3,864 research outputs found
Boys of battle [music] : the 37th Battallion march song : spirited and patriotic /
No full textFor voice and piano.; Cover title.; "This march song has been approved of by Lieut.-Colonel Woods, C. O. 37th Battalion."; "Sung by the composer, before and in the presence of Sir Ronald Munro Ferguson, Governor General, Brigadier-General M. Williams, officers of the 37th, on the occasion of his Excellencies visit to Seymour for inspection of the Battalion 16/5/16."; "Lance-Corporal ... A coy., 37th Battalion".; Includes poem "Why I enlisted" by Conrad Power on cover verso.; Also available online http://nla.gov.au/nla.mus-vn5779513; NLA's copy from the collection of Keith Watson. ANL
Boys of battle [music] : the 37th Battallion march song : spirited and patriotic /
No full textFor voice and piano.; Cover title.; "This march song has been approved of by Lieut.-Colonel Woods C. O. 37th Battalion."; Sung by the composer, before and in the presence of Sir Ronald Munro Ferguson, Governor General, Brigadier-General M. Williams, officers of the 37th, on the occasion of his Excellencies visit to Seymour for inspection of the Battalion 16/5/16."; "Played by the 37th Battalion band, and sung by the troops when on the march."; "Lance-Corporal ... A coy., 37th Battalion".; On verso of cover is the poem Why I enlisted by Conrad Power.; Also available online http://nla.gov.au/nla.mus-vn3118361
Conrad´s Marseilles
No full textThis 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
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
FROM NARRATOR TO NARRATEE AND FROM AUTHOR TO READER: CONRAD AND HIS AUDIENCE
No full textFROM NARRATOR TO NARRATEE AND FROM AUTHOR TO READER: CONRAD AND HIS AUDIENC
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
Joseph Conrad and the Imperial Romance.
No full textJoseph Conrad's early Malay fiction reflects his seafaring experiences in the East and expresses his misgivings about the assumptions of `white superiority', of imperial power, and of the possibilities for romantic heroism that characterize the late nineteenth-century imperial romance. In fact Conrad was deeply sceptical about its promises of wealth, glory, and heroic reputation
Joseph Conrad : a citizen of a global world - recenzja
No full textOn the dust jacket one can see a silhouette of a well-built man against the stormy
sea (definitely too tall to be Conrad himself), standing on a downward spiral (symbolizing
the downfall of civilization?) and next to it the blurb “enlightening, compassionate,
superb”, a recommendation by John le Carré—surely, as we shall see, the
author of The Tailor of Panama would know what to recommend… but first things
first.
Nowadays we observe a boom in popularizing biographies that try to bring us
closer to the classic writers (e.g. S. Greenblatt’s Will in the World, or A. Sismon’s
John le Carré: The Biography)[...
David Conrad interview, August 27, 2013
No full textMr. David Conrad speaks of his involvement with the Central
Utah Project through his work for the American Rivers Conservation Council (legislative
representative) and the National Wildlife Federation (Water Resources Specialist). He discusses
his involvement in the Central Utah Project Completion Act, and the cooperation that was
involved between different agencies to author and pass the bill
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