period, such as the Nigerian author, Chinua Achebe. With this rereading we aim to perceive the true message that Joseph Conrad wanted to send by telling the story of Kurtz and Marlow as explorers in Africa.
O presente estudo tem como objetivo fazer uma releitura da obra Heart of Darkness, escrita por Joseph Conrad, através de uma perspectiva pós-colonial. Para tanto, primeiramente será feito um resgate da teoria pós-colonialista a partir do estudo dos pensamentos de autores como Edward Said, Homi K. Bhabha e Gayatri Chakravarty Spivak. Além disso, alguns textos literários serão retomados uma vez que suas visões colonialistas ajudam na construção de um contraponto para com os preceitos pós-coloniais. Em um segundo momento, Heart of Darkness será analisado de modo especial, através da retomada de passagens significativas da obra que possam ilustrar os erros e acertos das críticas que feitas ao texto por nomes que emergiram no período pós-colonial, tal qual o escritor nigeriano Chinua Achebe. Através dessa releitura, busca-se o entendimento da verdadeira mensagem que Joseph Conrad queria deixar ao contar a história de Kurtz e Marlow como desbravadores da África.

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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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Sjöö, Emilie. "Lost (and Returned) in Africa : a Juxtaposition of Joseph Conrad’s Mr Kurtz and Caryl Phillips’ Nash Williams." Thesis, University of Gävle, Department of Humanities, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7545.

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The aim of this essay is to investigate the attitudes and assumptions made about Africa in Joseph Conrad’s Heart of Darkness and Caryl Phillips’ Crossing the River from a postcolonialist perspective. In this context, the main two characters Mr Kurtz and Nash Williams are given specific critical attention. On the surface, these characters share similar destinies, but when examining them more closely it becomes apparent that they do not. The critical model used is taken from Edward Said’s notion of the binary division between the East and the West. Thematically, both novels address the issue of the ‘other’, the unknown qualities of other races and other cultures, the Western world’s construct of what separates us from them. The analysis shows that Conrad’s Heart of Darkness is a scathing late nineteenth-century critical account of the imperialist forces behind Europe’s colonization of Africa, but does not succeed in depicting the Africans as a people worthy of respect. Phillip’s Crossing the River, on the other hand, clearly avoids stereotypes. Instead, it is an account of how humans, regardless of race or sex, have hurt each other through the slave trade. Furthermore, the juxtaposition of Mr Kurtz and Nash Williams shows that while Mr Kurtz loses himself in Africa, engrossed in the hunger for money and power, Nash Williams actually finds his identity when he is freed of the metaphorical shackles put on him by the white man.

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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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Dissertations / Theses on the topic 'Literature of Joseph Conrad'

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