Conrad and Masculinity

Notes 229
9 Sigmund Freud, ‘The Question of Lay Analysis’, in The Standard Edition of
the Complete Psychological Works of Sigmund Freud, XX, pp. 177–258 (p.
212). See Irigaray, TS, p. 48.
10 Watt, Conrad in the Nineteenth Century, pp. 169–80.
11 Watt, Conrad in the Nineteenth Century, p. 174.
12 Rosemary Betterton, ‘Introduction: Feminism, Femininity and
Representation’, in Looking On: Images of Femininity in the Visual Arts and
Media, ed. Rosemary Betterton (London and New York: Pandora Press,
1987), p. 11.
13 On the ‘law of the self-same’ in the work of Freud, see Irigaray, S, 32–4.
14 Toril Moi, Sexual/Textual Politics: Feminist Literary Theory (London and New
York: Methuen, 1985), p. 180.
15 Luce Irigaray, 1978 interview in Les femmes, la pornographie et l’érotisme, eds
M.- F. Hans and G. Lapouge (Paris), p. 50, quoted Griselda Pollock, Vision
and Difference, p. 50.
16 Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen, 16.4 (Winter
1975–76), 119–30, rpt. in The Sexual Subject: A Screen Reader in Sexuality, ed.
Screen (London and New York: Routledge, 1992), pp. 22–34 (p. 27).
17 Mulvey, p. 26.
18 Mulvey, p. 29.
19 See de Lauretis; Edward Buscombe, Christine Gledhill, Alan Lovell and
Christopher Williams, ‘Psychoanalysis and Film’, The Sexual Subject, pp.
35–46; Steve Neale, ‘Masculinity As Spectacle’, Screen Reader, pp. 277–87;
Laura Marcus, ‘Taking a Good Look’ (review of Laura Mulvey, Visual and
Other Pleasures), New Formations, 15 (Winter, 1991), 101–10. Marcus
describes a number of critiques of Mulvey’s articles, notably those in The
Female Gaze: Women as Viewers of Popular Culture, eds Lorraine Gamman
and Margaret Marshment (London: Women’s Press, 1988).
20 Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, trans. Alan
Sheridan (1977; London: Penguin, 1979), p. 106, quoted MS, 128.
21 See Whitford, 31–2, 104.
22 De Lauretis, pp. 23, 35.
23 Foucault, Discipline and Punish, p. 187.
24 Martin Jay, ‘In the Empire of the Gaze: Foucault and the Denigration of
Vision in Twentieth-century French Thought’, in Foucault: A Critical
Reader, ed. David Couzens Hoy (Oxford: Blackwell, 1986), pp. 175–204 (pp.
176, 195, 181, 195).
25 Jay, Downcast Eyes, p. 364.
26 On the Romantic element in Conrad’s ‘Preface’ see Watt, Conrad in the
Nineteenth Century, p. 78. On the constitution of Romantic conceptions of
the artist in terms of ‘male social roles and male power’ see Christine
Battersby, Gender and Genius: Towards a Feminist Aesthetics (London:
Women’s Press, 1989), pp. 13, 75–6, 103–4.
27 Keller and Grontkowski, p. 209.
28 William Faulkner, Mosquitoes (London: Chatto & Windus, 1964), p. 27.
29 De Lauretis defines ‘woman’ as ‘a fictional construct, a distillate from
diverse but congruent discourses dominant in Western cultures’, whereas
she defines ‘women’ as ‘the real historical beings who cannot as yet be
defined outside of those discursive formations’ (de Lauretis, p. 5).