Sexuality and the Erotic in the Fiction of Joseph ConradAwarded third place for The Adam Gillon Book Award in Conrad Studies 2009 The book presents a sustained critique of the interlinked (and contradictory) views that the fiction of Joseph Conrad is largely innocent of any interest in or concern with sexuality and the erotic, and that when Conrad does attempt to depict sexual desire or erotic excitement then this results in bad writing. Jeremy Hawthorn argues for a revision of the view that Conrad lacks understanding of and interest in sexuality. He argues that the comprehensiveness of Conrad's vision does not exclude a concern with the sexual and the erotic, and that this concern is not with the sexual and the erotic as separate spheres of human life, but as elements dialectically related to those matters public and political that have always been recognized as central to Conrad's fictional achievement. The book will open Conrad's fiction to readings enriched by the insights of critics and theorists associated with Gender Studies and Post-colonialism. |
From inside the book
Results 1-5 of 28
Page v
... Heart of Darkness 61 3 The erotics of cruelty in 'A Smile of Fortune', 'The Planter of Malata', The Secret Agent, Victory, and 'Freya of the Seven Isles' 77 4 Voyeurism in The Shadow-Line and Under Western Eyes 131 Conclusion — and? 153 ...
... Heart of Darkness 61 3 The erotics of cruelty in 'A Smile of Fortune', 'The Planter of Malata', The Secret Agent, Victory, and 'Freya of the Seven Isles' 77 4 Voyeurism in The Shadow-Line and Under Western Eyes 131 Conclusion — and? 153 ...
Page viii
... Heart of Darkness where the bulk of the narrative is ostensibly delivered orally by a personified narrator to a group of listeners, standard editions indicate this by placing a quotation mark at the start of each narrated paragraph. I ...
... Heart of Darkness where the bulk of the narrative is ostensibly delivered orally by a personified narrator to a group of listeners, standard editions indicate this by placing a quotation mark at the start of each narrated paragraph. I ...
Page 6
... Heart of Darkness,” Lord Jim, and Nostromo'. It also 'dominates the later period, where it is central to six of the seven novels' (3—4). Moser concludes that the 'sympathetic treatment of love between a white man and a woman is not ...
... Heart of Darkness,” Lord Jim, and Nostromo'. It also 'dominates the later period, where it is central to six of the seven novels' (3—4). Moser concludes that the 'sympathetic treatment of love between a white man and a woman is not ...
Page 14
... Heart of Darkness, Nostromo, The Secret Agent and Under Western Eyes — I never have a sense that there is a confusion of the element of sexual energy with public and political themes. On the contrary: I detect a deliberate recognition ...
... Heart of Darkness, Nostromo, The Secret Agent and Under Western Eyes — I never have a sense that there is a confusion of the element of sexual energy with public and political themes. On the contrary: I detect a deliberate recognition ...
Page 16
... Heart of Darkness (1899). My third chapter charts patterns of both sadism and masochism in anumber of heterosexual relationships that are depicted in Conrad's fiction. My fourth and final chapter explores the important role played by a ...
... Heart of Darkness (1899). My third chapter charts patterns of both sadism and masochism in anumber of heterosexual relationships that are depicted in Conrad's fiction. My fourth and final chapter explores the important role played by a ...
Contents
1 | |
17 | |
2 The exotic and the erotic in An Outcast of the Islands and Heart of Darkness | 61 |
3 The erotics of cruelty in A Smile of Fortune The Planter of Malata The Secret Agent Victory and Freya of the Seven Isles ... | 77 |
4 Voyeurism in The ShadowLine and Under Western Eyes | 131 |
Conclusion and? | 153 |
Notes | 159 |
Bibliography | 166 |
Index | 173 |
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Common terms and phrases
11 Conde Aissa Alice Jacobus Alice’s Almayer Arrow of Gold associated attractive Author’s Note captain captain-narrator chapter characters confirms Conrad’s fiction Count Crippen critics depicted elements erotic European exotic face feeling Felicia female femininity fictional figure final find first Freya Haldin Harpham Heart of Darkness Heemskirk heterosexual Heyst hints homosexual impotence innocent involves Islands Jacobus’s James’s Jessie Jim’s Jones Joseph Conrad knowing Lena looking Lord Jim male man’s Marlow masculine masochistic Mauritius murder narrative narrator narrator-captain Nathalie Nostromo novella obsession Outcast Oxford passage passion Planter of Malata Ransome Ransome’s Razumov reader reading relationship Renouard reports Retinger Ricardo sadism and masochism sadistic scene Schomberg Secret Agent seems sense sexual desire Shadow-Line shared ship significant Smile of Fortune sort story suggests symbolic tale teacher of languages Venus in Furs Verloc voyeurism Western Eyes Willems Willems’s Winnie woman women word World’s Classics Edition writhing writing young