1,808,603 research outputs found
Ryhiner-Kartensammlung / 17 Carte geographique du comté de la Marck : subdivisée en ses districts et de nouveau dessinée
No full textpar Tobie Conrad Lotter geogr. ; Gustav Conrad Lotter sculpsTitelkartusche und Massstabsleiste oben link
Ryhiner-Kartensammlung / 3-4 Les duchés de Clevés, de Iuliers et de Limbourg, le comté de Meurs, le quartier de Ruremonde dans le duché de Gueldres, l'archevesché et electorat de Cologne &c
No full textpubliée par Tobie Conrad Lotter, geogr. d'Augsbourg ; Gustav Conrad Lotter sculps
Ryhiner-Kartensammlung / 7 Carte geographique du comté de la Marck : subdivisée en ses districts et de nouveau dessinée
No full textpar Tobie Conrad Lotter geogr. ; Gustav Conrad Lotter sculpsTitelkartusche und Massstabsleiste oben link
Conrad´s Marseilles
Full text linkThis article discusses the Marseilles period of Conrad’s life, which is still shrouded in mystery. By consulting the Marseilles municipal archives and examining information culled from the local press for the years 1874–1878, the author attempts to determine what events in the life of Marseilles during that particular period may have found an echo in Conrad’s works, and in what way these events could have influenced the personality of the young writer. The author sketches a vivid picture of everyday life in the Marseilles of the 1870s and recalls the principal events in the city’s artistic life, suggesting that Conrad’s first real experience of the opera and the theatre (and no doubt also of the fine arts) was gained in Marseilles. An analysis of all the available documents makes it possible to formulate the following conclusions: 1) The duel between M. George and Blunt, as described in The Arrow of Gold, had its origins in real life: this was the duel between two journalists — C. Hugues and J. Daime — which was then the talk of the town. 2) In drawing the character of Rita de Lastaola in The Arrow of Gold, Conrad most probably made use of several complementary models from real life: apart from Paula de Samoggy (mentioned by J. Allen), the model for Rita may well have been Mme Didier — the mistress of the wellknown Marseilles painter G. Ricard, who himself was quite probably the real-life model for the character of Henry Allègre. 3) During the time when Conrad was in Marseilles the political situation in Spain had completely stabilized and it is hardly likely that Conrad himself could have taken part in any gun-running for the Spanish Carlists. Monsieur George’s escapade may therefore be treated purely and simply as a reminiscence of the stories told by Provençal sailors who had earlier taken part in the smuggling expeditions of 1874–1875. The final section of the article draws attention to possible Marseilles sources for Falk, Heart of Darkness and An Outpost of Progress. Virtually the entire storyline of Falk may be found in the Marseilles press, while the two African stories can be seen as a hypothetical refutation of the tales told by the “colonizer of the Congo” Henry Stanley, who in January 1878 was given a hero’s welcome in Marseilles
FROM NARRATOR TO NARRATEE AND FROM AUTHOR TO READER: CONRAD AND HIS AUDIENCE
Full text linkFROM NARRATOR TO NARRATEE AND FROM AUTHOR TO READER: CONRAD AND HIS AUDIENC
Ryhiner-Kartensammlung / 22 Carte geographique representant le théatre de la guerre entre les Russes, les Turcs, et les Polonois confédérés : c'est à dire: les provinces d'Ukraine, de Nouvelle Servie, de Moldavie, Valachie, Krimée; le gouvernement de Woronez et d'Astracan, comme aussi la Tartarie de Kuban
No full textpar Tobie Conrad Lotter, Geogr. ; gravée par les G.F. et G.C. Lotter, les filsErläuterungen oben recht
The Theatre of Consciousness in Conrad and James
No full textHugh Epstein chaired the session entitled "Multi-Fascinating: Conrad, Man, and Author," which opened with Mau¬reen Chun’s "The Theatre of Conscious¬ness in Conrad and James," where Chun made interesting claims about Lord Jim and shared consciousness. Conrad creates a theatre in which all the characters share the same values, are all part of the same group ("one of us"). The "others" don’t count. James creates the same dynamic in What Maisie Knew and The Wings of the Dove. (Excerpt from Joseph Conrad Today, v.38, no.2, Fall 2013, p.9
An exploration of the outsider's role in selected works by Joseph Conrad, Malcolm Lowry, V.S. Naipaul.
No full textPhDThis 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
Our Conrad Constituting American Modernity
No full textOur Conrad is a literary and cultural history, political in emphasis, of the modern American invention of Joseph Conrad as a "master" literary figure as well as a call to transnationalize the field of American literary and cultural studies.Intro -- Contents -- Preface -- Abbreviations -- Introduction: The American Invention of Joseph Conrad -- I. The Nation in the World, the World in the Nation -- 1. In the Crucible of War: Immigration, Democracy, and H. L. Mencken -- 2. Appositions: Jews, Anglo-Saxons, Women, African-Americans -- II. American Modernism Abroad -- 3. All a Conrad Generation: F. Scott Fitzgerald and Other Expatriates -- III. Regions of Conflict -- 4. Under Southern Eyes: Visions of the South in the 1920s -- 5. Faulkner's Conrad -- Notes -- IndexOur Conrad is a literary and cultural history, political in emphasis, of the modern American invention of Joseph Conrad as a "master" literary figure as well as a call to transnationalize the field of American literary and cultural studies.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Joseph Conrad and psychological medicine: a review essay
No full textThe essay is a review of Martin Bock's Joseph Conrad and Psychological Medicine that discusses recent approaches to Conrad sudies by way of contextualising Bock's book
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