Between Narrative Paradigms: Joseph Conrad and the Shift from Realism to Modernism from a Genre Perspective
2008; Routledge; Volume: 89; Issue: 3 Linguagem: Inglês
10.1080/00138380801912941
ISSN1744-4217
Autores Tópico(s)Joseph Conrad and Literature
ResumoClick to increase image sizeClick to decrease image size Notes 1Lukács, 7 – 13. 2Watt, Conrad; Jameson, “Romance.” 3See especially letters from 1898 and 1899 in Conrad, Letters. 4Frye, 267. 5Wasserman, 103. 6Conrad, Heart, 70. 7Ibid., 131. 8Brooks, 247. Even though Brooks does not mention Wayne Booth's famous remarks on Heart of Darkness, his conclusions can be read as an answer to Booth's questions about the relationship between Marlow and Kurtz. In his Rhetoric of Fiction, Booth wonders if Heart of Darkness is a “story of Kurtz or Marlow's experience of Kurtz”. In other words, he asks, “Is Marlow just a rhetorical device that heightens Kurtz's moral collapse or is Kurtz invented in order to provide Marlow with the core of his experience in Congo?” (Booth, 346). 9Ray, 51. 10James, 301, 340. 11Jameson, “The Ideology,” 57 – 68. 12Ibid., 22 – 3. 13Jameson, “Romance,” 221 – 2, 231. To do justice to Jameson, in his comparison of Conrad's techniques with Henry James's narrative codification of psychological autonomy, Jameson eventually offers a more nuanced conclusion, pointing out that unlike in James's narratives, with Conrad “the point of view becomes inseparable from speech” (ibid., 224). 14Ian Watt and Cedric Watts demonstrate in detail the extent to which developments in physical science, thermodynamics, and evolutionary theory influenced Conrad's writing (see Watts, 14 – 15; Watt, Conrad, 151 – 61). 15Wasserstrom, xi. 16Paine, 209. 17Watt, Conrad, 224. 18Said, Beginnings, 137. 19Todorov, 145 – 54. 20Rabaté, 197. 21Brooks, 260. 22Achebe, 782 – 94. 23Gibson, 113 – 37. 24Said, Culture, 28. Additional informationNotes on contributorsDaniel Just Daniel Just is at the University of Essex, UK.
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