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1000 tulosta hakusanalla Peter Conrad Joseph
Before he published his first novel in 1895, Joseph Conrad spent twenty years in the merchant navy, eventually obtaining his master's ticket and commanding the barque Otago, in which he sailed a notable passage from Sydney to Mauritius. This book traces his sea-career, and shows how Captain Jozef Konrad Korzeniowski, master mariner, became Joseph Conrad, master novelist. Conrad was injured on the Highland Forest, burned out of the Palestine, falsely censured for professional misconduct by the master of the Riversdale, survived a brief and dangerous posting as a river-boat captain on the Congo???and finally served as first officer on the famous Torrens, a passenger ship sailing between Adelaide and Great Britain.
"Joseph Conrad: Master Mariner" presents the sailing career of Joseph Conrad.
Joseph Conrad and the Narration of Silence investigates how Conrad's narrators speak without speaking, focusing first on what is unsayable and then on what is unsaid. Silences (both literal and metaphorical) occur throughout Conrad's writings, and all connect in a meaningful manner to the speech of Conrad's narrators. Readers have frequently commended Conrad's distinct narrative style. These commentaries on narrative have made many valuable contributions. However, this book considers what happens when Conrad's narrators do not narrate when they are instead silent. In these gaps between what is said and what is unsaid, meaning may emerge. In short, the absence of speaking brings about meaningful moments of narrative memory when one discovers what cannot be contained within the narrator's narrative alone: An incremental progression toward questions concerning the nature of knowledge, the nature of human existence, and the nature of the universe.
Joseph Conrad and the Narration of Silence investigates how Conrad’s narrators speak without speaking, focusing first on what is unsayable and then on what is unsaid. Silences (both literal and metaphorical) occur throughout Conrad’s writings, and all connect in a meaningful manner to the speech of Conrad’s narrators. Readers have frequently commended Conrad’s distinct narrative style. These commentaries on narrative have made many valuable contributions. However, this book considers what happens when Conrad’s narrators do not narrate – when they are instead silent. In these gaps between what is said and what is unsaid, meaning may emerge. In short, the absence of speaking brings about meaningful moments of narrative memory when one discovers what cannot be contained within the narrator’s narrative alone: An incremental progression toward questions concerning the nature of knowledge, the nature of human existence, and the nature of the universe.
Throughout the twentieth and twenty-first centuries, Joseph Conrad's novels and short stories have consistently figured into - and helped to define - the dominant trends in literary criticism. This book is the first to provide a thorough yet accessible overview of Conrad scholarship and criticism spanning the entire history of Conrad studies, from the 1895 publication of his first book, Almayer's Folly, to the present. While tracing the general evolution of the commentary surrounding Conrad's work, John G. Peters's careful analysis also evaluates Conrad's impact on critical trends such as the belles lettres tradition, the New Criticism, psychoanalysis, structuralist and post-structuralist criticism, narratology, postcolonial studies, gender and women's studies, and ecocriticism. The breadth and scope of Peters's study make this text an essential resource for Conrad scholars and students of English literature and literary criticism.
Throughout the twentieth and twenty-first centuries, Joseph Conrad's novels and short stories have consistently figured into - and helped to define - the dominant trends in literary criticism. This book is the first to provide a thorough yet accessible overview of Conrad scholarship and criticism spanning the entire history of Conrad studies, from the 1895 publication of his first book, Almayer's Folly, to the present. While tracing the general evolution of the commentary surrounding Conrad's work, John G. Peters's careful analysis also evaluates Conrad's impact on critical trends such as the belles lettres tradition, the New Criticism, psychoanalysis, structuralist and post-structuralist criticism, narratology, postcolonial studies, gender and women's studies, and ecocriticism. The breadth and scope of Peters's study make this text an essential resource for Conrad scholars and students of English literature and literary criticism.
Joseph Conrad is one of the most intriguing and important modernist novelists. His writing continues to preoccupy twenty-first-century readers. This introduction by a leading scholar is aimed at students coming to Conrad's work for the first time. The rise of postcolonial studies has inspired interest in Conrad's themes of travel, exploration, and racial and ethnic conflict. John Peters explains how these themes are explored in his major works, Nostromo, Lord Jim and Heart of Darkness, as well as his short stories. He provides an essential overview of Conrad's fascinating life and career and his approach to writing and literature. A guide to further reading is included which points to some of the most useful secondary criticism on Conrad. This is a most comprehensive and concise introduction to studying Conrad, and will be essential reading for students of the twentieth-century novel and of modernism.
Joseph Conrad is one of the most intriguing and important modernist novelists. His writing continues to preoccupy twenty-first-century readers. This introduction by a leading scholar is aimed at students coming to Conrad's work for the first time. The rise of postcolonial studies has inspired interest in Conrad's themes of travel, exploration, and racial and ethnic conflict. John Peters explains how these themes are explored in his major works, Nostromo, Lord Jim and Heart of Darkness, as well as his short stories. He provides an essential overview of Conrad's fascinating life and career and his approach to writing and literature. A guide to further reading is included which points to some of the most useful secondary criticism on Conrad. This is a most comprehensive and concise introduction to studying Conrad, and will be essential reading for students of the twentieth-century novel and of modernism.
At the center of Jane Austen's Mansfield Park is Fanny Price, the classic "poor cousin" who has been brought to live with the rich Sir Thomas Bertram and his wife as an act of charity. Over time, Fanny comes to demonstrate forcibly those virtues Austen most admired: modesty, firm principles, and a loving heart. As Fanny watches her cousins Maria and Julia cast aside their scruples in dangerous flirtations (and worse), and as she herself resolutely resists the advantages of marriage to the fascinating but morally unsteady Henry Crawford, her seeming austerity grows in appeal and makes clear why she was Austen's own favorite among her heroines. Mansfield Park encompasses not only Austen's great comedic gifts and her genius as a historian of the human animal, but her personal credo as well--her faith in a social order that combats chaos through civil grace, decency, and wit. With an introduction by Peter Conrad.
Books end, but the stories they tell continue. Stories exist to be retold, and those which are retold often enough acquire the status of myth. To Be Continued considers four such continuations of English literature, extending between the fourteenth and twentieth centuries, and surveying Europe, America, Africa, and Japan. It first asks what happened to Chaucer's pilgrims after the poet deserted them halfway through their pilgrimage: could they ever have arrived at Canterbury? T S Eliot has one answer, William Burroughs another; films by Michael Powell and Pasolini contribute other guesses, and a song by Elvis Presley makes its own enigmatic contribution. Next, two Shakespearean plays undergo universalization: Romeo and Juliet is translated into music by a succession of Romantic composers, and King Lear is reinterpreted by a series of nineteenth century novelists and modern dramatists. Finally, the story of Prometheus is traced from Aeschylus to the monster movies of the 1930s, by way of Mary Shelley's Frankenstein. These post-dated meanings enrich and complicate their sources, keeping them alive: a myth, as Levi-Strauss pointed out, is the sum total of all its possible variants and versions. Accessible and entertaining, To Be Continued shows how, by retelling its stories, our culture recreates and reckons with its past.
People who saw the first moving pictures at the end of the nineteenth century were delighted by a new art that communicated without words – yet they were also alarmed to be witnessing events in a strange, mute, spectral realm, where the laws of time and space were suspended and magical transformations could occur. Some early commentators hailed cinema as a blessing and praised it for resurrecting the dead; others likened it to a hypnotic trance or a hallucinogenic drug. The medium has always been excited by speed, and it enjoys sending the body on furious kinetic chases; at the same time, it stealthily probes our minds, invading our dreams and titillating our desires. Although this is an art kindled by light and inflamed by colour, it is nurtured by darkness and can reduce life to an insubstantial shadow play. Either way, as Peter Conrad argues in this brilliant book, the movie camera has given us new eyes and changed forever our view of reality. The Mysteries of Cinema sets out to map this ambiguous territory by taking readers on a thematic roller-coaster ride through movie history. Directors and critics speculate about the nature of cinematic vision, and there are contributions to the debate from writers like Kafka, Virginia Woolf and Joan Didion, artists including Salvador Dalí, George Grosz and Fernand Léger, and the composers Arnold Schoenberg and Dmitri Shostakovich. The book begins from the audacious innovations of silent film, and examines the influence of French surrealism and German expressionism; it accounts for the appeal of Hollywood genres like the Western, the horror film and the musical, and ends by considering the fate of the moving image in our visually glutted society. Combining contagious enthusiasm with an eye for the subjective quirks of filmmakers and the allure of favourite performers, Conrad delivers an astonishing addition to the literature on the seventh art. With 61 illustrations
Giuseppe Verdi and Richard Wagner, the two greatest operatic composers of their time, had everything and nothing in common. Their achievements were comparable, but their personalities, their approaches to music and drama, and their complex legacies made them incompatible. Verdi thought of art as a comfort to mankind; it pleased Wagner to believe that the nervous intensity of his operas might drive listeners mad. Is it impossible – as Peter Conrad asks in this book, the first to investigate their affinities and explain their mutual mistrust – to love them both? These equally matched Titans offer us a choice between two kinds of art, two ways of life, two opposed philosophies of existence. During their lifetimes Verdi and Wagner helped to define the identity of their emerging nations; their music still dramatizes the light and dark sides of every human being’s character and consciousness.
Peter Conrad’s exhilarating book exposes the absurdity and occasional insanity of our godforsaken, demon-haunted contemporary culture. Conrad casts his brilliant beam upon subjects from the Queen to the Kardashians, via Banksy, Nando’s, vaping, the vogue of the cronut, the mushroom-like rise of Dubai, the launch of the Large Hadron Collider, the growth of the Pacific garbage patch... In Judge Judy, he shows us a matronly Roman goddess dispensing justice with a fly swatter. In the metamorphosis of Caitlyn Jenner from Olympic athlete and paterfamilias into idealized female form, he sees parallels to the deeds of the residents of Mount Olympus themselves. Finally, after surveying advances in biomedical engineering and artificial intelligence, he asks whether we might be on the brink of a post-human world.
Throughout history artists, writers and musicians - 'creative' people - have tried to outdo God or the Gods in the acts of creation. This extraordinarily wide-ranging study traces the different concepts of creation in Western civilization, following the struggle between man and god for the right to create, and even the right to create gods. Along the way it becomes what is in essence a new history of Western civilization, a series of thirty-three chapters brimming with ideas, insights and erudition. It touches upon religion, art and artistry, alchemy, mystical traditions, opera, film, literature, linguistics, psychoanalysis, psychology and physics, among many other things, exploring what it means to create, as well as the popular myths of creation from every conceivable angle. The result is a breathtaking overview of man's uncrushable impulse to create, and his endless rivalry with the gods.
Over the past half-century, the social terrain of health and illness has been transformed. What were once considered normal human events and common human problems-birth, aging, menopause, alcoholism, and obesity-are now viewed as medical conditions. For better or worse, medicine increasingly permeates aspects of daily life. Building on more than three decades of research, Peter Conrad explores the changing forces behind this trend with case studies of short stature, social anxiety, "male menopause," erectile dysfunction, adult ADHD, and sexual orientation. He examines the emergence of and changes in medicalization, the consequences of the expanding medical domain, and the implications for health and society. He finds in recent developments-such as the growing number of possible diagnoses and biomedical enhancements-the future direction of medicalization. Conrad contends that the impact of medical professionals on medicalization has diminished. Instead, the pharmaceutical and biotechnical industries, insurance companies and HMOs, and the patient as consumer have become the major forces promoting medicalization. This thought-provoking study offers valuable insight into not only how medicalization got to this point but also how it may continue to evolve.
This classic text on the nature of deviance, originally published in 1980, is now reissued with a new Afterword by the authors. In this new edition of their award-winning book, Conrad and Schneider investigate the origins and contemporary consequences of the medicalization of deviance. They examine specific cases—madness, alcoholism, opiate addiction, homosexuality, delinquency, and child abuse—and draw out their theoretical and policy implications. In a new chapter, the authors address developments in the last decade—including AIDS, domestic violence, co-dependency, hyperactivity in children, and learning disabilities—and they discuss the fate of medicalization in the 1990s with the changes in medicine and continued restrictions on social services.
In his book Imagining America (originally published in 1980), Peter Conrad shows how the English literary imagination over the course of a century devised for itself a contradictory series of ideal or alarming Americas which it then sets out to actualize. For Mrs Trollope, Americans are unkempt brutes, throwbacks to savagery; for H. G. Wells, they are a future race of cerebral technocrats. Oscar Wilde and Rupert Brooke want to redeem them by corrupting them with the insidious gospel of art; D. H. Lawrence wants to rescue them by fomenting revolution in their stale, sterile society. For W. H. Auden, Americans are an existential people, sad citizens of a deracinated modern world, suffering from anxiety; for Chrsitopher Isherwood, they are bland, sun-tanned Oriental angels. But there is a logic to the succession of these images, which Peter Conrads’s narrative follows. The Victorians are disturbed by America because it is not yet a society and lacks the upholstery of manners. Their modern successors, however, praise it for this very disability and find there a psychological, mystical or even psychedelic freedom denied to them by the Europe they have left behind.Imagining America is stimulating both as cultural history and literary criticism. Superbly written, it presents an argumentative tour de force in a style that is witty and diverting.
In his book Imagining America (originally published in 1980), Peter Conrad shows how the English literary imagination over the course of a century devised for itself a contradictory series of ideal or alarming Americas which it then sets out to actualize. For Mrs Trollope, Americans are unkempt brutes, throwbacks to savagery; for H. G. Wells, they are a future race of cerebral technocrats. Oscar Wilde and Rupert Brooke want to redeem them by corrupting them with the insidious gospel of art; D. H. Lawrence wants to rescue them by fomenting revolution in their stale, sterile society. For W. H. Auden, Americans are an existential people, sad citizens of a deracinated modern world, suffering from anxiety; for Chrsitopher Isherwood, they are bland, sun-tanned Oriental angels. But there is a logic to the succession of these images, which Peter Conrads’s narrative follows. The Victorians are disturbed by America because it is not yet a society and lacks the upholstery of manners. Their modern successors, however, praise it for this very disability and find there a psychological, mystical or even psychedelic freedom denied to them by the Europe they have left behind. Imagining America is stimulating both as cultural history and literary criticism. Superbly written, it presents an argumentative tour de force in a style that is witty and diverting.
It dominates our lives. It is the twentieth-century medium. And yet we're all a little sheepish when it comes to television, disowning it by disavowal or by inventing subtle, innocuous disguises for it. Why is this? In this book, first published in 1982, Peter Conrad argues that our unease stems from the way that the medium works: it absorbs the messages it transmits, it invents a reality of its own and ends by luring the world into the confines of its box. Television's achievement is to have estranged us from the reality which it puports to represent, but which it actually refracts. This invasion of our lives is monitored and projected in programmes designed to ape the human routine. Following a discussion of television as furniture, Peter Conrad explores its various versions of reality: the simulated conversation of the talk show, the competitive consumerism of the games, the messianic commercials, the eventless protraction of the soap operas and the camera's incitement of happenings which the television calls news.