1,920 research outputs found
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
A Portrait of the Artist as a Young or Old Innovator: Measuring the Careers of Modern Novelists
No full textSome important novelists have written a great novel early in their careers and have produced lesser works thereafter, whereas others have improved their work gradually over long periods and have made their major contributions late in their lives. Which of these patterns a novelist follows appears to be systematically related to the nature of his work. Conceptual writers typically have specific goals for their books, and produce novels that emphasize plot; experimental writers' intentions are often uncertain, and their novels more often stress characterization. By examining the careers of twelve important modern novelists, this paper demonstrates that conceptual novelists - including Herman Melville, F. Scott Fitzgerald, and Ernest Hemingway - are generally those who have declined after writing landmark early novels, while in contrast experimental novelists - including Charles Dickens, Mark Twain, Virginia Woolf - have typically arrived at their most important work later in their careers. As is the case for modern painting and poetry, the ranks of great modern novelists have included both conceptual young geniuses and experimental old masters.
Configurations of imperialism and their displacements in the novels of Joseph Conrad.
No full textPhDThis thesis examines certain configurations of imperialism
and their displacements in the novels of Joseph Conrad
beginning from the premise that imperialism is rationalised
through a dualistic model of self/"other" and functions as
a hierarchy of domination/subordination. In chapters one
and two it argues that both Heart of Darkness and Lord Jim
configure this model of imperialism as a split between
Europe/not-Europe. The third and fourth chapters consider
displacements of this model: onto a split within Europe and
an act of "internal" imperialism in Under Western Eyes and
onto unequal gender relations in the public and private
spheres in Chance.
Each chapter provides a reading of the selected novel
in relation to one or more contemporary (or near
contemporary) primary source and analyses these texts using
various strands of cultural theory. Chapter one, on Heart
of Darkness, investigates the historical background to
British imperialism by focusing on the textual production
of history in a variety of written forms which comprise the
diary, travel writing, government report, fiction. It
considers how versions of (imperial) history/knowledge are
constructed through the writing up of experience. In
chapter two, on Lord Jim, the hero figure is analysed as a
product of the imperial ideology and the protagonist's
failure is explored through the application of evolutionary
theory.
Chapters three and four, on Under Western Eyes and
Chance, investigate displacements of the imperial model:
the failure of an "enlightened" Western Europe to challenge
Russian imperialism in Poland forms the basis for reading
Under Western Eyes with Rousseau's writings and a
nineteenth-century history of the French Revolution. Chance
presents a further displacement of this model in its
relocation of imperialist imperatives in the sexual/gender
inequalities practised in the "mother" country
De seipso seu vita sua libri XII
No full textGraece & Latine nunc primum aediti, Guilielmo Xylandro Augustano interprete, qui etiam annotationes adiecit. Marini Neapolitani De procli vita et foelicitate liber, Graece Latineque nunc primum publicatus / innominato quodam interprete, adiectis itidem Scholijs, ...Bogensignaturen: A, a-o⁸, P²; A, a-l⁸, m⁴; A-B⁸, C⁴DruckermarkeHrsg. des griechischen Textes von Marcus Aurelius Antoninus: Konrad Gessner
CONSORT Figure CONRAD A13-128 study population.
No full textCONSORT Figure CONRAD A13-128 study population.</p
Telling realities : the story of Winnie Verloc in Joseph Conrad's The secret agent
No full textThis dissertation will investigate how Conrad's "purely artistic purpose" comes under ethical review as reader, character and author renegotiate the terms of the story's telling - specifically (to pursue the novel's haunting reference to Othello) with regard to "the pity of it"
CONSORT figure CONRAD A13-128 study population.
No full textCONSORT figure CONRAD A13-128 study population.</p
"A PURELY SPECTACULAR UNIVERSE": JOSEPH CONRAD AND IMPRESSIONISM
No full textThis study essentially offers an alternative method for the comparative study of literature and visual art in general, and of Conrad's fiction and the artistic movement known as Impressionism in particular. Rather than dealing with literal resemblances between visual tableaux and prose passages (a practice of limited usefulness), the comparative critic should deal in analogy; he or she should deal with the various ways in which artists working in widely varying media strive to express the same essential visions. The works of Joseph Conrad, when thus studied from the point of view of Impressionist theory—the theory of man's basic inability to ascertain anything beyond the ephemeral and the apparent—reveal a curious transition from a sparkling vision of man striving to discover the mysteries within himself, to what G. K. Chesterton called the essence of Impressionism: "that final scepticism which can find no floor to the universe." In fact, the subtle gradations range from the technical virtuosity of the early Almayer's Folly to the final, deterministic fragments of Suspense. The pivotal point of Conrad's gradually darkening vision is to t be found in the masterpieces of his middle years—Nostromo and The Secret Agent—wherein the nerfect balance between Impressionist philosophy and artistic expression is tinged with an ever-deepening cynicism. One of the main and basic contributions of this thesis, however, is simply the argument that Conrad was not only an Impressionist author but an Impressionist philosopher. His far-ranging curiosity, his immediate grasp of abstract notions and his associations with figures such as Bertrand Russell all speak powerfully of a mind always searching, as is Marlow in Lord Jim, for "some exorcism against the ghost of doubt."Master of Arts (MA
A framework for the analysis of mineral tax policy in sub-Saharan Africa
No full textGiven the dual role played by the Government as resource owner and tax collector in many sub - Saharan economies, it is important to separate"resource factor payments"from taxes through the use of different instruments. The instruments to be considered are: (1) a factor payment system that includes"ad rem"or"ad valorem"royalties. Production sharing, resource rent schemes, and fixed fees could also be used, but some form of unit payment is necessary and justified, because natural resources in the ground are inputs into the production process; (2) a cash flow and withholding tax system initially for the mineral sectors and eventually for other sectors of the economy. The cash flow tax would capture a share of the"economic rent"from each sector and be neutral across sectors; and (3) a depletion account to preserve the nations capital stock. Natural resources are part of an economy's capital stock, which will fall unless"replacement investment"is made as the resource is depleted.Economic Theory&Research,Environmental Economics&Policies,Banks&Banking Reform,Public Sector Economics&Finance,Health Economics&Finance
Can we hear what they heard?: the effect of orality upon a markan reading-event
No full textThis dissertation arises from recent investigations in the field of orality and the potential that it has for Markan studies. Chapter one identifies the epistemological divide which separates a contemporary reading experience from one situated in the first century. Further, chapter one will focus this hermeneutical question upon the difference in how a text functions between a modern and an ancient literary critic; specifically, modern meaning versus ancient effect. Chapter two seeks to survey the nature of communication in the New Testament world and how this information was created, stored, and conveyed to its audience. Furthermore, it will seek to identify what skills were required by the manuscript’s creator, reader, and receiver(s). The goal is to define and develop the nature of a reading-event of antiquity. Chapter three will continue our prolegomena to method with a description of the complex inter-relationship between a reader, an audience, and a manuscript in the ancient world. It will be defined as a partnership whereby their respective functions commingle as they create a communal reading-event. Next, an oral hermeneutic will be described in two parts. First, it will present a summary of the historical reading-event constructed from the previous chapters. Then, an oral/performative approach will be developed under the rubric of a hypothetical reading-effect. It will be an attempt to recreate the oral/aural aspects which alert the reader and the listeners to the story’s movement. Furthermore, it will attempt to document the affective value of a hearer’s encounter with the narrative. Finally, chapter four will put into practice the aforementioned method to recreate a reading-event of the Second Gospel. We will explore how the text of Mark provides keys to the reader for how to orally present the Second Gospel. At the same time, our reading model will assist us to determine how the reading-event itself produces a controlled reading-effect upon a listening audience. Throughout the detailed work on Mark, we will attempt to show how an oral perspective reveals distinctive features which otherwise might be left unheard to silent readers
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