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By Y. Levin
Tracing the classy precept in Conrad’s Novelssets out to revolutionize our studying of Joseph Conrad’s works and problem the serious historical past that accompanies them. Levin identifies the emergence of a cultured precept in Conrad’s novels and theorizes that precept during the suggestion of ‘the another way present,’ which Levin defines as that which provokes wish and perpetuates it by means of barring its appeasement. This publication bargains an in depth research of Lord Jim, Nostromo, less than Western Eyes, The Arrow of Gold and Suspense, along a poststructuralist-inspired explication of Conrad’s literary imaginative and prescient and its defining precept. This learn is a vital resource for either the beginners and the initiated to Conrad’s oeuvre.
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Additional info for Tracing the Aesthetic Principle in Conrad's Novels
In keeping with this supposed immediacy, the preface attests to Conrad’s participation in the Western metaphysical privileging of presence. What the artist wishes to represent must be “conveyed through the senses” (NN, xii), rendering it, according to Platonic thought, a vestige of the world of Forms. This is a presence that is tangible, visible, material, and, as such, always already temporal and transient. At the same time, the terms with which Conrad refers to this presence and the Introduction 19 method whereby it is to be reproduced are evocative of that which cannot conform to phenomena.
Recalling the pronoun shifts in The Nigger, Marlow’s narration is fed by the tension produced by an oscillation between proximity and distance, between identification and difference. The object of Marlow’s scrutiny is subsequently recreated or re-presented in the text (as of chapter 5) as an otherwise-present construct; for Marlow, Jim is, at one and the same time, tantalizingly close and exasperatingly other. With the introduction of Marlow, Conrad presents a new narrative perspective, one that he could not explore in earlier narratives in Seeing Otherwise 33 which he relied on omniscient narration or the complementing viewpoints furnished by seemingly unmotivated pronoun shifts.
A competing interpretative solution to Marlow’s “artful dodges” thus presents itself. It is possible that one need not resort to psychologically motivated evasions in order to explain Marlow’s unique form of storytelling. It is possible, then, that the transition from chapter 4 to chapter 5 furnishes the narrative not only with a prism of interpretation that mimetically encapsulates the biases and faults associated with human subjectivity but also with a self-reflexive turn. Without relinquishing the evolution of Jim’s complex and later tormented persona, Conrad admits into the mix a struggling storyteller, a character responsible not only for the understanding of Jim’s inner recesses and a reportage of his history but also for the “success” of the story.