Conrad and Masculinity

More documents

Recommendations

Info

Masculinity, ‘Woman’ and Truth 161 listening aspect, evident in his quiet dealings with Powell (which contrast with his assertive loquacity in relation to the frame narrator). Yet the suggestions of passivity in such an aspect and the associated fear of a clear view of a possibly unbearable reality make his relationship to such qualities necessarily ambivalent. Despite his misogynistic clichés, Marlow also exhibits intermittently a power of sympathetic identification with Flora’s psychological traumas as a repeated victim and an interest in the idea of himself as feminine, as evinced in his comment that ‘there is enough of the woman in my nature to free my judgement of women from glamorous reticency’ (53). As in ‘Heart of Darkness’, the act of narrating in Chance is an open-ended process, involving the potential for Marlow to move beyond his existing conceptual and ideological limitations. It is in Chance that the presence of narrative chains implicates the male reader and critic most challengingly. If Marlow constitutes his role as story-teller by the arrogation of a largely spurious superiority of insight into women as against Anthony, Fyne, Powell and the framenarrator (while the frame-narrator may return the favour), I cannot analyse this process without implicitly constituting myself as reader and critic through the assumption that I know more about women than Marlow does, that I ‘know much more of them [the facts] than he ever did know or could possibly guess’ (311) – perhaps an equally spurious claim. One effect of this implication of the male reader or critic is to make Chance a gender-specific text in the way that Straus claims ‘Heart of Darkness’ to be (a text that women will read differently) (EI, 130–5), yet with a greater questioning of the status of masculinity. Another effect is to make it a very interesting text for the male reader concerned with his own relation to ideas of self and femininity, and this despite the fact that the overt treatment of women is heavily reliant on idealization and cliché. For it draws the male reader, through its narrative strategy, into a dialectic of understanding and ignorance, of superiority and self-accusation in relation to the gender conceptions of other men – a dialectic of liberating self-criticism and inescapable complicity. 24 The possibility of this relation extending to the author is implied by Erdinast-Vulcan’s idea that Conrad felt himself ‘being forcibly drawn into his own fiction’, an idea which she convincingly deduces from the changes between the serial and book versions of the novel. 25 Chance is a revealing, if uneven, study of certain aspects of male figuration and representation of women and the dynamics of the circulation of these representations among men. How far this is
162 Conrad and Masculinity within the author’s control, and how far it is something that happens despite what we deduce to have been his ‘intentions’ is an interesting question but not one which necessarily determines the interest or value of the text, since Chance involves male characters, male readers and the male author in a process of struggle between conscious formulations and opinions, on the one hand, and unconscious assumptions and identifications, on the other.
Page 1 and 2:
Conrad and Masculinity Andrew Micha
Page 3 and 4:
Also by Andrew Michael Roberts CONR
Page 5 and 6:
First published in Great Britain 20
Page 7 and 8:
This page intentionally left blank
Page 9 and 10:
Acknowledgements I would like to th
Page 11 and 12:
x Abbreviations and Note on Texts c
Page 13 and 14:
Page 15 and 16:
2 Introduction that accept and work
Page 17 and 18:
4 Introduction works which began to
Page 19 and 20:
6 Introduction applied to the share
Page 21 and 22:
8 Introduction whether one can ever
Page 23 and 24:
10 Introduction notes that this def
Page 25 and 26:
Page 27 and 28:
14 Conrad and Masculinity argues th
Page 29 and 30:
16 Conrad and Masculinity from a fe
Page 31 and 32:
18 Conrad and Masculinity What is t
Page 33 and 34:
20 Conrad and Masculinity present i
Page 35 and 36:
22 Conrad and Masculinity transferr
Page 37 and 38:
24 Conrad and Masculinity multicult
Page 39 and 40:
26 Conrad and Masculinity Conrad’
Page 41 and 42:
28 Conrad and Masculinity character
Page 43 and 44:
30 Conrad and Masculinity War. Neve
Page 45 and 46:
32 Conrad and Masculinity Conrad ha
Page 47 and 48:
34 Conrad and Masculinity the passa
Page 49 and 50:
36 Conrad and Masculinity teenth-ce
Page 51 and 52:
38 Conrad and Masculinity possesses
Page 53 and 54:
40 Conrad and Masculinity quotes Co
Page 55 and 56:
42 Conrad and Masculinity Stape’s
Page 57 and 58:
2 Imperialism and Male Bonds: ‘Ka
Page 59 and 60:
46 Conrad and Masculinity to have b
Page 61 and 62:
48 Conrad and Masculinity distant f
Page 63 and 64:
50 Conrad and Masculinity fighting
Page 65 and 66:
52 Conrad and Masculinity marriagea
Page 67 and 68:
54 Conrad and Masculinity We rememb
Page 69 and 70:
56 Conrad and Masculinity the most
Page 71 and 72:
58 Conrad and Masculinity and in th
Page 73 and 74:
60 Conrad and Masculinity conscious
Page 75 and 76:
62 Conrad and Masculinity When Marl
Page 77 and 78:
64 Conrad and Masculinity a moment
Page 79 and 80:
3 Masculinity and the Body: Typhoon
Page 81 and 82:
68 Conrad and Masculinity it, to do
Page 83 and 84:
70 Conrad and Masculinity of abstra
Page 85 and 86:
72 Conrad and Masculinity idea that
Page 87 and 88:
74 Conrad and Masculinity distincti
Page 89 and 90:
76 Conrad and Masculinity The oppos
Page 91 and 92:
78 Conrad and Masculinity The story
Page 93 and 94:
80 Conrad and Masculinity meaningle
Page 95 and 96:
82 Conrad and Masculinity disappear
Page 97 and 98:
84 Conrad and Masculinity The narra
Page 99 and 100:
86 Conrad and Masculinity trace. An
Page 101 and 102:
88 Conrad and Masculinity enormous
Page 103 and 104:
90 Conrad and Masculinity into othe
Page 105 and 106:
92 Conrad and Masculinity His feeli
Page 107 and 108:
4 Gender and the Disciplined Body:
Page 109 and 110:
96 Conrad and Masculinity throughou
Page 111 and 112:
98 Conrad and Masculinity masculini
Page 113 and 114:
100 Conrad and Masculinity Creole f
Page 115 and 116:
102 Conrad and Masculinity Nostromo
Page 117 and 118:
104 Conrad and Masculinity Province
Page 119 and 120:
106 Conrad and Masculinity The orga
Page 121 and 122:
108 Conrad and Masculinity experien
Page 123 and 124: 110 Conrad and Masculinity of the n
Page 125 and 126: 112 Conrad and Masculinity view of
Page 127 and 128: 114 Conrad and Masculinity a degree
Page 129 and 130: 116 Conrad and Masculinity others?
Page 131 and 132: 5 Epistemology, Modernity and Mascu
Page 133 and 134: 120 Conrad and Masculinity city pla
Page 135 and 136: 122 Conrad and Masculinity nized’
Page 137 and 138: 124 Conrad and Masculinity by those
Page 139 and 140: 126 Conrad and Masculinity subject
Page 141 and 142: 128 Conrad and Masculinity hysteria
Page 143 and 144: 130 Conrad and Masculinity him with
Page 145 and 146: 132 Conrad and Masculinity him ...
Page 147 and 148: 134 Conrad and Masculinity (EC, 100
Page 149 and 150: 136 Conrad and Masculinity the Inte
Page 151 and 152: 138 Conrad and Masculinity needs. T
Page 153 and 154: 140 Conrad and Masculinity like fig
Page 155 and 156: 142 Conrad and Masculinity my heart
Page 157 and 158: 144 Conrad and Masculinity The male
Page 159 and 160: 146 Conrad and Masculinity has, pri
Page 161 and 162: 148 Conrad and Masculinity initiall
Page 163 and 164: 150 Conrad and Masculinity inadequa
Page 165 and 166: 152 Conrad and Masculinity that—t
Page 167 and 168: 154 Conrad and Masculinity and trut
Page 169 and 170: 156 Conrad and Masculinity whom bot
Page 171 and 172: 158 Conrad and Masculinity hidden f
Page 173: 160 Conrad and Masculinity while he
Page 177 and 178: 164 Conrad and Masculinity position
Page 179 and 180: 166 Conrad and Masculinity (‘Auth
Page 181 and 182: 168 Conrad and Masculinity blacknes
Page 183 and 184: 170 Conrad and Masculinity Question
Page 185 and 186: 172 Conrad and Masculinity an Arab
Page 187 and 188: 174 Conrad and Masculinity There is
Page 189 and 190: 176 Conrad and Masculinity competit
Page 191 and 192: 178 Conrad and Masculinity My first
Page 193 and 194: 180 Conrad and Masculinity would-be
Page 195 and 196: 182 Conrad and Masculinity So the f
Page 197 and 198: 184 Conrad and Masculinity admirati
Page 199 and 200: 8 Vision and the Economies of Empir
Page 201 and 202: 188 Conrad and Masculinity his glan
Page 203 and 204: 190 Conrad and Masculinity Next day
Page 205 and 206: 192 Conrad and Masculinity off Morr
Page 207 and 208: 194 Conrad and Masculinity She turn
Page 209 and 210: 196 Conrad and Masculinity gaze, ra
Page 211 and 212: 198 Conrad and Masculinity evaporat
Page 213 and 214: 200 Conrad and Masculinity senior i
Page 215 and 216: 202 Conrad and Masculinity afternoo
Page 217 and 218: 204 Conrad and Masculinity ending i
Page 219 and 220: 206 Conrad and Masculinity homosexu
Page 221 and 222: 208 Conrad and Masculinity succeed.
Page 223 and 224: 210 Conrad and Masculinity discours
Page 225 and 226:
212 Notes 9 See Elaine Showalter, S
Page 227 and 228:
214 Notes 6 Homi K. Bhabha, The Loc
Page 229 and 230:
216 Notes However, one knows that H
Page 231 and 232:
218 Notes phrase has given it a cer
Page 233 and 234:
220 Notes 2 Cixous, ‘The Laugh of
Page 235 and 236:
222 Notes 40 James Hansford, ‘Mon
Page 237 and 238:
224 Notes 28 Hawthorn, Joseph Conra
Page 239 and 240:
226 Notes edn (London: Edward Arnol
Page 241 and 242:
228 Notes 18 Martin Ray notes that
Page 243 and 244:
230 Notes 30 Hampson, Betrayal and
Page 245 and 246:
232 Notes 22 R. W. B. Lewis, ‘The
Page 247 and 248:
234 Bibliography Wheatsheaf, 1995).
Page 249 and 250:
236 Bibliography —— The Ego and
Page 251 and 252:
238 Bibliography Johnston, Claire.
Page 253 and 254:
240 Bibliography in Conrad’s Fict
Page 255 and 256:
242 Bibliography Stanford Universit
Page 257 and 258:
244 Index 99, 119, 120, 129, 134, 1
Page 259 and 260:
246 Index Forster, E.M. Maurice, 71
Page 261 and 262:
248 Index merchant navy / merchant
Page 263:
250 Index Silverman, Kaja, 37, 72,
show all

Conrad and Masculinity

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?