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Our Conrad is about the American reception of Joseph Conrad and its crucial role in the formation of American modernism. Although Conrad did not visit the country until a year before his death, his fiction served as both foil and mirror to America's conception of itself and its place in the world. Peter Mallios reveals the historical and political factors that made Conrad's work valuable to a range of prominent figures—including Fitzgerald, Faulkner, Richard Wright, Woodrow Wilson, and Theodore and Edith Roosevelt—and explores regional differences in Conrad's reception. He proves that foreign-authored writing can be as integral a part of United States culture as that of any native. Arguing that an individual writer's apparent (national, gendered, racial, political) identity is not always a good predictor of the diversity of voices and dialogues to which he gives rise, this exercise in transnational comparativism participates in post-Americanist efforts to render American Studies less insular and parochial.
Joseph Conrad is a key figure in modernist fiction, whose innovative work engages with many of the crucial philosophical, moral and political concerns of the twentieth century. This collection of major critical readings of his work is arranged according to the issues which each critic addresses, issues which are of crucial importance, and in many cases remain controversial, within contemporary literary theory and criticism. Following an opening section on the critical tradition, indicating how the study of Conrad's work has been politicised since the 1970s, there are sections on 'Narrative, Textuality and Interpretation', 'Imperialism', 'Gender and Sexuality', 'Class and Ideology', and 'Modernity'. Within each section two or three critical excerpts offer contrasting and complementary accounts of the fiction, while the headnotes to each piece and the introduction place these excerpts within the wider critical debate, clarifying for the reader both the theoretical issues and the interpretation of Conrad's fiction. A glossary of terms and a bibliography categorised by critical approach complete a volume which will provide an invaluable resource for students of Conrad and twentieth-century literature as well as other readers of Conrad's work.
All civilisations have both feared and been fascinated by what lies beyond their limits, and have to a greater or lesser extent construed their “others” as exotics. Given that, even in its most consumerist fashion, the adoption of the exotic goes back a long way, what, then —if anything— is new in contemporary versions of exoticism? This volume attempts to offer some answers to this question. The first of its three sections serves as an extended introduction to the concept and practice of exoticism, considering the phenomenon from a number of theoretical and critical positions, explicitly examining —sometimes via significant examples— the particular attributes of exoticism. The second and third sections are more strictly text-based, relying on the analysis of specific instances of film in the former and literature in the latter, in order to tease out some specific uses of the exotic –whether ethnic, gendered, sexual or other. This volume will be of interest to scholars and students working in the fields of representation, cultural theory, postcolonialism, gender, ethnicity, sexuality, cinema and literature.
Born and brought up in Poland bilingually in French and Polish but living for most of his professional life in England and writing in English, Joseph Conrad was, from the start, as much a European writer as he was a British one and his work – from his earliest fictions through Heart of Darkness, Nostromo and The Secret Agent to his later novels– has repeatedly been the focal point of discussions about key issues of the modern age. With chapters written by leading international scholars, this book provides a wide-ranging survey of the reception, translation and publication history of Conrad's works across Europe. Covering reviews and critical discussion, and with some attention to adaptations in other media, these chapters situate Conrad's works in their social and political context. The book also includes bibliographies of key translations in each of the European countries covered and a timeline of Conrad's reception throughout the continent.
By situating Conrad's work in relation to other writings on 'primitive' peoples, John Griffith shows how his fiction draws on prominent anthropological and biological theories regarding the degenerative potential of contacts between European and other cultures. At the same time, however, Conrad's work reflected an anthropological dilemma: he constantly posed the question of how to bridge conceptual and cultural gaps between various peoples.
Joseph Conrad is one of the most intriguing and important modernist novelists. His writing continues to preoccupy twenty-first-century readers. This introduction by a leading scholar is aimed at students coming to Conrad's work for the first time. The rise of postcolonial studies has inspired interest in Conrad's themes of travel, exploration, and racial and ethnic conflict. John Peters explains how these themes are explored in his major works, Nostromo, Lord Jim and Heart of Darkness, as well as his short stories. He provides an essential overview of Conrad's fascinating life and career and his approach to writing and literature. A guide to further reading is included which points to some of the most useful secondary criticism on Conrad. This is a most comprehensive and concise introduction to studying Conrad, and will be essential reading for students of the twentieth-century novel and of modernism.
This study examines the relations between the work of the Polish-English novelist Joseph Conrad and the French Nobel Prize winner André Gide. Gide's translation of Conrad's Typhoon is read as a work belonging paradoxically to the oeuvres of both writers, where their respective preoccupations meet with illuminating results. Focusing also on other major works by Conrad and Gide, the study suggests that the intertextual and personal interaction between these two masters of 20th Century fiction was governed by processes of identification and projection, conflict between master and disciple and a consequent resistant reading of texts, and confrontation with linguistic and cultural heterogeneity. Issues of translation theory, psychoanalysis and intertextuality are brought together to offer a glimpse of a possible dialogue between literature and ethics. This study will be of interest to students and researchers in English, French and Comparative Literature.
This book traces the dialogic relation between Conrad's Eastern fiction and other histories, arguing that it is in the intersections of art and history that we locate Conrad's irony. In a direct response to the visual culture of his times, Conrad sets up his fictional world as a hallucinated mirage stressing the veracity of his own Eastern vision.