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Coração das trevas: uma expressão simbólica da depressão / Heart of darkness: a symbolic expression of depressionGiglio, Mirella de Lemos 30 June 2017 (has links)
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Previous issue date: 2017-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / This project aims to analyze the symbols of Heart of Darkness, searching for elements
of depression, using the theories developed by Carl G. Jung. Depression is a subject
frequently heard, either presented in formal academic texts or chats among
acquaintances. This theme is seen in the history of human kind since the first historical
documents, however, its definition would suffer changes according to the point of view
men had of themselves. The theory developed by Carl G. Jung depicted that depression
might have a creative function for those who suffer from it, as long as the ego
encounters the unconsciousness. Joseph Conrad, the author of Heart of Darkness,
presented depressive symptoms in his life. He had a life in which he lost his parents at
a young age and decided to live alone in the sea, as a sailor. These situations with
different obstacles prevented his psychic to develop a strong structure as an adult. His
traumas and his sea journeys inspired him to express his private contents and
contemplate subjective themes about the human existence. Heart of Darkness presents
a plethora of symbols. Some of them express the archetypal journey to Hades’ world,
the inner darkness, as the depression process that may result in the transcendence of the
consciousness / Esta pesquisa tem como objetivo analisar os símbolos da obra Coração das Trevas, em
busca de elementos da depressão por meios da teoria junguiana. A depressão é um
assunto tratado frequentemente, seja em formato formal de textos acadêmicos, ou batepapos
entre conhecidos. A presença desse assunto está na humanidade desde os
primeiros registros históricos, porém a sua definição era diferente de acordo com a
visão de homem que as pessoas tinham em cada período. Atualmente, a depressão
atinge 350 milhões de indivíduos. Mesmo assim, nos deparamos com uma diversidade
de interpretações sobre o assunto e como tratá-lo. A teoria elaborada por Carl G. Jung
revelou que a depressão pode ter uma função criativa e transformadora para quem
passa por ela, contanto que exista um espaço para o encontro do Ego com o
inconsciente. Joseph Conrad, o autor do livro Coração das Trevas, apresentou
sintomas depressivos em sua vida. Ele teve uma vida com obstáculos, na qual perdeu
os pais na infância e decidiu viver sozinho no mar, como marinheiro. Essas situações
dificultaram o fortalecimento de uma estrutura psíquica de um ser adulto. Seus traumas
e suas viagens marítimas foram inspirações para o autor expressar seus conteúdos
íntimos e comtemplar assuntos subjetivos para toda a humanidade. Coração das
Trevas apresenta diversos símbolos. Alguns deles expressam a jornada simbólica ao
mundo de Hades, as trevas internas, como o processo da depressão que pode resultar
na ampliação de consciência como forma de transcender
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Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and WoolfMcIntyre, John, 1966- January 2001 (has links)
No description available.
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"Almost unnamable" : suicide in the modernist novelChung, Christopher Damien, 1979- 20 September 2012 (has links)
Since Presocratic Greece, suicide in the West has been “known” and controlled, both politically and discursively. Groups as diverse as theologians and literary critics have propagated many different views of self-killing, but, determining its cause and moralizing about it, they have commonly exerted interpretive power over suicide, making it nameable, explicable, and predominantly reprehensible. The four modernist authors that I consider in this dissertation -- Ernest Hemingway, Joseph Conrad, Virginia Woolf, and William Faulkner -- break completely with the tradition of knowing suicide by insisting on its inscrutability, refusing to judge it, and ultimately rendering it “almost unnamable,” identifiable but indefinable. In For Whom the Bell Tolls, Victory, Mrs. Dalloway, and The Sound and the Fury, respectively, these authors portray illustrative, but by no means definitive, modernist self-killings; they construct a distinctive representational space around suicide, one free of causal, moral, theoretical or thematic meaning and, I argue, imbued with the power to disrupt interpretation. “‘Almost Unnamable’: Suicide in the Modernist Novel” examines the power of self-killing’s representational space in early twentieth-century fiction, arguing for its importance not only to the history of suicide in the West but also to the portrayal of death in the twentieth-century novel. / text
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"Something more than fantasy": fathering postcolonial identities through ShakespeareWaddington, George Roland 28 August 2008 (has links)
Not available / text
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Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and WoolfMcIntyre, John, 1966- January 2001 (has links)
This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected. / I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.
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Stevenson, Conrad and the proto-modernist novelMassie, Eric January 2002 (has links)
This thesis argues that Robert Louis Stevenson's South Seas writings locate him alongside Joseph Conrad on the 'strategic fault line' described by the Marxist critic Fredric Jameson that delineates the interstitial area between nineteenth-century adventure fiction and early Modernism. Stevenson, like Conrad, mounts an attack on the assumptions of the grand narrative of imperialism and, in texts such as 'The Beach of Falesa' and The Ebb Tide, offers late-Victorian readers a critical view of the workings of Empire. The present study seeks to analyse the common interests of two important writers as they adopt innovative literary methodologies within, and in response to, the context of changing perceptions of the effects of European influence upon the colonial subject.
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Islands under threat : heterotopia and the disintegration of the ideal in Joseph Conrad's Heart of darkness, Antjie Krog's Country of my skull and Irvan Welsh's Marabou stork nightmaresPieterse, Annel 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: The stories and histories of the human race are littered with the remnants of
utopia. These utopias always exist in some "far away" place, whether this place
be removed in terms of time (either as a nostalgically remembered past, or an
idealistically projected future), or in terms of space (as a place that one must
arrive at). In our attempts to attain these utopias, we construct our worlddefinitions
in accordance with our projections of these ideal places and ways of
"being". Our discourses come to embody and perpetuate these ideals, which are
maintained by excluding any definitions of the world that run counter to these
ideals. The continued existence of utopia relies on the subjects of that utopia
continuing their belief in its ideals, and not questioning its construction.
Counter-discourse to utopia manifests in the same space as the original utopia
and gives rise to questions that threaten the stability of the ideal. Questions
challenge belief, and therefore the discourse of the ideal must neutralise those
who question and challenge it. This process of neutralisation requires that more
definitions be constructed within utopian discourse - definitions that allow the
subjects of the discourse to objectify the questioner. However, as these new
definitions arise, they create yet more counter-definitions, thereby increasing the
fragmentation of the aforementioned space. A subject of any "dominant" discourse, removed from that discourse, is exposed
to the questions inherent in counter-discourse. In such circumstances, the
definitions of the questioner - the "other" - that have previously enabled the
subject to disregard the questioner's existence and/or point of view are no longer
reinforced, and the subject begins to question those definitions. Once this
questioning process starts, the utopia of the subject is re-defined as dystopia, for
the questioning highlights the (often violent) methods of exclusion needed to
maintain that utopia.
Foucault's theory of heterotopia, used as the basis for the analysis of the three
texts in question, suggests a space in which several conflicting and contradictory
discourses which seemingly bear no relation to each other are found grouped
together. Whereas utopia sustains myth in discourse, running with the grain of
language, heterotopias run against the grain, undermining the order that we
create through language, because they destroy the syntax that holds words and
things together.
The narrators in the three texts dealt with are all subjects of dominant discourses
sustained by exclusive definitions and informed by ideals that require this
exclusion in order to exist. Displaced into spaces that subvert the definitions
within their discourses, the narrators experience a sense of "madness", resulting
from the disintegration of their perception of "order". However, through embracing
and perpetuating that which challenged their established sense of identity, the narrators can regain their sense of agency, and so their narratives become
vehicles for the reconstitution of the subject-status of the narrators, as well as a
means of perpetuating the counter-discourse. / AFRIKAANSE OPSOMMING: Utopias spikkel die landskap van menseheugenis as plekke in "lank lank gelede"
of "eendag", in "n land baie ver van hier", en is dus altyd verwyderd van die
huidige, óf in ruimte, óf in tyd. In ons strewe na die ideale, skep ons definisies
van die wêreld wat in voeling is met hierdie idealistiese plekke en
bestaanswyses. Sulke definisies sypel deur die diskoers, of taal, waarmee ons
ons omgewing beskryf. Die ideale wat dan in die diskoers omvat word, word
onderhou deur die uitsluiting van enige definisie wat teenstrydig is met dié in die
idealistiese diskoers. Die volgehoue bestaan van utopie berus daarop dat die
subjekte van daardie utopie voortdurend glo in die ideale voorgehou in en
onderhou deur die diskoers, en dus nie die diskoers se konstruksie bevraagteken
nie.
Die manifestering van teen-diskoers in dieselfde ruimte as die utopie, gee
aanleiding tot vrae wat die bestaan van die ideaal bedreig omdat geloof in die
ideaal noodsaaklik is vir die ideaal se voortbestaan. Aangesien bevraagtekening
dikwels geloof uitdaag en ontwrig, lei dit daartoe dat die diskoers wat die ideaal
onderhou, diegene wat dit bevraagteken, neutraliseer. Hierdie
neutraliseringsproses behels die vorming van nog definisies binne die diskoers
wat die vraagsteller objektiveer. Die vorming van nuwe definisies loop op sy
beurt uit op die vorming van teen-definisies wat bloot verdere verbrokkeling van
die voorgenoemde ruimte veroorsaak. "n Subjek van die "dominante" diskoers van die utopie wat hom- /haarself buite
die spergebiede van sy/haar diskoers bevind, word blootgestel aan vrae wat in
teen-diskoers omvat word. In sulke omstandighede is die subjek verwyder van
die versterking van daardie definisies wat die vraagsteller - die "ander" - se
opinies of bestaan as nietig voorgestel het, en die subjek mag dan hierdie
definisies bevraagteken. Sodra hierdie proses begin, vind "n herdefinisie van
ruimte plaas, en utopie word distopie soos die vrae (soms geweldadige)
uitsluitingsmetodes wat die onderhoud van die ideaal behels, aan die lig bring en,
in sommige gevalle, aan die kaak stel.
Hierdie tesis gebruik Foucault se teorie van "heterotopia" om die drie tekste te
analiseer. Dié teorie veronderstel "n ruimte waarin die oorvleueling van verskeie
teenstrydighede (diskoerse) plaasvind. Waar utopie die bestaan van fabels en
diskoerse akkommodeer, ondermyn heterotopia die orde wat ons deur taal en
definisie skep omdat dit die sintaks vernietig wat woorde aan konsepte koppel.
Die drie vertellers is elkeen "n subjek van "n "dominante diskoers" wat onderhou
word deur uitsluitende definisies in "n utopia waar die voortgesette bestaan van
die ideale wat in die diskoers omvat word op eksklusiwiteit staatmaak. Omdat die
vertellers verplaas is na ruimtes wat hulle eksklusiewe definisies omverwerp,
vind hulle dat hulle aan "n soort waansin grens wat veroorsaak is deur die
verbrokkeling van hul sin van "orde". Deur die teen-diskoers in hul stories in te bou as verteltaal, of te implementeer as die meganisme van oordrag, kan die
vertellers hul "selfsin" herwin. Deur vertelling hervestig die vertellers dus hul
status as subjek, en verseker hulle hul plek in die opkomende diskoers deur
middel van hulle voortsetting daarvan.
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Changing scientific concepts of nature in the English novel from 1850 to 1920, with special reference to Joseph ConradO'Hanlon, Redmond January 1977 (has links)
No description available.
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The Path to Paradox: The Effects of the Falls in Milton's "Paradise Lost" and Conrad's "Lord Jim"Mathews, Alice McWhirter 05 1900 (has links)
This study arranges symptoms of polarity into a causal sequence# beginning with the origin of contrarieties and ending with the ultimate effect. The origin is considered as the fall of man, denoting both a mythic concept and a specific act of betrayal. This study argues that a sense of separateness precedes the fall or act of separation; the act of separation produces various kinds of fragmentation; and the fragments are reunited through paradox. Therefore, a causal relationship exists between the "fall" motif and the concept of paradox.
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Unfeeling Empire: The Realist Novel in Imperial BritainGlovinsky, Will January 2021 (has links)
This dissertation considers the role of affective management in realist aesthetics and British imperial culture. Drawing on formalist analyses of English novels, nineteenth-century theories of emotion, and postcolonial accounts that identify the colonizer’s affective desensitization as the ground from which ongoing violence can be perpetrated, this study explores how domestic English novels developed new techniques for deflating the heightened feelings surrounding empire and distant intimacy. Through satires of sensibility, the replacement of epistolary style with impersonal omniscience, and newly dispassionate presentations of villains and protagonists alike, realist novelists explored affective restraint as at once a generic characteristic and an increasingly central element of British imperial and racial identities. This dissertation therefore argues, through readings of works by Jane Austen, William Makepeace Thackeray, George Eliot, and Joseph Conrad, for the deep influence of imperial culture on the realist novel’s distinguishing formal features. At the same time, it prompts critics to revisit longstanding accounts of the relationship between the novel and sympathy. Since the Victorian era, critics have readily understood the realist novel as concerned with the expansion of readers’ sympathies: this study reframes this important account by examining how the insistence on sympathy in novels often rerouted more turbulent reactions to empire’s dislocations—such as longing, desire for vengeance, and guilt—into cooler, more tractable feelings.
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