Joseph Conrad约瑟夫康拉德的英文介绍
第二节 约瑟夫·康拉德
Marlow tries to get the seriously ill Kurtz away down the river, but Kurtz dies, his last words being, " The horror! The Horror!“ Horror!“ "the last word he pronounced waswas-your name."
决心写作
By 1894 Conrad's sea life was over. During the long journeys he had started to write and Conrad decided to devote himself entirely to literature. At the age of 36 Conrad settled down in England. England.
走遍四方
Conrad sailed to many parts of the world, including Australia, various parts of the Indian Ocean, the Malay states, South America, and the South Pacific Island. In 1890 he sailed in Africa up the Congo River.
Writings
13部中长篇小说,大量短篇小说,此外还撰写了 13部中长篇小说 大量短篇小说, 部中长篇小说, 回忆录、散文和书信。 回忆录、散文和书信。 在主要的三类小说中(航海小说、 在主要的三类小说中(航海小说、丛林小说和社 会政治小说中), ),航海小说影响最大 会政治小说中),航海小说影响最大 。 The first novel :《阿尔迈耶的愚蠢》 阿尔迈耶的愚蠢》 (ALMAYER'S FOLLY ,1895) 黑暗的中心》 《黑暗的中心》( Heart of the Darkness) 1902)、 吉姆爷》 )、《 Jim) (1902)、《吉姆爷》(Lord Jim) 1900)、 )、《 白水仙号”上的黑家伙》 (1900)、《“白水仙号”上的黑家伙》(The nigger of the “Narcissues” : a tale of Narcissues” the sea)(1898) sea)(1898) 叙述者: 马洛) 叙述者:Marlow (马洛)
Joseph Conrad(1857-1924)
• Examples:
Light / dark Black / white Civilized / savage Outer / inner
Black and White
• Black / dark death, evil, ignorance, mystery, savagery, uncivilized A symbol existing in European society for centuries. Middle Ages, when science and knowledge was suppressed, then the Dark Ages. According to Christianity, in the beginning of time all was dark and God created light. According to Heart of Darkness, before the Romans came, England was dark. In the same way, Africa was considered to be in the "dark stage".
约瑟夫康拉德的著名诗句
约瑟夫·康拉德(Joseph Conrad)是一位波兰裔英国作家,以其小说作品而闻名。
尽管他以小说而不是诗歌而著称,但他的作品中包含一些深思熟虑的句子,表达了对人性、冒险和人类命运的深刻见解。
以下是一些约瑟夫·康拉德的著名诗句:1. "The belief in a supernatural source of evil is not necessary; men alone are quite capable of every wickedness."(对于邪恶存在于超自然力量的信仰并非必要,人类本身就足以制造一切邪恶。
)2. "We live, as we dream—alone."(我们活在梦境中,如同孤独一般。
)3. "The horror! The horror!"(恐怖!恐怖!)4. "The sea has never been friendly to man. At most it has been the accomplice of human restlessness."(海洋从未对人类友善。
充其量,它只是人类不安的帮凶。
)5. "I don't like work—no man does—but I like what is in the work—the chance to find yourself. Your own reality—for yourself, not for others—what no other man can ever know."(我不喜欢工作—没有人喜欢—但我喜欢工作中的东西—发现自己的机会。
你自己的现实—为了你自己,而不是为了别人—没有其他人能够理解的。
)这些句子反映了康拉德对人性、孤独、冒险和自我认知的深刻洞察。
有关康拉德的英文介绍
In many ways, J, whose full name was Teodor Jozef Konrad Korzeniowski, can be called a successor to Henry James and, together with Lawrence and Joyce he is considered one of the three giants of the modern English novel and a master of English prose. It is, therefore, astonishing that he knew almost no English when he was 21 and to the end of his life spoke English with a thick Polish accent.
Literary background and Joseph Conrad
The development of 20th century fiction is characterized by two simultaneous but contrary tendencies. The first of these tendencies is modernism and represented in fiction by stream of consciousness narration. The second tendency is a continuation of the tradition of realism inherited from 19th century. Most critics today agreed that the cross currents of 20th century fiction move like a pendulum swinging between these two poles. the second and third decades of the 20th century witness radical changes in the theory and technique of fiction by such brilliant writers as D.H Lawrence, James Joyce, Virginia Woolf, and E.M. Forster. Their period has been called heroic age of modernism although experiments with the new techniques had been made earlier in the works of Henry James and Joseph Conrad.
Heart of Darkness
Marlow
the chief of the Inner Station and has become almost legendary due to his genius and his station's superior ivory production. Marlow makes it his goal to find Kurtz because he feels they share a similar passion for the wilderness. As the novel progresses, however, it becomes apparent that Kurtz is not altogether "with it." Years of living in the jungle have made him savage and fanatical. It is partly due to this savagery that the natives of the Congo revere him as a godlike being.
Joseph Conrad was born to Polish parents in the Russian-dominated Ukraine in 1857. He was orphaned at the age of 11. At 16, Conrad left Poland for France to fulfil his ambition to go to sea. He rose to position of Master Mariner in the British Merchant Navy and his time at sea provided him with rich material for his stories. Conrad settled in Britain in 1894. His works include: Lord Jim, Nostromo and The Secret Agent.
伟大的传统中对康拉德的描述
伟大的传统中对康拉德的描述康拉德(Joseph Conrad),原名约瑟夫·特奥多尔·康拉德·科罗韦斯基,是英国文学史上最伟大的小说家之一。
他以其深邃的思想、精美的语言和卓越的叙事技巧而闻名于世。
众多文学评论家和学者都对康拉德给予了高度的赞扬和评价。
康拉德的作品以揭示人性的黑暗面和探索人类存在意义为主题,他独特的叙事方式和深入的心理刻画使他的作品充满了独特的魅力。
他的小说《黑暗的心灵》被誉为现代主义文学的经典之作,通过对主人公马尔洛的思想和行为的描写,深刻地反映了人性的脆弱和道德的崩溃。
康拉德的作品通常以航海为背景,他对航海生活的描写准确而生动。
他曾担任过一名海员和船长,亲身体验了航海的艰辛和危险。
这些经历为他的作品提供了宝贵的素材和灵感。
他的小说《蕾妮塔》和《铁娘子》等作品中,航海的背景成为了故事情节的重要元素,增添了小说的神秘和浪漫。
康拉德的作品还深受心理学和哲学思想的影响。
他对人类内心的探索和对人性的思考,使他的作品充满了深刻的思想和哲理。
他的小说《无名的英雄》通过对主人公马尔洛的内心矛盾和挣扎的描写,探讨了道德与欲望的冲突,呈现出了人性的复杂性和矛盾性。
康拉德的作品语言优美,富有诗意。
他运用生动的比喻和形象的描写,使读者仿佛身临其境。
他的小说《围城》中,通过对城市的描写,展现出了现代人的孤独和迷茫。
他的小说《胡桃夹子》中,通过对自然的描写,传递出了对自然环境的敬畏之情。
他的作品中充满了对自然和人类的热爱和关怀。
康拉德的作品具有普世的意义和价值。
他通过对人类内心的揭示和对社会现实的批判,呈现了人类的困境和挣扎。
他的作品不仅是对现实的反思,更是对人类存在的思考。
他的小说《地心游记》中,通过对人类对未知世界的探索,揭示了人类的勇气和智慧。
康拉德的作品影响深远,不仅在文学界产生了重要的影响,也为后世的作家提供了宝贵的启示。
他的作品被翻译成多种语言,广泛传播并深受读者喜爱。
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Heart of darkness--one of the "100 best
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Lord Jim (1900) examines the effects of a cowardly act and how this act‘s moral repercussions(反应,影响) haunt a man until his death. (Lord Jim's story is told by Marlow, the narrator of Heart of Darkness.) In 1902, Conrad published
The Secret Sharer" (1912) uses the "Doppelganger theme" (where a man meets his figurative double) to examine what Conrad viewed as the shifting nature of human identity and the essential isolation of all human beings.
Joseph Conrad Square
Literary career
The Nigger of the “Narcissus” (1897) concerns a tubercular(患结核病的) Black sailor whose impending death affects his fellow crewmen in a number of profound ways.
Joseph Conrad’s 黑暗的心 as a Gothic Novel
“The horror! The horror!”: Joseph Conrad’s Heart of Darkness as a Gothic NovelJ E N N I F E R L I P K AThe only legitimate basis of creative work lies in thecourageous recognition of all the irreconcilable antag-onisms that make our life so enigmatic, so burden-some, so fascinating, so dangerous, so full of hope.They exist! And this is the only fundamental truth offiction.—Joseph Conrad (Qtd. in Swisher 12)[The artist] speaks to our capacity for delight andwonder, to the sense of mystery surrounding ourlives, to our sense of pity, and beauty, and pain; to thelatent feeling of fellowship with all creation—and tothe subtle but invisible convictions of solidarity thatknits together the loneliness of innumerable hearts, tothe solidarity in dreams, in joy, in sorrow, in aspira-tions, in illusions, in hope, in fear, which binds men toeach other, which binds together all humanity—thedead to the living and the living to the unborn [... ]My task which I am trying to achieve is, by the powerof the written word to make you hear, to make youfeel—it is, before all, to make you see. That—and nomore, and it is everything.—Joseph Conrad (Qtd. in Swisher 34–35)Joseph Conrad said much regarding his role as author to make you see the truth. However, he also said that he didn’t like to explain what his books were about, because that would open him up to the criticism that he had failed as an artist to achieve understanding in the audience regarding what he could say the work was “really” about. Fortunately, Conradiana,vol. 40, no. 1, 2008 © Texas Tech University Pressthe field of literary criticism, theory, and interpretation have stepped in to (ad)venture failure in explaining the meaning and significance of Heart of Darkness . This is another such (ad)venture into the teeming jungle of Conrad’s long short story (or short novel), and the equally wild overgrowth of vegetation that is Conrad studies, criticisms, com-mentaries, and interpretations. According to the editor of the most recent Heart of Darkness casebook, “[t]he cutting edge of literary criti-cism seems to swing between formal and cultural- h istorical approaches every twenty years or so” with a pendulum whose swath swings (cuts)through postcolonialism, the adventure genre, historicism, irony,metaphor, the imagery of language, modernism, postmodernism, femi-nism, deconstructionism, psychology and psychoanalysis, authorial intention, and the philosophical branches of epistemology, morality,and metaphysics (Moore 7). Certainly no Castle of Otranto . Ironically,that is exactly what the lack and void is regarding this novel, where “the meaning of an episode was not inside like a kernel but outside,enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine” (Heart 68). Not enough attention has been given to Heart of Darkness as a serious novel of horror, a prime example of the highest of British Gothic fiction. This hero’s quest, then, is to examine the flaws and benefits of the more famous works regarding Heart of Darkness and then discuss the work as a Gothic novel, all in terms of the question, Can “traditional” examina-tions of Heart of Darkness do the story the justice that an interpretation of the novel focusing on its Gothic elements can?Woe to Walter F. Wright, who in his 1949 essay “Ingress to the Heart of Darkness ” wrote “[w]e perceive that Africa itself, with its forests, its heat, and its mysteries, is only a symbol of the larger darkness, which is in the heart of man.” (Qtd. in Harkness, Conrad’s 155) In 1975, all discus-sion of the Western literary canon, Joseph Conrad, and Heart of Darkness “burst into a blaze so suddenly that you would have thought the earth had opened to let an avenging fire consume all that trash” (Heart 90).Nigerian author Chinua Achebe, a nonfictional African raised in a non-fictional African society shaped by European colonialism, denounced Conrad as a “bloody racist” with “a problem with niggers”; Heart of Darkness as a portrayal of Africans as dumb brute (animal) rudimentary soul savages in a frenzy; and the Western world as a bunch of paternal-ists who think they can somehow comprehend what racism and colo-nialism has wrought on Africans (Achebe 190). This taught the white C O N R A D I A N A 26L I P K A—”The horror! The horror!”27 man the meaning of frenzy—not surprisingly, many critics and inter-preters of Conrad are male, white, Western, and European, and the still existent frantic and heated attempts to rescue or damn Heart of Darkness have filled more pages than the novel itself. The reaction to Achebe is almost a story unto itself, a study in the guilt of the white man, the ques-tioning and evaluating of the values of Western culture, and the birth and popularity of colonial studies and the desire to hear from non-E uropeans regarding how the brute force and greed of the Western world have forever altered their cultures.Out of fear that the political, historical, and colonial readings of the novel have done a disservice to the true message of Heart of Darkness,a hard push has been given to embrace the universality of the story as a message of how to live with the knowledge of the evil that exists in every heart, male or female, black or white (Harkness, “Old- F ashioned”41). One piece of evidence for the universality of the theme is Francis Ford Coppola’s film Apocalypse Now,which moves Heart of Darkness to Vietnam, with Kurtz a renegade American military star who must be exterminated with extreme prejudice for his unsound methods during the Vietnam War (Cahir 183–85). The argument can, however, easily be made that Apocalypse Now portrays Southeast Asians by using racial stereotypes. Rather than saying the issue of race should be ignored entirely, so as to examine Heart of Darkness as Gothic genre piece, it is perhaps more constructive to show how the issue of race opens up one area of psychological interpretations of the novel, that being how we relate to the Other.The difference between I and Other has been much explored as the source of both racism and sexism (Odajnyk 88). Psychoanalyst and cul-tural theorist Julia Kristeva said that facing the abject, which she calls the most violent form of psychological horror, is seeing the I and the Other (250). The I and Other are mentioned now as an introduction to philosophical implications of the novel in terms of self, the formation of identity, and the formation/learning of morality—as this does con-tribute to why we experience the psychological horror that we do.If the Other is a source of horror, in that it is different from the self (or I), what is the self? “All Europe contributed to the making of Kurtz”(Heart123). According to the French philosopher Louis Althusser, this is indeed true. As a Marxist and a determinist who denied individual freedom, Althusser coined the notion of Ideological State Apparatuses (ISA), everything from churches to schools to the family to the govern-ment, as the institutions which shape the self (132, 154–56). Marlowacknowledges how another social institution, that of language, is also nothing more than a tool used to justify one’s identity. When Marlow realizes that the ornamentation of the fence by Kurtz’s hut is actually rotting heads on stakes, the Russian tries to lessen his horror at this bar-barity by explaining that “these are the heads of rebels. I shocked him excessively by laughing. Rebels! What would be the next definition I was to hear? There had been enemies, criminals, workers—and these were rebels. Those rebellious heads looked very subdued to me on their sticks” (Heart 134). If the self is a void in the absence of social construc-tions, the absence of ISAs helps explain Kurtz’s uncivil behavior in “utter solitude without a policeman [... ] where no warning voice of a kind neighbour can be heard whispering of public opinion” (Heart 122).German philosopher Arthur Schopenhauer agreed that an absence of social institutions implies an absence of morality: “Might it not follow from a retrospective glance at the vain attempts to find a sure basis of morals from more than 2,000 years that there is no natural morality at all that is independent of human institutions? [Morality is] an artificial product, a means invented for the better restraint of the selfish and wicked human race.” (qtd. in Madden 43) However, Schopenhauer did not believe that the human is without a self in the absence of ISAs. As a pessimist, he believed in the human being as little more than an evil ego, and life as a lie regarding our true nature:If every individual were given the choice between his own destruction and that of the rest of the world, I need not say how the decision would go in the vast majority of the cases [... ] At such moments when we do have an opportunity to see the boundless egoism of almost everyone,the wickedness of many, and the cruelty of not a few [... ] we [... ]imagine we have chanced upon a monster never before seen.” (Madden 45–47)Marlow expresses the boundless egos of the pilgrims and of Kurtz, and also the role of appearances and illusions used by “civilization” to avoid facing the truths about itself. Marlow sees that he has entered a Nietzschean world beyond good and evil, and from this perspective is troubled by all the contradictions inherent within the “civilized world,”such as the noble intentions of Kurtz, representative of the International Society for the Suppression of Savage Customs, creating the Kurtz who “presides at certain midnight dances ending with unspeakable rites,which—as far as I reluctantly gathered from what I heard at various C O N R A D I A N A 28L I P K A—”The horror! The horror!”29 times—were offered up to him—do you understand? To Mr. Kurtz himself” (Heart123). It is these contradictions that lead Marlow into taking a journey into his unconscious mind, and it is this journey into darkness that is best expressed through viewing Heart of Darkness as a Gothic novel.While it is the feeling of dread conveyed which is the hallmark of all Gothic literature and this alone can qualify Conrad’s novel as Gothic, Heart of Darkness belongs to the nineteenth- c entury psychological G othic—although it does contain many classic Castle of Otranto early G othic elements, such as a far- o ff, exotic setting, “nightmares,”“visions,” night and darkness aplenty, a damned soul, and a “ghost”haunting Marlow:I had a vision of him on the stretcher, opening his mouth voraciously, asif to devour all the earth with all its mankind. He lived then before me;he lived as much as he had ever lived—a shadow insatiable of splendid appearances, of frightful realities; a shadow darker than the shadow of the night, and draped nobly in the folds of a gorgeous eloquence. [... ] And the memory of what I had heard him say afar there, with the horned shapes stirring at my back, in the glow of fires, within the patient woods, those broken phrases came back to me, were heard again in their ominous and terrifying simplicity. [... ] I rang the bell before a mahogany door on the first floor, and while I waited he seemed to stare at me out of the glassy panel—stare with that wide and immense stare embracing, condemning, loathing all the universe. I seemed to hear the whispered cry, ‘The horror! The horror!’” (Heart152–53).Conrad scholar Frederick R. Karl called Heart of Darkness the Danse Macabre and called the work a new version of Coleridge’s Ancient Mariner, as Marlowhas suffered through a nightmare, an experience that sends him back a different man, now aware of depths in himself that he cannot hide. The tale he narrates on the Nellie is one he is unable to suppress; a modern version of Coleridge’s Ancient Mariner, he has discovered a new world and must relate his story to regain stability. (144)In addition to Kurtz’s ghost, C. B. Cox noted that the first circle of Dante’s Hell, the office in Belgium (leading to the boat, to the Company Station, the Central Station, and finally the Inner Station), is guarded bytwo women knitting black wool (the Fates?), one of whom is depicted as a witch—complete with cat on her lap, an evil eye, and a wart on her nose (47).The thematic notion of the nightmare and the dream are standard themes of the Gothic (Sedgwick 4). While Marlow repeatedly says he is living the nightmare of his choice, living a waking horrific dream,Conrad structurally wrote the story in language that is very dreamlike.Ian Watt has called this Conrad’s impressionism, the art of “delayed decoding,” in which events are described before the reader knows what has happened (11). While Conrad’s artistic use of language has made him of interest to modernist, postmodernist, and deconstructionist cir-cles, this is an excellent literary technique for a Gothic novel, as the ini-tial descriptions make the reader uneasy with the unknown, which is slowly drawing them in to a shock:My purpose was to stroll into the shade for a moment; but no sooner within that it seemed to me I had stepped into the gloomy circle of some Inferno. [... ] Black shapes crouched, lay, sat between the trees leaning against the trunks, clinging to the earth, half coming out, half effaced within the dim light, in all the attitudes of pain, abandonment, and despair. [... ] These moribund shapes were free as air—and nearly as thin. I began to distinguish the gleam of the eyes under the trees. Then,glancing down, I saw a face near my hand. (Heart 81–82)In terms of psychoanalysis, language and irony act like a veil between a patient and the horror of a traumatic experience (Murfin 15).However, Conrad used language and irony with great skill to create a real feeling of uneasiness—the absurd is not just funny, but the absurd among such horror puts the so- c alled rational world in question. Karl Marx said that “The claim that the rational is actual is contradicted pre-cisely by an irrational actuality, which is everywhere the contrary of what it asserts and asserts the contrary of what is.” (qtd. in Ravel 9)Conrad artistically uses such contradictions between the rational and irrational to create a very interesting psychological effect in the reader:One evening a grass shed full of calico, cotton prints, beads, and I don’t know what else, burst into a blaze so suddenly that you would have thought the earth had opened to let an avenging fire consume all that trash. I was smoking my pipe quietly by my dismantled steamer, and saw them all cutting capers in the light, with their arms lifted high,C O N R A D I A N A 30L I P K A—”The horror! The horror!”31when the stout man with moustaches came tearing down to the river, a tin pail in his hand, assured me that everybody was “behaving splen-didly, splendidly,” dipped about a quart of water and tore back again. I noticed there was a hole in the bottom of his pail. (Heart90)Absurd moments like this are exactly what keep Marlow in a dreamlike “sense- l ess delusion” beyond that “that had its reason, that had meaning” (Heart78). Marlow has brief moments where he has a grip on reality: “For a time I would feel I belonged still to a world of straightfor-ward facts; but the feeling would not last long” (Heart78).Another structural convention of the Gothic evident in Heart of Dark-ness is the likelihood “to be discontinuous and involuted, perhaps incorporating tales within tales, changes of narrator” (Sedgwick 9). The novel also uses what has been called “Gothic therapeutic dialogue”: just as the Ancient Mariner tells his tale to the Wedding Guest, Frankenstein his tale to Robert Walton, and Nelly Dean the tale of Wuthering Heights to Mr. Lockwood, Marlow tells his tale to his shipmates aboard the Nellie(Brennan 11). And whether in terms of a session on the couch or on the other side of the veil from a priest, Conrad did consider the novel to be his “confessional” (Gose 131).Real horrors do fill the pages of Heart of Darkness,be they heads on stakes or the grove of death. Yet the message of the work is that the real horror has been internalized and lies within the heart, the heart of dark-ness. Marlow himself makes a distinction between the outside threat of danger and terror to the most extreme terror, which is a product of the mind:The fact is I was completely unnerved by a sheer blank fright, pure abstract terror, unconnected with any distinct shape of physical danger.What made this emotion so overpowering was—how shall I define it?—the moral shock I received, as if something altogether monstrous, intol-erable to thought and odious to the soul, had been thrust upon me unex-pectedly. This lasted of course the merest fraction of a second, and then the usual sense of commonplace, deadly danger, the possibility of a sudden onslaught and massacre, or something of the kind, which I saw impending, was positively welcome and composing. (Heart141)The birth of Gothic as a literary genre was a reaction to the Enlighten-ment era’s extreme leanings towards the rational; the Gothic goal was to exalt the senses over reason by taking the reader into “the abyss thatincapacitates our power of cognition” (Brennan 3). During the nine-teenth century, the outer ghouls of Gothic became the inner ghouls of G othic, the “demon” became the “daimon” (G ose 169). According to Matthew C. Brennan, the Gothic psyche is the most perfect literary rep-resentative of Jungian psychology, an example of what Jung called “visionary art,” which reaches into the dark recesses of the human mind to express the collective unconscious (13). The monsters and sav-iors of Gothic literature are Jung’s doubles and archetypes, and Kurtz is not just Marlow’s double, but his “shadow” (Brennan 15). The lead in a Gothic novel is acting out his own therapy, which is to serve as lesson to the reader:Gothic works all depict the failure of individuation in at least one key character; in different ways, they depict the collapse of the psyche and disintegration of the Self [... ] Sometimes, though, the G othic also includes characters who manage to integrate the experience of a destructive cautionary tale and thus to strengthen themselves psycho-logically. (Brennan 10)According to Brennan, Jung would consider the ending of Heart of Dark-ness,the lie to the Intended, a happy ending. Marlow does not become Kurtz; he realizes that the truth is “too dark—too dark altogether,” and despite his own anger at the lie which is the illusion the Intended must hold as her memory of Kurtz, he acts like a good civilized man who must act as if goodness and faith prevail (Heart 157). Marlow has confronted how destructive his choice of nightmare has been, and consciously chooses to reintegrate himself into “healthy” society (Brennan 25).Can it really be said that Heart of Darkness has a happy ending or therapeutic value, for either Marlow or the reader? If it is a G othic novel, what has happened to the feeling of dread? Does it not linger long after the novel is finished? Isn’t Conrad pointing out that the “healthy” society in the novel is not at all healthy? Does Marlow awake from his nightmare? H. P. Lovecraft considered Joseph Conrad a fine example of “The Weird Tradition in the British Isles” in his 1927 treatise on horror in literature, which does not use the language of G othic critics, but still contains interesting reflections regarding the psy-chology of fear.The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown. These facts few psycholo-C O N R A D I A N A 32L I P K A—”The horror! The horror!”33gists will dispute, and their admitted truth must establish for all time the genuineness and dignity of the weirdly horrible tale as a literary form [... ] As may naturally be expected of a form so closely connected with primal emotion, the horror- t ale is as old as human thought and speech themselves. Cosmic terror appears as an ingredient of the ear-liest folklore of all races. (Lovecraft 12, 17)This statement on the universality of fear helped Lovecraft to argue that the horror tale will always persist in literature, despite the fact that the unknown world is shrinking due to advancements in science. While he argued that there is a physiological fixation on what is mysterious, he also said that only a small minority of the population can truly appre-ciate the weird, the horrific, and that which inspires dread—because only a minority of the population appreciates and uses the imagination (Lovecraft 13).Lovecraft’s use of “minority” and “imagination” are what makes certain elements of Freudian psychology particularly interesting tools in opening up a discussion about “the truth” of Heart of Darkness,which, fortunately, has little to do with “the snake- l ike river is the penis pene-trating the female body of the wilderness” (15). Freud himself devel-oped the theory of the “unheimlich”—the eerie and uncanny, which is “that class of the frightening, which leads back to what is known of old and long familiar” (Freud 123–24). Marlow begins his tale by letting his listeners know that the familiar Thames “also [... ] has been one of the dark places of the earth,” and tells his tale in miniature fashion as the conquest of England by the ancient Romans (Heart67). By the end of Marlow’s tale, the familiar has become the unfamiliar, the uncanny, as evidenced by the last words of the novel, spoken by the narrator. Entranced by Marlow’s tale, he now recalls himself on deck the Nellie, remembers his task to set sail, and looks out at the familiar Thames:“[t]he offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed sombre under an overcast sky—seemed to lead into the heart of an immense darkness” (Heart158). Freudian Julia Kristeva wrote about the abject being more violent than the uncanny, because the abject contains nothing familiar. Kristeva said that the abject resembles the sublime with its ability to carry one away, making one lose control (or, as Marlow or Conrad might say, restraint) over one’s self. However, the real horror of the abject is that it makes known that there is a certain truth, a certain reality, that if acknowledged by a person will annihilatethem (Kristeva 250). Freudian Jacques Lacan, whose mirror stage of development theory depends on what humans see, also said that behind reality is the real, which only a few see, and not to their psycho-logical benefit (Devlin 716). R. A. Gekowski argued that “Kurtz sees too much, too clearly, to live through the experience,” lending credence to the idea that there is a minority which does see that certain reality, that real behind reality, which annihilates them (86).This notion of what Marlow and Kurtz “see” leads the discussion to the image, and then to the imagination: “[t]he image is the starting point and in some measure the immediate matter of all our intellectual opera-tions. It is certain that any cessation of imaginative activity puts an end at once to intellectual function” (de Munnynck, under “Elaboration of Images by the Intellect”). That Marlow tells his tale to the crew of the Nellie sitting like “a Buddha preaching” is an image that plays not just on the transcendent enlightenment Marlow experienced on his trip to rescue Kurtz, but also on Eastern beliefs that all is one, the two parts come together as one—here not just in terms of the natures of the dou-bles or shadows Kurtz and Marlow, but also in terms of the irrational and the rational, the known and the unknown (Heart 69). Why does Lovecraft insist only a minority in the population can truly appreciate tales of the weird, and why do only a few, like Kurtz and Marlow, see the real that lies behind the reality—“The horror! The horror!”?According to Gekowski, “[t]he Manager of the Central Station and the other ‘fools’ of the story can never descend to the ‘heart of darkness’because they have no ‘imagination’” (83). Conrad himself said that there are only two options of living in this world—the one option is as an idiot who does not see or think, the other as a convict who sees and thinks (Watt 8).What does this mean for the interpretation that the heart of darkness is in every man? Despite the fact that every human being, for their own self- e steem (if not for their ignorance), must think of themselves as good, the potential for great evil lies in the heart of Everyman, with the only question being, what will bring the darkness to light? Do humans possess the imagination, the ability to see, to understand this potential for evil? When Marlow enters the grove of death, he is horrified:“Marlow’s shock, his amazement before the sheer strangeness of the ravaged human forms anticipates what the Allied liberators of the con-centration camps felt in 1945” (Denby 252). Before his journey, Marlow could not imagine the horrors he witnessed and lived.Heart of Darkness is not important as a historical document of what C O N R A D I A N A 34L I P K A—”The horror! The horror!”35 was, or a piece of colonial literature to understand why politics and cul-ture are like they are now in real regions of the world. Heart of Darkness is important as a Gothic novel, inspiring readers with the horror, the dread, of what is. Heart of Darkness states humanity should not have to live and witness such horrors as Marlow to understand that the human heart contains an evil that does exist. When Hannah Arendt attended the trial of Nazi war criminal Adolf Eichmann in Jerusalem in 1961, she was shocked at what a normal human being Eichmann was, even noting that while on trial he said “that he had lived his whole life . . . according to a Kantian definition of duty [... ] to the surprise of every-body, Eichmann came up with an approximately correct definition of [Kant’s] categorical imperative” (Kohn 7). The Holocaust started Arendt on a decades- l ong search to understand the nature of evil, due to the twentieth century’s “unprecedented, [... ] incredible, [... ] monstrous” events which seemed to defy man’s understanding (Yar, under “7. Thinking and Judging”). Could passivity, the latent desires of the masses, a lust for power, the “lying world order,” or man’s inhu-manity be at fault? (Kohn 5). Eichmann was not the incarnation of evil, Arendt decided, nor were the passive masses that allowed such horrors to be perpetrated. Arendt changed her philosophy of “radical evil” to the “banality of evil”—Eichmann and most people are simply thought-less and lack both the ability to think critically about their actions and the imagination needed to comprehend the consequences of their actions (Yar, under “6. Eichmann and the ‘Banality of Evil’”). The offi-cial 9/11 National Commission Report also stated that one reason the attacks of 9/11 were not prevented is that the Intelligence community lacked the “imagination” necessary to envision, and therefore prevent, the attacks (under “G eneral Findings”). Thoughtlessness makes evil concrete, and the only method to prevent evil is to actively exercise the imagination: This new “‘broadened way of thinking’”—“‘thinking without a banister’”—with an “‘enlarged mentality’” allows us to “‘put ourselves in the position of everybody else’” (Yar, under “7. Thinking and Judging”). Imagination allows not just for this sort of empathy, feeling what actually is for other people, but allows for the perception of what could be,as literally anything is possible. Marlow himself says this within what is not only a beautiful description of the “unheimlich” in action but also a moment where the Other becomes the I, and the I the Other. Marlow stands on the steamer, which glides down the river, past throngs of “of a black and incomprehensible frenzy,” disturbing for “their humanity—like yours”:。
诗人康拉德是哪个国家的
诗人康拉德是哪个国家的康拉德,JosephJózefTeodorConradKorzeniowski波兰裔英国作家。
1857年12月3日生于一个诗人家庭,1924年8月3日卒于英国坎特伯雷。
下面是店铺为你搜集康拉德是哪个国家的相关内容,希望对你有帮助!康拉德简介康拉德全名约瑟夫·特奥多·康拉德·科尔泽尼奥夫斯基,1857年12月3日出生在波兰,但在他的一生中约有二十年的时光是在海上度过的。
正是因为在海上漂泊的这二十几年,使得他积累了丰富的航海经验,同时积累的还有写作素材。
康德拉二十多年的航海经历使得他被称为航海家,但是除了这一身份外,他还是一名作家,最擅长写海洋冒险类的小说,因此也被人们称为海洋小说大师。
康拉德是波兰上流社会家庭中的小孩,因为不满沙俄对波兰的统治,在十七岁的时候逃离到了法国,从此开始了自己的航海生涯。
在康拉德的二十多年的航海生涯中,有十六年在英国的商船上工作。
1886年的时候,康拉德加入了英国国籍,并且开始担任船长。
1890年由他驾驶的船只行驶到了非洲的刚果。
1893年是康拉德作为大副最后一次航海。
这次航海他最大的收获是交到了一位文坛好友。
1894年康拉德结束了他的漂流生活,开始定居欲陆地。
两年后因为身体的原因,他正式放弃了航海生活,转而开始文学创作,一年后他的首部代表作品《水仙号上的黑水手》正式完成。
在此之后,他继续坚持文学创作,直到六十七岁逝世为止,他给世人留下了大量的优秀作品和航海经验。
以上便是约瑟夫康拉德简介的主要内容。
约瑟夫康拉德写作特点约瑟夫康拉德是英国现代主义小说的先驱,约瑟夫康拉德写作特点第一条就是具有现代主义色彩。
在这一方面他继承了亨利·詹姆斯的英语小说改革,为维多利亚小说与现代派作家提供了一个过度。
约瑟夫康拉德写作特点的第二条是印象主义及悲剧性,其作品不仅以印象主义著称,同时更以其作品所具备的悲剧性给人们的心灵造成震撼。
约瑟夫康拉德
LiAlmayer’s Folly (1895) 《奥尔迈耶的愚蠢》 Lord Jim (1900) 《吉姆老爷》 Heart of Darkness (1902) 《黑暗之心》 Nostromo (1904) 《诺斯特罗姆》
Writing style
The comments
Personally, I prefer to read positive and optimistic novels. About this short story, the backgrounds and the characters are too depressing. The entire novel didn’t show the kind of vibrant hopes until the end. And at the end of the story, the hero stood alone and faced up to the sun also faced up to the unknown future.
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Much of his writing bears a profound philosophical quality, exploring the depths of psychology, morality, the creative impulse, and other pillars of existence. Most of his novels and stories have a seaboard setting.
康拉德的故事文字版
康拉德的故事文字版摘要:1.康拉德生平简介2.康拉德的作品特点及其影响3.康拉德在我国的传播与影响4.康拉德的代表作品介绍5.总结:康拉德在文学史上的地位正文:一、康拉德生平简介康拉德(Joseph Conrad,1857-1924),原名约瑟夫·康拉德·科尔泽尼奥夫斯基,波兰裔英国作家,被誉为20世纪最具影响力的英语小说家之一。
他出生于波兰华沙,幼年时随家人移居俄罗斯,后来在英国定居,成为一名船长。
康拉德在非洲和亚洲的航海经历为他的创作提供了丰富的素材。
二、康拉德的作品特点及其影响康拉德的作品以航海题材为主,具有强烈的现实主义色彩。
他的小说描绘了19世纪末到20世纪初殖民主义时期的非洲、亚洲等地的生活场景,揭示了人性的复杂与矛盾。
他的作品深受作家们的影响,如海明威、福克纳等,同时也对后世的文学创作产生了深远的影响。
三、康拉德在我国的传播与影响在我国,康拉德的作品逐渐受到关注,许多学者和评论家对他的作品进行了深入研究。
他的部分作品已被翻译成中文,如《黑暗之心》、《吉姆爷》等,受到了广大读者喜爱。
此外,康拉德的作品也被列入中学和大学的英语教材,对我国英语教育产生了积极的影响。
四、康拉德的代表作品介绍1.《黑暗之心》:这部作品被誉为现代文学史上的一部经典之作,讲述了一位比利时殖民者在非洲的冒险经历,揭示了人性的黑暗面。
2.《吉姆爷》:这部小说讲述了一位英国商船船长在中国海域的航海经历,通过描绘各种人物形象,反映了殖民主义时期的社会现实。
3.《雾都孤儿》:这部作品是康拉德的代表作之一,讲述了一个在伦敦长大的孤儿的生活经历,对社会底层人民的生活状况进行了深刻揭示。
五、总结:康拉德在文学史上的地位康拉德是19世纪末到20世纪初英语文学史上的一位重要作家。
他的作品以独特的现实主义风格,揭示了人性的复杂与矛盾,对后世产生了深远的影响。
joseph_conrad_ppt
His Style
Conrad has become a great prose master of his adopted languageEnglish. In a figurative language—similes and metaphors A lush and dense style with piles of sharp images A poetic quality
Features of His Writings
He wrote stories and novels, predominantly with a nautical or seaboard setting, that depict trials of the human spirit by the demands of duty and honor. While some of his works have a strain of Romanticism, he is viewed as a precursor of Modernism literature. His narrative style and anti-heroic characters have influenced many authors. His short stories and novels reflect aspects of a worldwide empire while also plumb the depths of the human soul.
Artistic View
He claims: The artist, like the thinker or the scientist ,seeks the truth and makes his appeal. He further claims that all art appeals primarily to the senses, and that the artistic aim of literature must make its appeal through the senses. His artistic view is also influenced by impressionism.
Joseph Conrad康纳德
His Early Life
Because of the father's attempts at farming and his political activism, the family moved repeatedly.
· May 1861 they moved to Warsaw, where Apollo joined the In e against the Russian Empire. This led to his imprisonment in Pavilion X (Ten) of the Warsaw Citadel.
Education
Apollo did his best to home-school Conrad. The boy's early reading introduced him to the two elements that later dominated his life: in Victor Hugo's Toilers of the Sea he encountered the sphere of activity to which he would devote his youth; Shakespeare brought him into the orbit of English literature. Most of all, though, he read Polish Romantic poetry.
On 23 May 1869, Apollo Korzeniowski died of tuberculosis.The young Conrad was placed in the care of Ewa's brother, Tadeusz Bobrowski. Conrad's poor health and his unsatisfactory schoolwork caused his uncle constant problems and no end of financial outlays.
心理罪2经典语录【犯罪心理学经典语录】
《心理罪2经典语录【犯罪心理学经典语录】》摘要:cannot see myself that my role is limited to being the one who looks in the mirror.Jacques Rigaut,merely an idea that mind possesses.It is an idea that possesses the mind.Robert Oxton Bolton,the years in your life that count.Its the life in your years.Abraham LincolnThe belief in a supernatural source of evil is not necessary. Men alone are quite capable of every wickedness.Joseph Conrad约瑟夫康拉德(波兰出生的英国作家):将邪恶的源头归结于超自然的因素是没有必要的,人类本身就足以施行每一项恶行。
Try not. Do or do not.Yoda尤达大师(『星球大战』中的主角):不要抱着尝试的心态。
要么做,要么不做。
There are certain clues at a crime scene which, by their very nature, do not lend themselves to being collected or examined. How does one collect love, rage, hatred, fear?Dr. James T. Reese詹姆斯瑞斯博士(美国精神创伤压力处理方面的专家):犯罪现场中的某些线索,由于它们自己本身的性质,是不容易收集或是被检测到的。
那么,一个人是怎样将爱、愤怒、憎恨和害怕收集的?Dont bother just to be better than your contemporaries or predecessors. Try to be better than yourself.William Faulkner威廉姆斯福克纳(美国作家):别自寻烦恼的只想比你同时代的人或是先辈们出色,试着比你自己更出色吧。
Conrad, Joseph 约瑟夫
Conrad, Joseph (1857-1924), was a Polish-born author who wrote in English. He became famous for the novels and short stories that he wrote about the sea.Conrad was born Jozef Teodor Konrad Nalecz Korzeniowski on Dec. 3, 1857, near Kiev, in what was then Russian Poland. He left Poland at the age of 16 and arrived in England at the age of 20, unable to speak English. During the next 16 years, he worked his way up from deck hand to captain in the British Merchant Navy. He mastered English so completely that he was able to write some of its greatest novels. Conrad's rich prose style is noted for its gripping intensity, which can be precise in its realism or filled with metaphor.Conrad used experiences of his life in many of his works. From his voyages in the Indian Ocean and Malay Archipelago came some of his best-known novels. He began with Almayer's Folly (1895) and An Outcast of the Islands (1896), both set in Borneo.Such later masterpieces as The Nigger of the "Narcissus" (1897), Lord Jim (1900), Typhoon (1903), and The Shadow Line (1917) are also set in the eastern seas. Several of Conrad's short stories, including "The Secret Sharer" and "Youth," are set there, too. "Heart of Darkness" is based onhis voyage up the Congo River, and his novel Nostromo (1904) uses memories of his early voyages in the Caribbean.Conrad's sea stories were not superficial adventure tales, though they were sometimes dismissed as such in his day. Later critics hailed Conrad for his experiments with fictional point of view and multiple narrators. Conrad's work is also exceptional for its probing psychological analysis of the isolated self torn between such conflicting influences as sympathy and greed, heroism and cowardice, and idealism and cynicism. In Nostromo, for example, Conrad presented an epic picture of the clash between capitalism and revolution in South America. Conrad also wrote two absorbing novels about revolutionaries in Europe, The Secret Agent (1907) and Under Western Eyes (1911), and the autobiographical pieces collected in The Mirror of the Sea (1906) and A Personal Record (1912). After years of praise from critics but little public attention, Conrad only began to achieve popular success with the more melodramatic material of his novels Chance (1914) and Victory (1915). Conrad died on Aug. 3, 1924.。
《黑暗的心:约瑟夫·康拉德的探索与良心》
黑暗的心:约瑟夫·康拉德的探索与良心1. 序言在文学史上,约瑟夫·康拉德是一位备受赞誉的作家,他以其深入探讨人性和道德困境而著称。
其中,《黑暗的心》是他最为著名且备受争议的作品之一。
本文将通过分析《黑暗的心》,探索康拉德对人性、文明与野蛮、道德观念与内心冲突的思考。
2. 约瑟夫·康拉德简介约瑟夫·康拉德(Joseph Conrad)是波兰裔英国作家,生于1857年。
他曾身临航海生涯,这使得他对殖民主义和帝国主义等问题有着深刻的认识。
康拉德以其浓厚的叙事风格和意味深长的描写闻名于世。
3. 《黑暗的心》概述《黑暗的心》是康拉德于1902年出版的小说,讲述了主人公查理斯·马罗与非洲河流中一位神秘人物库尔茨敬仰与追随的故事。
这部小说以非洲为背景,探索了人类本性中的黑暗面以及西方文明对非洲原住民的殖民主义压迫。
3.1 主题解读:人性和道德困境《黑暗的心》通过揭示人类内心深处的阴暗面,探讨了一个关键问题:在没有外界制约和监管下,人们会向着何种方向发展?小说中,不论是马罗还是库尔茨,都是被欲望、权力和疯狂所驱使。
康拉德通过这些角色呈现出存在于每个人内心深处的较恶劣品质。
3.2 文明与野蛮康拉德在小说中反复强调文明世界与野蛮世界之间的冲突。
尽管英国帝国扩张时期非洲是文明世界追求经济利益的一个目标,但实际上却暴露了西方帝国主义者残忍和无情的一面。
康拉德用位于非洲深处无法到达的区域来象征着“黑暗之心”,表达了他对殖民主义的批判。
3.3 道德观念与内心冲突在小说中,马罗因为冲突的道德观念而备受困扰。
他在殖民地的经历引发了对人性本质、道德标准和文化约束的质疑。
康拉德通过马罗的角色深入探索了一个人内心世界中真实自我的存在与文明社会规则之间的抵触。
4. 康拉德作品中其他相关主题除了《黑暗的心》,康拉德的作品中也涉及到其他一些相关主题:4.1 孤独和孤立康拉德经常描写孤立、孤独和个体在无情世界中的挣扎。
Joseph Conrad
Arsat‘s brother tells Diamelen and Arsat to flee to the other side where there is a fisherman’s hut. He instructs them to take the fisherman‘s boat. The brother stays back, telling them to wait for him, while he takes care of the canoe独 木舟 of the pursuers. However, Arsat did everything except waiting for his brother. As he pushed the boat from shore, he saw his brother running down the path, being chased by their pursuers. Arsat's brother trips and the enemy is upon him. His brother calls out to him three times, but Arsat never looked back. He betrayed his brother for a woman that he loved.
a short story by Joseph Conrad composed in 1896 and first published in Cornhill Magazine in 1897. The story is about a white man that is referred to as ‘Tuan’ (先生), travelling through an Indonesian rainforest, who is forced to stop for the night with a distant Malay(马来西亚人) friend named Arsat. Upon arriving, he finds Arsat distraught(发狂), for his lover is dying. Arsat tells the distant and rather silent white man a story of his past .
Joseph_Conrad 约瑟夫康拉德 英文介绍 详细版
marine and served under the Red Ensign
Joseph Conrad
1
Early life
2 Merchant-marine career
Turned his attention to novels of political intrigue. ❖The Secret Agent (1907) ❖Under Western Eyes (1911) ❖The Secret Sharer (1912) ❖Chance (1913) ❖The Inheritors Victory (1915)
❖ Conrad‘s poor health / unsatisfactory schoolwork /constant problems /outlays
❖in the autumn of 1871, thirteen-year-old Conrad announced his intention to become a sailor.
Literary Career
Conrad also turned to autobiography
❖Mirror of the Sea (1906) ❖A Personal Record (1912) ❖Notes on Life and Letters (1921)
His Style
❖Verbose(冗长的): a great prose master of his English.
1. Marlow’s acceptance of responsibility for Kurtz’s legacy. “One morning he gave me a packet of papers and a photograph- the lot tied together with a shoe-string. And ‘Keep this for me’ ” “The horror! The horror!”
约瑟夫·康拉德语录
约瑟夫·康拉德语录标题:约瑟夫·康拉德语录:探索内心深处的黑暗与光明约瑟夫·康拉德(Joseph Conrad)是一位备受赞誉的英国作家,他的作品以其深邃的心灵描写和对人性的深刻洞察而闻名于世。
他的语录不仅反映了他对人类内心深处黑暗与光明的思考,也给予了我们对自我探索的启示。
在这篇文章中,我们将探索康拉德语录所传达的思想,并试图理解他对人类内心的探索。
康拉德曾说:“在每个人的内心深处,都有一片黑暗的土地。
”这句话直击了人类内心最深的角落,暗示了我们内心的阴暗面。
人类内心的黑暗是我们所不愿意面对的,但它却是我们不可否认的一部分。
我们每个人都有着无数的欲望、恐惧和负面情绪,它们像潜伏在黑暗中的野兽,时刻威胁着我们的内心平静。
然而,康拉德并非只关注黑暗,他也提到了内心的光明。
他说:“在每个人的内心深处,也有一束光明。
”这句话给予了我们希望,暗示了我们内心的善良和正直。
无论我们内心有多么黑暗,都有一份纯洁的光明存在。
这个光明或许是我们对正义的渴望,对真理的追求,或者对爱和善良的信念。
它是我们内心最美好的一面,也是我们自我探索的目标。
康拉德的语录启示我们,探索内心深处的黑暗与光明是一项艰难而重要的任务。
我们需要勇敢地直面自己内心的黑暗,接受它们的存在,并努力寻找内心的光明。
这个过程可能会带来痛苦和挣扎,但只有通过正视自己的黑暗面,我们才能真正理解自己,成长和改变。
在这个自我探索的过程中,我们需要审视自己的行为和选择。
康拉德曾说:“我们的选择是我们的责任。
”这句话提醒我们,我们的行为和选择是我们个人的责任,它们塑造了我们的内心和人格。
我们需要明智地选择,承担起自己的责任,不断追求内心的成长和完善。
康拉德的语录给予了我们对人类内心深处的思考和启示。
我们每个人都有黑暗与光明,我们需要勇敢地面对自己的黑暗,寻找内心的光明。
我们的选择和行为塑造了我们的内心和人格,我们需要承担起自己的责任,并不断追求成长和完善。
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Joseph ConradJoseph Conrad(3 December 1857 –3 August 1924)was a Polish-born English novelist who today is most famous for Heart of Darkness, his fictionalized account of Colonial Africa. “He was granted British nationality in 1886, but always considered himself a Pole. Conrad is regarded as one of the greatest novelists in English, though he did not speak the language fluently until he was in his twenties and he always spoke with a marked accent. ”He wrote stories and novels, often with a nautical setting, describing trials of the human spirit in the midst of an indifferent universe. He was a master prose stylist who brought a distinctly non-English tragic sensibility into English literature. He has been praised as one of the most powerful, insightful, and disturbing novelists in the English canon despite coming to English later in life, which allowed him to combine it with the sensibilities of French, Russian, and Polish literature.LIFE AND CAREERJoseph Conrad was born on December 3, 1857, in Berdyczew, Poland. His father was a writer and a translator of the works of William Shakespeare (1564–1616). He was also a member of a movement seeking Polish independence from Russia. In 1862 the family was forced to move to Russia because of his father's political activities. Conrad's mother died three years later in 1865. It was not until 1867 that Conrad and his father were allowed to return to Poland. In 1868 Conrad attended high school in the Austrian province of Galicia for one year. The following year he and his father moved to Cracow, Poland, where his father died in 1869. In the time spent with his father, Conrad became a lover of literature, especially tales of the sea. After his father's death, his uncle, Thaddus Bobrowski, took Conrad in and raised him. In the autumn of 1874 Conrad went to Marseilles, France, where he entered the French marine service. For the next twenty years Conrad led a successful career as a ship's officer. In June 1878 Conrad went to England for the first time. He worked as a seaman on English ships, and in 1880 he began his career as an officer in the British merchant service, rising from third mate to master. His voyages took him to distant and exotic places such as Australia, India, Singapore, Java, and Borneo, which would provide the background for much of his fiction. In 1886 he became a British citizen. He received his first command in 1888. In 1890 he traveled to the Belgian Congo, Zaire, and Africa, which inspired his great short novel The Heart of Darkness. In 1893 he discussed his work in progress, the novel Almayer's Folly, with a passenger, the novelist John Galsworthy (1867–1933). A year later he retired from the merchant marines and completed Almayer's Folly, which was published in 1895. In 1896 he married Jessie George, an Englishwoman. Two years later, they settled in Kent in the south of England, where Conrad lived for the rest of his life.From 1896 through 1904 Conrad wrote novels about places he visited as a merchant marine and he explored themes such as the uncertainties of human sympathy. His early novels included An Outcast of the Islands(1896), The Nigger of the "Narcissus" (1897), The Heart of Darkness (1899), and Lord Jim (1900). The nextthree novels reflected Conrad's political side, including Nostromo (1904), The Secret Agent (1907), Under Western Eyes (1911). Although Conrad's last novels, The Shadow Line (1917) and The Rover (1923), were written as a farewell, he received many honors. In 1923 he visited the United States to great fanfare. The year after, he declined an offer of knighthood in England.On August 3, 1924, Conrad died of a heart attack and was buried at Canterbury, England. His gravestone bears these lines from Edmund Spenser (1552–1599): "Sleep after toyle, port after stormie seas,/ Ease after warre, death after life, does greatly please."Joseph Conrad began writing in 1889. In total, he wrote 13 novels, 28 short stories and 2 memories.Almayer’s Folly(1895) was Conrad‟s first published novel. It is set towards the end of the 19th century in the Malay Archipelago and deals with the conflicts between European colonialism and the native population. Dreams of easy wealth drive the Dutch trader Kaspar Almayer into grandiose schemes which come to nothing. His mixed-race wife despises him and is having an affair with a local native war lord. He completely misjudges the turmoil of events in which he becomes enmeshed and eventually descends into opium addiction and self-destruction. The novel contains many stereotypes of nineteenth century imperialist ideology, but its events are related in a manner which would lead to the development of literary modernism in the 20th century.Lord Jim (1900) is the earliest of Conrad‟s big and serious novels, and it explores one of his favourite subjects –cowardice and moral redemption. Jim is a ship‟s captain who in youthful ignorance commits the worst offence – abandoning his ship. He spends the remainder of his adult life in shameful obscurity in the South Seas, trying to re-build his confidence and his character. What makes the novel fascinating is not only the tragic but redemptive outcome, but the manner in which it is told. The narrator recounts the events in a time scheme which shifts between past and present in an amazingly complex manner. This is one of the features which makes Conrad considered one of the fathers of twentieth century modernism.Heart of Darkness(1902) is a tightly controlled novella which has assumed classic status as an account of the process of Imperialism. It documents the search for a mysterious Kurtz, who has …gone too far‟ in his exploitation of Africans in the ivory trade. The reader is plunged deeper and deeper into the …horrors‟ of what happen ed when Europeans invaded the continent. This might well go down in literary history as Conrad‟s finest and most insightful achievement, and it is based on his own experiences as a sea captain.Nostromo(1904) is Conrad‟s …big‟ political novel – into which he packs all of his major subjects and themes. It is set in the imaginary Latin-American country of Costaguana –and features a stolen hoard of silver, desperate acts of courage, characters trembling on the brink of moral panic. The political background encompasses nationalist revolution and the Imperialism of foreign intervention. Silveris the pivot of the whole story – revealing the courage of some and the corruption and destruction of others. Conrad‟s narration is as usual complex and oblique. He begin s half way through the events of the revolution, and proceeds by way of flashbacks and glimpses into the future.1.Much of his writing bears a profound philosophical quality, exploring the depthsof psychology, morality, the creative impulse, and other pillars of existence.2.Most of his novels and stories have a seaboard setting.3.While some of his works have a strain of Romanticism, he is viewed as aprecursor of Modernism literature. His narrative style and anti-heroic characters have influenced many authors.4.Conrad concludes with a beautiful metaphor that captures the essence of art asboth construct and contextReferences1./Co-Da/Conrad-Joseph.html2./2009/09/17/joseph-conrad-his-greatest-works/3./wiki/Joseph_Conrad。