Pub Date : 2020-08-13DOI: 10.1093/oso/9780198864370.003.0005
Yael Levin
The chapter tests the relation between the novel’s titular theme, its handling of plot, and its commercial appeal. The emphasis on chance serves Conrad’s attempt to performatively resist the pervasiveness of determinism in nineteenth-century thought. At the same time, a set of motifs that serve as counter-indications to contingency offer coherence and the familiar. The ambivalent treatment of chance is read as an indication of Conrad’s oscillation between two different artistic commitments and the philosophical paradigms that generate them. What is at stake is not only the nature of the audience he chooses to address and the authorial responsibilities that such a choice dictates, but the very question of his artistic legacy. The method with which chance is to be treated in the novel will determine if Conrad is a “modern” writer or a panderer to public opinion; whether he chooses an art of Becoming or of Being.
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Pub Date : 2020-08-13DOI: 10.1093/oso/9780198864370.003.0002
Yael Levin
An Outcast of the Islands and The Rescue share a fictional and historical story world. A fundamental difference emerges against the backdrop of this resemblance. Grounded in a conceptualization of time that originates in antiquity, the first novel is obsessed with measurement and accounting. The Rescue is more neatly squared with modern philosophy and its attempt to conceive a time that preexists numerical evaluation. The two ontologies of time find their narrative expression in two distinct plot designs. The first hinges on action, the second, inaction. Deviating from the conventions of emplotting we find in earlier works, the late novel presents a time of suspension and waiting, a time out of joint. For philosophy and narratology both, such a transition marks an attempt to think outside determinism and court the indeterminate—to think the new.
{"title":"Losing the Plot, Finding Time","authors":"Yael Levin","doi":"10.1093/oso/9780198864370.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780198864370.003.0002","url":null,"abstract":"\u0000 An Outcast of the Islands and The Rescue share a fictional and historical story world. A fundamental difference emerges against the backdrop of this resemblance. Grounded in a conceptualization of time that originates in antiquity, the first novel is obsessed with measurement and accounting. The Rescue is more neatly squared with modern philosophy and its attempt to conceive a time that preexists numerical evaluation. The two ontologies of time find their narrative expression in two distinct plot designs. The first hinges on action, the second, inaction. Deviating from the conventions of emplotting we find in earlier works, the late novel presents a time of suspension and waiting, a time out of joint. For philosophy and narratology both, such a transition marks an attempt to think outside determinism and court the indeterminate—to think the new.","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127707184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-13DOI: 10.1093/oso/9780198864370.003.0004
Yael Levin
The chapter utilizes sight as a gauge with which to trace the transition from a philosophy of Being to a philosophy of Becoming. The cultural expressions of the anti-ocular turn observed in the nineteenth century provide the framework for a testing of Conrad’s use of the witness-narrator in Lord Jim, a novel that dramatizes the oscillations between an aesthetics of Being and one of Becoming. Bergson’s Creative Evolution and Time and Free Will inform the philosophical backdrop to the discussion, the anti-ocular turn of modernism its cultural complement, and narratology’s concept of the witness-narrator, the fictional measure against which these discourses strain. The three coalesce in an attempt to think the relation between sight, experience, and comprehension, between the demise of visual perception and its figurative, scientific, and philosophical expressions in the failure of categorical thinking and instrumental logic.
{"title":"“To Make You See”? Marlow and the Anti-Ocular Turn","authors":"Yael Levin","doi":"10.1093/oso/9780198864370.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780198864370.003.0004","url":null,"abstract":"The chapter utilizes sight as a gauge with which to trace the transition from a philosophy of Being to a philosophy of Becoming. The cultural expressions of the anti-ocular turn observed in the nineteenth century provide the framework for a testing of Conrad’s use of the witness-narrator in Lord Jim, a novel that dramatizes the oscillations between an aesthetics of Being and one of Becoming. Bergson’s Creative Evolution and Time and Free Will inform the philosophical backdrop to the discussion, the anti-ocular turn of modernism its cultural complement, and narratology’s concept of the witness-narrator, the fictional measure against which these discourses strain. The three coalesce in an attempt to think the relation between sight, experience, and comprehension, between the demise of visual perception and its figurative, scientific, and philosophical expressions in the failure of categorical thinking and instrumental logic.","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122307069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-13DOI: 10.1093/oso/9780198864370.003.0007
Yael Levin
The chapter reads the tensions observed throughout this study with recent critical re-evaluations of human experience. Conrad’s art, and the modernism with which it is associated, have long been read as centering on questions of knowledge and truth, concealment and revelation, doubt and the desire to know. A more ontologically-driven thinking of modernism shows that the oscillations between Being and Becoming are meaningful not only as competing forces in critical practice and philosophical discourse, but as a gauge for significant changes in the way we engage with and represent the world. Conrad’s writing unmoors time from its chronological measure, frees the subject of the limits of the Cartesian cogito, and abandons telos in the charting of narrative form. Where conceptual logic cancels out difference in an attempt to create a coherent, recognizable picture, Conrad’s work repeatedly returns to the life force of difference.
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Pub Date : 2020-08-13DOI: 10.1093/oso/9780198864370.003.0006
Yael Levin
Nostromo is anchored in historical forces that undermine the notion of human agency: whether it is the power of capitalism and revolution or the inevitability of family inheritance and psychodynamic repetition, the individual conducts a life that is always already scripted. The novel is action heavy; the twists and turns of the plot performatively mirror the historical or libidinal forces that draw the heroes into a predetermined future. Moments of deceleration and hesitation that punctuate the narrative nevertheless interrupt the rush of history with the suggestion of accident, the unforeseen, and the new. The chapter turns to stylistic and thematic articulations of suspension in order to think the possibility of recurrence with difference, of an escape from an inevitability that is not only historically but also generically determined.
{"title":"From Being to Becoming: Writing the Now","authors":"Yael Levin","doi":"10.1093/oso/9780198864370.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198864370.003.0006","url":null,"abstract":"\u0000 Nostromo is anchored in historical forces that undermine the notion of human agency: whether it is the power of capitalism and revolution or the inevitability of family inheritance and psychodynamic repetition, the individual conducts a life that is always already scripted. The novel is action heavy; the twists and turns of the plot performatively mirror the historical or libidinal forces that draw the heroes into a predetermined future. Moments of deceleration and hesitation that punctuate the narrative nevertheless interrupt the rush of history with the suggestion of accident, the unforeseen, and the new. The chapter turns to stylistic and thematic articulations of suspension in order to think the possibility of recurrence with difference, of an escape from an inevitability that is not only historically but also generically determined.","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"2 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116909331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-13DOI: 10.1093/oso/9780198864370.003.0003
Yael Levin
The chapter focuses on Conrad’s scenes of suspension as sites for an investigation of language and its role in the creation of the modernist subject. Heart of Darkness, Lord Jim, and Victory are read as the serial restaging of an unsolicited encounter with the language of the other. These unwarranted interruptions contribute to an exploration of a particularly passive and fragmented subjectivity that relinquishes the agency and cohesion afforded the Cartesian cogito. The insistence on the oral tradition is thus read not as an attempt to resurrect speech within an essentially silent medium but as a dramatization of the role of language in the evolution of the modernist subject and the narrative that houses him. Those same experimental narrative techniques that are often associated with Conrad’s commitment to an inherently epistemological philosophical inquiry are attributed here to the author’s effort to chart the ontological coordinates of character and narration.
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Pub Date : 2004-01-01DOI: 10.1163/9789004490949_008
Michael Lucas
CONRAD COMPLETED "The Brute" in January 1906. It first appeared that year in the Daily Chronicle, was reprinted in 1907 in the United States in McClure's Magazine, and was then collected in A Set of Six, published in 1908. Never, to my knowledge, has a good story been more often dismissed or ignored in critical writing. Baines considers it "a slight story, little more than a pot-boiler" (1960: 388). Graver's opinion is that it is "the least substantial" piece mA Set of Six (1969: 132). Fleishman (1967) judges it to have little literary or political interest. Watts, who dismisses it thus: "then Conrad offered [to Blackwood] one of his worst tales, 'The Brute', which was properly rejected" (1989: 77), later adds: "The 'degrading' of his creativity can be seen not only in trivial fiction for the market (tales like 'The Inn of the Two Witches,' 'The Brute' or "Gaspar Ruiz)" (131). Gail Fraser dismisses the story, along with "Gaspar Ruiz," "An Anarchist," and "The Informer" as "essentially anecdotal" (1996). And Batchelor condemns the story as "a pot-boiler about a dangerous ship, written for the (substantial) audience which liked Conrad's Old Salt nar ratives" (1994: 150). None of these critics produce evidence for their evaluations, and one is tempted to dismiss these comments as casual personal opinions. The purpose of this essay is to show that Conrad's own dismis sal of the story, which seems to have been taken too seriously by the critics, should be taken with a pinch of salt. After all, some of his comments about the volume A Set of Six, as well as about some of his other works, are uninformative, dismissive, misleading, or even absurd. For instance, he wrote to Wells about A Set of Six. "I've been writing silly short stories" (CL3: 297) and to Sir Algernon Methuen: "They are not studies ? they touch no problems. They are just stories in which I've
康拉德于1906年1月完成了《野兽》。那一年，它首次出现在《每日纪事报》上，1907年在美国的《麦克卢尔杂志》上重印，然后收录在1908年出版的《六集》中。据我所知，在评论写作中，从来没有一个好故事像现在这样经常被忽视。贝恩斯认为这是“一个不重要的故事，比一个锅锅锅略强一点”(1960:388)。Graver的观点是，它是“最不实质性”的作品(Set of Six, 1969: 132)。弗莱什曼(1967)认为它没有什么文学或政治意义。瓦茨这样驳回了这个故事:“然后康拉德(向布莱克伍德)提出了他最糟糕的故事之一，《野兽》，这是合理的拒绝”(1989:77)，后来补充说:“他创造力的‘堕落’不仅可以在市场上的平凡小说中看到(像《两个女巫的客栈》、《野兽》或《加斯帕·鲁伊斯》这样的故事)。”(131)。盖尔·弗雷泽(Gail Fraser)认为这个故事与《加斯帕·鲁伊斯》(Gaspar Ruiz)、《无政府主义者》(An Anarchist)和《告密者》(the Informer)一样“本质上是轶事”(1996)。巴彻勒谴责这个故事是“一个关于一艘危险船只的锅锅式故事，是为喜欢康拉德的老盐故事的(大量)观众写的”(1994:150)。这些评论家都没有为他们的评价提供证据，人们很容易将这些评论视为随意的个人意见而不予理睬。这篇文章的目的是表明康拉德自己对这个故事的不屑一顾，这似乎被评论家们过于认真地对待了，应该有所保留。毕竟，他对《六人组》以及他的其他一些作品的一些评论是缺乏信息的、不屑一顾的、误导的，甚至是荒谬的。例如，他写信给威尔斯谈论《六人组》。“我一直在写一些愚蠢的短篇小说”(CL3: 297)，并对阿尔杰农·梅休恩爵士说:“它们不是研究吗?他们没有碰到任何问题。这些都是我写的故事
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Pub Date : 2004-01-01DOI: 10.1163/9789004490949_011
J. Hawthorn, Thomas C. Moser's, J. Conrad
SINCE THOMAS C. MOSER'S Joseph Conrad: Achievement and Decline appeared in 1957, discussion of the sharply varying quality of Conrad's fiction and analysis of his depiction of relationships between men and women seem destined to overlap. Moser's diagnosis of what he con siders the debilitating sickness in Conrad's fiction is neither simple nor simplistic but involves a clear thesis: "love" is "the lowest common denominator of the apprentice work ... of the inferior short novels ... of the weak portions of "Heart of Darkness," Lord Jim, and Nostromo" It also "dominates the later period, where it is central to six of the seven novels" (3-4). Moser concludes that the "sympathetic treatment of love between a white man and a woman is not congenial to the early Conrad's creativity" (65). In such summarizing statements Moser blames Conrad's attempt to write about love, not about sexuality, for inadequacies in the better work and for his "decline." But his account of the relationship between love and sexuality in Conrad, between, say, the romantic and the erotic, is not always as clear as one might wish. Discussing "The Return," for example, which he characterizes as "a bad piece of writing," he writes that it provides a "locus classicus for the near paralysis of Conrad's crea tivity when dealing with a sexual subject," and that "it is significant that Conrad's one extended study of a sexual subject should center in an inadequate male who sees female sexuality as an inescapable menace" (1957: 77). In contrast, he enthusiastically describes "A Smile of Fortune" as "a first-rate story of female sexuality and male impotence" (98). That critics still engage with Moser's thesis says something about its importance, but it has had unfortunate after-effects. Susan Jones's
{"title":"Conrad and the Erotic: “A Smile of Fortune” and “The Planter of Malata”","authors":"J. Hawthorn, Thomas C. Moser's, J. Conrad","doi":"10.1163/9789004490949_011","DOIUrl":"https://doi.org/10.1163/9789004490949_011","url":null,"abstract":"SINCE THOMAS C. MOSER'S Joseph Conrad: Achievement and Decline appeared in 1957, discussion of the sharply varying quality of Conrad's fiction and analysis of his depiction of relationships between men and women seem destined to overlap. Moser's diagnosis of what he con siders the debilitating sickness in Conrad's fiction is neither simple nor simplistic but involves a clear thesis: \"love\" is \"the lowest common denominator of the apprentice work ... of the inferior short novels ... of the weak portions of \"Heart of Darkness,\" Lord Jim, and Nostromo\" It also \"dominates the later period, where it is central to six of the seven novels\" (3-4). Moser concludes that the \"sympathetic treatment of love between a white man and a woman is not congenial to the early Conrad's creativity\" (65). In such summarizing statements Moser blames Conrad's attempt to write about love, not about sexuality, for inadequacies in the better work and for his \"decline.\" But his account of the relationship between love and sexuality in Conrad, between, say, the romantic and the erotic, is not always as clear as one might wish. Discussing \"The Return,\" for example, which he characterizes as \"a bad piece of writing,\" he writes that it provides a \"locus classicus for the near paralysis of Conrad's crea tivity when dealing with a sexual subject,\" and that \"it is significant that Conrad's one extended study of a sexual subject should center in an inadequate male who sees female sexuality as an inescapable menace\" (1957: 77). In contrast, he enthusiastically describes \"A Smile of Fortune\" as \"a first-rate story of female sexuality and male impotence\" (98). That critics still engage with Moser's thesis says something about its importance, but it has had unfortunate after-effects. Susan Jones's","PeriodicalId":438326,"journal":{"name":"Joseph Conrad","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115530063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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