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By Terry Collits

Winner of the 2006 NSW Prize for Literary Scholarship.

The paintings of Joseph Conrad has been learn so disparately that it's tempting to speak of many various Conrads. One lasting impact even though, is that his colonial novels, which checklist encounters among Europe and Europe’s ‘Other’, are hugely major for the sector of post-colonial studies.

Drawing on a long time of study and a wealthy physique of feedback, Postcolonial Conrad not just provides clean readings of his novels of imperialism, but additionally maps and analyzes the interpretative culture they've got generated. Terry Collits first examines the reception of the author’s paintings by way of the background of principles, literary feedback, traditions of ‘Englishness’, Marxism and post-colonialism, earlier than re-reading Heart of Darkness, Lord Jim, Nostromo and Victory in larger intensity.

Collits’ incisive and wide-ranging quantity presents a miles wanted reconsideration of greater than a century of feedback, discussing the numerous diverse views born of regularly moving contexts. most significantly although, the publication encourages and equips us for twenty-first feedback, the place we needs to ask anew how we would learn and comprehend those an important and engaging novels.

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Extra resources for Postcolonial Conrad: Paradoxes of Empire

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12 36 Locations As late as 1984, Said claimed that anthropology and ethnography had still failed to come to terms with their origins in power relations established by European colonization (Said 1984: 14–27). Whether stimulated by this assault on the basis of orientalist learning, or in reaction against it, contemporary ethnographers and postcolonial critics have debated the authenticity of ethnographic narratives. The orientalist structure which is revealed as having governed their narratives is now seen to go back at least as far as Herodotus.

Its conservative function was to present the new order as though things had always been so, and thus normalize it as natural and inevitable. Jameson’s broad view of the novel does not imply that literature and art either simply reflect or are structurally homologous with ‘real history’. From its very beginnings, the modern novel was aware of embarrassing slippages between words and things, and practised a sleight-of-hand that exploited endless opportunities for irony, self-reflection and creative play.

The gap I refer to is the epistemological crisis around 1900, which (like the one in 1968) manifested itself on many fronts. To narrow the task and establish a link Conrad in the history of ideas 29 between these two dates, I will focus on a field of knowledge whose subject matter and methods are particularly relevant for Conrad. : 21–54). Conrad and some contemporaries Despite his ingrained scepticism, Conrad was respectful whenever he thought about science. In a somewhat old-fashioned manner he adopts the standpoint of the interested amateur.

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