By Lacoue-Labarthe, Philippe; Lawtoo, Nidesh; Lacoue-Labarthe, Philippe; Conrad, Joseph
With its leading edge narrative constitution and its debatable explorations of race, gender and empire, Joseph Conrad's Heart of Darkness is a landmark of twentieth century literature that maintains to resonate to this present day. This publication brings jointly best students to discover the entire diversity of latest philosophical and important responses to the text.Conrad's 'Heart of Darkness' and modern Thought contains the 1st ebook in English of thinker Philippe Lacoue-Labarthe's 2007 essay, "The Horror of the West", defined through J. Hillis Miller as "a significant essay on Conrad's novel, the best ever written". within the corporation of Lacoue-Labarthe, top students discover new readings of Conrad's textual content from an entire diversity of theoretical views, together with deconstructive, psychoanalytic, feminist and postcolonial ways. Drawing at the very most modern insights of latest suggestion, this can be a vital research of 1 of an important literary texts of the 20 th century.
Read Online or Download Conrad's 'Heart of darkness' and contemporary thought : revisiting the horror with Lacoue-Labarthe PDF
Similar literary theory books
This leading edge ebook finds the complete volume of electricity's value in 19th- and early-twentieth-century tradition. Ranging throughout an enormous array of fabrics, Sam Halliday exhibits how electrical energy functioned as either a method of representing "other" things--from love and harmony to embodiment and temporality--and as an item of illustration in its personal correct.
Fiction's Present: Situating Contemporary Narrative Innovation
Fiction writers and critics have interaction the cultured, political, philosophical, and cultural dimensions of up to date fiction.
Discourse research is a time period that has come to have varied interpretations for students operating in several disciplines. For a sociolinguist, it's involved often with the constitution of social interplay manifested in dialog; for a psycholinguist, it truly is basically keen on the character of comprehension of brief written texts; for the computational linguist, it really is interested by generating operational types of text-understanding inside of hugely constrained contexts.
- Philip Larkin and His Audiences
- Markedness Theory: The Union of Asymmetry and Semiosis in Language
- Liberalism, Fascism, or Social Democracy: Social Classes and the Political Origins of Regimes in Interwar Europe
- The Invention of Deconstruction
Additional info for Conrad's 'Heart of darkness' and contemporary thought : revisiting the horror with Lacoue-Labarthe
Example text
The problem with this out, as Austin goes Prologue 29 on to say, is that being angry, in ordinary language, means feeling angry. 16 This problematic of ‘the feeling of a feeling’ might be followed inter minably and tautegorically, but I do not think we would ever get beyond the limitations of not having direct access to the feelings of another person, even the feelings of imaginary persons in works of fiction, and of not having a clear and precise definition of just what anger, or any other affect, ‘really is’.
It is the tautegory of the West—that is, of art (of techne) (120). If Lacoue-Labarthe’s presuppositions for reading are narratological and Greek, mine follow the other stem of the West’s divided lineage. My reading is Biblical and tropological. It is therefore not surprising that we come to somewhat different conclusions, though I hereby testify that I think my approach gets closer to the truth at the heart of darkness. The key terms in my reading are Biblical ones: parable, apocalypse and allegory.
14 Discussing these essays would be a long business, but I cite one passage from ‘Pretending’ as exemplary of the problem with ‘affect’ I find most perplexing, as does Austin. The passage is also wonderfully ironic and funny, as Austin often is. Austin is discussing a paper by Errol Bedford. ’ Our man (sic), then, is ‘behaving as if he were angry’. He scowls, let us say, and stamps his foot on the carpet. ) still say ‘He is not really angry: he is (only) pretending to be angry’. But now he goes further, let us say he bites the carpet: and we will picture the scene with sympathy— the carpet innocent, the bite untentative and vicious, the damage grave.