000			04116cam a2200361Ki 4500
001			ocn876592862
003			OCoLC
005			20240726105433.0
008			140414s2014 mou ob s001 0 eng d
040			_aNT _beng _erda _epn _cNT _dIDEBK _dYDXCP _dP@U _dE7B _dCDX _dOCLCF _dEBLCP _dBIBBD _dJBG _dAGLDB _dOCLCQ _dYDX _dMOR _dCCO _dPIFAG _dZCU _dMERUC _dOCLCQ _dU3W _dBUF _dSTF _dVTS _dNRAMU _dCRU _dICG _dOCLCQ _dINT _dREC _dVT2 _dJSTOR
020			_a9781611173079 _q((electronic)l(electronic)ctronic)
020			_a9781306576765 _q((electronic)l(electronic)ctronic)
050	0	4	_aPR6005 _b.J674 2014
049			_aMAIN
100	1		_aFreedman, William, _d1938- _e1
245	1	0	_aJoseph Conrad and the anxiety of knowledge /William Freedman.
260			_aColumbia : _bUniversity of South Carolina Press, _c(c)2014.
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aPrologue: Ambivalent fabulist, indeterminate fables -- _tForbidden knowledge and the saving illusion -- _tThe lie of fiction: Heart of darkness -- _tThe soft spot: Lord Jim -- _tA more dangerous revolution: Under western eyes -- _tDrowning in the romance of the shallows: The rescue -- _tAppendix: Woman and truth, the history of an association.
520	0		_aFew if any writers in the English language have been cited, praised, chided or marveled at more routinely than Joseph Conrad for the perplexing evasiveness, contradictoriness, and indeterminacy of their fiction. William Freedman argues that the explanations typically offered for these identifying characteristics of much of Conrad's work are inadequate if not mistaken. Freedman's claim is that the illusiveness of a coherent interpretation of Conrad's novels and shorter fictions is owed not primarily to the inherent slipperiness or inadequacy of language or the consequence of a willful self-deconstruction. Nor is it a product of the writer's philosophical nihilism or a realized aesthetic of suggestive vagueness. Rather, Freedman argues that the perplexing elusiveness of Conrad's fiction is the consequence of a pervasive ambivalence toward threatening knowledge, a protective reluctance and recoil that are not only inscribed in Conrad's tales and novels, but repeatedly declared, defended, and explained in his letters and essays. Conrad's narrators and protagonists often set out on an apparent quest for hidden knowledge or are drawn into one. But repelled or intimidated by the looming consequences of their own curiosity and fervor, they protectively obscure what they have barely glimpsed or else retreat to an armory of practiced distractions. The result is a confusingly choreographed dance of approach and withdrawal, fascination and revulsion, revelation and concealment. The riddling contradictions of these fictions are thus in large measure the result of this ambivalence, their evasiveness the mark of intimidation's triumph over fascination. The idea of dangerous and forbidden knowledge is at least as old as Genesis, and Freedman provides a background for Conrad's recoil from full exposure in the rich admonitory history of such knowledge in theology, myth, philosophy, and literature. He traces Conrad's impassioned, at times pleading case for protective avoidance €in the writer's letters, essays and prefaces, and elucidates its enactment and its connection to Conrad's signature evasiveness in a number of short stories and novels, with special attention to The Secret Agent, Heart of Darkness, Lord Jim, Under Western Eyes and The Rescue.
530			_a2 _ub
600	1	0	_aConrad, Joseph, _d1857-1924 _xCriticism and interpretation.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=654804&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPR. _m2014 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c100320 _d100320
902			_a1 _bCynthia Snell _c1 _dCynthia Snell