‘Nothing short of a masterpiece. . . . One of the great critical works produced since the 1950s.’—
New York Times
‘Nothing short of a masterpiece. . . . One of the great critical works produced since the 1950s.’—
New York Times
Cuprins
Preface
Acknowledgments
Annotation and Abbreviations
CHAPTER 1. The Earlier Life: 1857-1894
i. 1857-1874: Poland
ii. 1874-1878: France
iii. 1878-1894: England
iv. The Past as Prologue
CHAPTER 2. Almayer’s Folly
i. Memories: Composition and Sources
ii. Models: Exotic Romance, Naturalism, and Flaubert
iii. Problems: Language, Narrative Method, and Characterisation
CHAPTER 3. The Nigger of the ‘Narcissus’
i. 1895-1897: Becoming an Author
ii. The Preface
iii. From Memory to Fiction
iv. Solidarity in The Nigger of ‘Narcissus’
v. The Affirmations of Retrospect
CHAPTER 4. Heart Of Darkness
i. 1897-1898: In the Doldrums
ii. Sources: The Congo and Kurtz
iii. Ideological Perspectives: Kurtz and the Fate of Victorian Progress
iv. Critical Perspectives
a. Impressionism
b. Symbolism
c. Marlow and Henry James
v. The Tale
a. To the Central Station
b. Marlow and Kurtz
c. The Lie and the Darkness
CHAPTER 5. Lord Jim
i. 1898-1900: The Pent and Ford
ii. Composition and Sources
iii. The Narrative Progress and Its Methods
a. Marlow’s Involvement: Delayed Decoding, Symbolic Deciphering and Thematic Apposition
b. Marlow’s Inquiry: The Roles of Time and Narrative Impressionism
c. Patusan: Progression d’effet and Romantic Distance
iv. Jim and Marlow
a. The Rescue
b. At Stein’s
c. The Friendship
v. The Ending
Epilogue
Index
Despre autor
Ian Watt was a literary critic, literary historian and professor of English at Stanford University.
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