Conrad and Masculinity

222 Notes
40 James Hansford, ‘Money, Language and the Body in “Typhoon”’,
Conradiana, 26.2/26.3 (Autumn 1994), 135–55 (p. 136).
41 Kristeva, pp. 1–2.
42 Kristeva, p. 2.
43 Henry Mayhew, a writer, journalist and editor, was the author of the sociological
study, London Labour and the London Poor (1861–2).
44 A Simple Tale is the subtitle of The Secret Agent.
45 The masculine pronoun is used here since this narrative voice seems to me
clearly male, as evidenced, for example, by its comments on women.
46 Rebecca Stott, ‘The Woman in Black: Race and Gender in The Secret Agent’,
in CG, 39–58 (p. 48).
47 Stott, in CG, 55–6.
48 Stott, in CG, 56, quoting Benita Parry, ‘Problems in Current Theories of
Colonial Discourse’, Oxford Literary Review, 9 (1987), 27–58 (p. 54).
49 Compare Wilkie Collins, The Moonstone, Arthur Conan Doyle’s Sherlock
Holmes stories, Charles Dickens, Bleak House, Our Mutual Friend.
50 See note 8.
51 In an index there is a causal relationship between signifier and signified
(Jonathan Culler gives the example of smoke signifying fire), whereas ‘in
the sign proper as Saussure understood it the relationship ...is arbitrary or
conventional’: Jonathan Culler, Structuralist Poetics: Structuralism,
Linguistics and the Study of Literature (London: Routledge & Kegan Paul,
1975), p. 16
52 Banting, p. 231.
53 Banting, p. 231.
54 Kristeva, pp. 2, 3, 3–4.
55 Katherine Judith Goodnow, Kristeva in Focus: From Theory to Film Analysis.
PhD thesis, University of Bergen, 1994, pp. 5, 66.
56 Kristeva, pp. 1–2.
Chapter 4 Gender and the Disciplined Body
1 As Karen Klein notes (FP, 110), her anonymity is emphasized by the references
to her as ‘a pretty Morenita’ (N, 127), although she refers to herself
as ‘your Paquita’.
2 Letter of 31 October 1904 to R. B. Cunninghame Graham, CL, III, 175.
3 CL, III, 175.
4 The phrase ‘little lady’ is used by the engineer-in-chief of the railway (42),
but, as discussed below, the narrative voice at certain times shares this attitude.
5 An extradiegetic narrator carries out the primary or first-level act of narrating,
while a heterodiegetic narrator is absent from the story that he or she
tells, in contrast to a homodiegetic narrator such as Marlow, who recounts
a story in which he himself took part. Genette, pp. 228–31, 245.
6 Mark Wollaeger sees the absence of a homodiegetic narrator such as
Marlow or the teacher of languages (in Under Western Eyes) as allowing
Conrad’s scepticism a freer reign in these novels. See FS, Chapter 5.
7 Wollaeger argues that the questions about existence raised by philosophi-