Made available in DSpace on 2015-04-14T13:38:53Z (GMT). No. of bitstreams: 1 447487.pdf: 827227 bytes, checksum: 4194d0750930b9fac092948ca041c41b (MD5) Previous issue date: 2012-12-20 / The goal with the present study is to reread the work Heart of Darkness, written by Joseph Conrad, through a post-colonial perspective. First a review of the post-colonial theory was made. With the study of the writings of authors such as Edward Said, Homi K. Bhabha and Gayatri Chakravarty Spivak will be possible to comprehend the post-colonial thought. Also, some literary texts were revisited in a way that their colonialist points of view help to built a counterpoint to the post-colonial precepts. In a second moment, Heart of Darkness was analyzed in a special way, through the recovery of meaningful parts of the text that can illustrate the mistakes and understandings of the criticisms made to Conrad s literary text by names that emerged in the post-colonial period, such as the Nigerian author, Chinua Achebe. With this rereading we aim to perceive the true message that Joseph Conrad wanted to send by telling the story of Kurtz and Marlow as explorers in Africa. / O presente estudo tem como objetivo fazer uma releitura da obra Heart of Darkness, escrita por Joseph Conrad, atrav?s de uma perspectiva p?s-colonial. Para tanto, primeiramente ser? feito um resgate da teoria p?s-colonialista a partir do estudo dos pensamentos de autores como Edward Said, Homi K. Bhabha e Gayatri Chakravarty Spivak. Al?m disso, alguns textos liter?rios ser?o retomados uma vez que suas vis?es colonialistas ajudam na constru??o de um contraponto para com os preceitos p?s-coloniais. Em um segundo momento, Heart of Darkness ser? analisado de modo especial, atrav?s da retomada de passagens significativas da obra que possam ilustrar os erros e acertos das cr?ticas que feitas ao texto por nomes que emergiram no per?odo p?s-colonial, tal qual o escritor nigeriano Chinua Achebe. Atrav?s dessa releitura, busca-se o entendimento da verdadeira mensagem que Joseph Conrad queria deixar ao contar a hist?ria de Kurtz e Marlow como desbravadores da ?frica.

This dissertation examines a range of politicized artistic practices in Great Britain during the 1970s, a decade marked by economic decline and social fragmentation. The artists I primarily focus on in the pages that follow—William Furlong, Stephen Willats, Mary Kelly, and Conrad Atkinson—all appeared on Audio Arts, a “spoken magazine” distributed on audiocassette that was founded by Furlong in 1973. During the 1970s, Furlong, Willats, Kelly and Atkinson renegotiated their relationship to art institutions, expanded the role of the artist in society, and conceived of art as a form of political praxis, and this dissertation explores the strategies these artists devised to connect to publics outside the elite, bourgeois audience of art.

Typescript (photocopy) Includes bibliography.

The present study proposes to use a Conrad probe for transient growth study by measuring the two-dimensional velocity behind an array of roughness elements in the Blasius boundary layer. A look-up table approach is proposed to increase the accuracy of the data reduction process at low velocities, based on the results of the calibration performed in a round jet. A velocity correction method is proposed to minimize the errors due to high velocity shear and wall-proximity in the Blasius boundary layer by comparing Conrad probe results to previous hot-wire data. Measurements of the steamwise velocity perturbation obtained with the Conrad probe agree with previous studies. The measured spanwise perturbation confirms the transport process suggested by simulation. The results show that the perturbation amplitude increases by increasing both the freestream velocity and roughness elements height. However, the mechanism for changing the perturbation amplitude of influence differs for these two parameters.

The present study proposes to use a Conrad probe for transient growth study by measuring the two-dimensional velocity behind an array of roughness elements in the Blasius boundary layer. A look-up table approach is proposed to increase the accuracy of the data reduction process at low velocities, based on the results of the calibration performed in a round jet. A velocity correction method is proposed to minimize the errors due to high velocity shear and wall-proximity in the Blasius boundary layer by comparing Conrad probe results to previous hot-wire data. Measurements of the steamwise velocity perturbation obtained with the Conrad probe agree with previous studies. The measured spanwise perturbation confirms the transport process suggested by simulation. The results show that the perturbation amplitude increases by increasing both the freestream velocity and roughness elements height. However, the mechanism for changing the perturbation amplitude of influence differs for these two parameters.

<p>The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included.</p><p>Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology.</p><p>The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.</p>

Thesis (Ph. D.)--Tufts University, 1999. / Adviser: Sheila Emerson. Submitted to the Dept. of English. Includes bibliographical references (leaves 177-184). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Originally presented as the author's Thesis (doctoral--Ludwig-Maximilians-Universität München, 1989. / Includes bibliographical references (p. [309]-336) and index.

Les rapports entre la Pologne et l’Afrique sont abordés dans cette étude d’un angle historique et comparatiste, en vue de contribuer aux recherches sur l’image de l’Afrique dans les littératures européennes. En liaison étroite avec la situation géopolitique de la Pologne la problématique s’articule autour du regard posé sur un espace colonisé qui se constitue dans la littérature d’un pays n’ayant pas participé à la colonisation. Trois ordres de faits sont approfondis : les voyages des Polonais en Afrique, les récits issus de ces voyages et les images littéraires forgées dans l’imaginaire polonais avec leurs usages littéraires, idéologiques ou politiques. Les relations nouées entre les écrivains polonais et l’Afrique sont étudiées à travers un corpus étendu, qui se réfère aux grands écrivains de l’époque coloniale comme Joseph Conrad ou Henryk Sienkiewicz mais se focalise plus sur l’époque de la décolonisation des années 1950-1980, où les écrits de Ryszard Kapuściński sont mis en perspective par un grand nombre d’auteurs mineurs, reporters, médecins, missionnaires ou diplomates. L’altérité africaine est aussi approchée dans sa dimension spéculaire, comme un miroir à travers lequel s’observe et se définit l’identité polonaise. L’image polonaise de l’Afrique surgit ainsi dans son côté paradoxal en ce qu’elle va à l’encontre des images occidentales tout en les reproduisant. Lieu d’enracinement littéraire, l’Afrique devient dans la littérature polonaise un lieu de réflexion où – plus que des arrière-pensées politiques ou des culpabilités enfouies propres aux pays colonisateurs – se manifeste la communauté des destins. / The relations between Poland and Africa are considered in this thesis in a historical and comparative approach in order to contribute to the studies of the image of Africa in European literatures. As a link to the geopolitical situation of Poland the questioning is articulated about the image of a colonised space created in the literature of a country not implicated in colonisation. Three kinds of facts are analysed. First, travels by the Polish in Africa, then, stories created as a result of these travels, and finally the images that exist in Polish imagery with their literary, ideological or political uses. The relations between Polish writers and Africa are studied in an extended corpus which refers to writers of the colonial period (Joseph Conrad and Henryk Sienkiewicz) but is more focused on the decolonisation period from 1950 to 1980, where Ryszard Kapuściński’s writings are put in perspective by a number of secondary writers, reporters, physicians, missionaries or diplomats. The African alterity is also approached in its specular dimension as a mirror through which the Polish identity is observed and defined. The Polish image of Africa comes into view as a paradox since it simultaneously is contrary to Western images and a reproduction of them. A place of deep literary roots, Africa becomes in Polish literature also a place of reflection which – more than some politic ulterior motives or hidden culpabilities characteristic of imperial powers – reveals the union of destinies.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-16T20:24:37Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:24:13Z (GMT) No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-17T21:24:19Z (GMT). No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação analisa a adaptação do romance Heart of Darkness, de Joseph Conrad (2007), para o formato de graphic novel, publicada por Catherine Anyango e David Zane Mairowitz (CONRAD, 2010). A análise consiste no estudo da transição do foco narrativo, da personagem e do espaço do modo “contar” na narrativa literária para o modo “mostrar” e “contar” das graphic novels. Este trabalho de pesquisa aborda a adaptação como uma obra independente, uma recriação, conforme sugere Hutcheon (2013). A fim de explorar as similaridades entre a narrativa literária e a narrativa em graphic novel e verificar as transformações ocorridas no processo de adaptação, foram levados em consideração os estudos de Groensteen (2013; 2015) e outros autores da teoria literária e da teoria das graphic novels. A análise mostra que o trabalho de Anyango e Mairowitz recria, por meio do uso de recursos visuais e verbais, os aspectos centrais da narrativa de Heart of Darkness, destacando a história do período colonial do Congo através do acréscimo de fragmentos do relato autobiográfico presente em The Congo Diary e de elementos cartográficos, como os mapas do Rio Congo e da Colônia Belga no Congo. / This thesis analyzes the work published by Catherine Anyango and David Zane Mairowitz in 2010, which adapts Joseph Conrad’s novel Heart of Darkness (2007) into a graphic novel. The analysis of the transition of the narrative focus, characters and space from the literary narrative’s “telling mode” to graphic novel’s “telling” and “showing” modes. This research project addresses adaptation as an independent work, a recreation, as suggested by Hutcheon (2013). In order to explore the similarities between the literary narrative and the graphic novel and to verify the transformations taking place in the adaptation process, Groensteen’s (2013/ 2015) and other authors’ contributions to both literary and graphic novel theories were taken into account. The analysis shows that the work by Anyango and Mairowitz recreates through the use of both verbal and non-verbal resources the core aspects of Conrad’s novel, emphasizing the history of Congo’s colonial period by adding fragments of the autobiographical account found in The Congo Diary as well as cartographic elements such as maps of the Congo River and Belgian Congo.