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Joseph Conrad is one of the most intriguing and important modernist novelists and short story writers, whose writing continues to preoccupy readers. Conrad combined his unique personal background as a Polish emigre, his personal experiences and voyagings as a seaman and his literary readings with the tradition of his adopted country to produce literary works and fictions, which blended with his distinctive taste, gave the English novel a further originality and development. This study, which primarily concentrates on four of Conrad's major works - Heart of Darkness, Lord Jim, “The Secret Sharer,” and The Shadow Line shows that Conrad conceives voyaging as a symbolic means, an insight and vision into the human psyche. It becomes a journey into the inner-world of man’s psychological diving into his inner world of the self in quest of truth, of self-identity, self-knowledge, and self-control.
Abstracts of dissertations and monographs in microform.
"The Romantic Performative" develops a new context and methodology for reading Romantic literature by exploring philosophies of language from the period 1785-1835. It reveals that the concept of the performative, debated by twentieth-century theorists from J. L. Austin to Judith Butler, has a much greater relevance for Romantic literature than has been realized, since Romantic philosophy of language was dominated by the idea that something "happens" when words are spoken. By presenting Romantic philosophy as a theory of the performative, and Romantic literature in terms of that theory, this book uncovers the historical roots of twentieth-century ideas about speech acts and performativity. Romantic linguistic philosophy already focused on the relationship between speaker and hearer, describing speech as an act that establishes both subjectivity and intersubjective relations and theorizing reality as a verbal construct. But Romantic theorists considered utterance, the context of utterance, and the positions and identities of speaker and hearer to be much more fluid and less stable than modern analytic philosophers tend to make them. Romantic theories of language therefore yield a definition of the "Romantic performative" as an utterance that creates an object in the world, instantiates the relationship between speaker and hearer, and even founds the subjectivity of the speaker in the moment when the utterance occurs. The author traces the Romantic performative through its diverse development in the moral, political, and legal philosophy of Reid, Bentham, Kant and the German Idealists, Humboldt, and Coleridge, then explores its significance in literary texts by Coleridge, Godwin, Holderlin, and Kleist. These readings demonstrate that Romantic writers mounted a deeper investigation than previously realized into the way the act of speaking generates subjective identity, intersubjective relations, and even objective reality. The project of the book is to read the language of Romanticism as performative and to recognize among its achievements the historical founding of the discourse of performativity itself.
Content analysis is a complex research methodology. This book provides an accessible text for upper level undergraduates and graduate students, comprising step-by-step instructions and practical advice.
A reference guide to various forms of poetry with entries arranged in alphabetical order. Each entry defines the form and gives its history, examples, and suggestions for usage.