Amar Acheraiou. Joseph Conrad and the Reader: Questioning Modern Theories of Narrative and Readership. Palgrave Macmillan, 2009.
"Joseph Conrad and the Reader is the first book fully devoted to Conrad's relation to the reader, visual theory and authorship. This study proposes new approaches to modern literary criticism and examines the limits of deconstructionist theories, introducing new theoretical concepts of reading and reception."
¬ ¬ ¬ ¬ Katherine Isobel Baxter and Richard J. Hand, eds.Joseph Conrad and the Performing Arts. Ashgate, 2009.
"Conrad's fiction is characterized by an enduring recourse to the performing arts for metaphor, allegory, symbol, and subject matter; however, this aspect of Conrad's non-dramatic works has only recently begun to come into its own among literary critics. In response to this seminal moment, Joseph Conrad and the Performing Arts offers an interdisciplinary forum for one of the most interesting and nascent areas of Conrad studies. Adopting a variety of theoretical approaches, the contributors examine major and neglected works within the context of the performing arts: cultural performance in Conrad's 'Malay' fiction; Conrad's use and parody of popular traditions such as melodrama, 'Grand-Guignol,' and commedia dell'arte; Conrad's engagement with the visual culture of early cinema; Conrad's interest in the motifs of shadowgraphy (shadow plays); Conrad's relationship to Shakespeare; and the enduring influence of opera on his work. Taken together, the essays look to provide, through solid scholarship and richly provocative speculation, new insight into Conrad's oeuvre, and invite future dialogue in the burgeoning field of Conrad and the performing arts."
¬ ¬ ¬ ¬ Harold Bloom, ed. Heart of Darkness: Bloom's Guides. New York: Bloom's Literary Criticism, 2009.
"Joseph Conrad's 'Heart of Darkness' is not simply a critique of colonialism in the Congo, but it is an examination of the human tendency toward self-endangering corruptibility. This updated collection of critical essays suggests that this resonant work has taken on the power of myth. This study guide to 'Heart of Darkness' also features an annotated bibliography and a listing of other works by the author."
¬ ¬ ¬ Fausto Ciompi, ed. One of Us: Studi inglesi e conradiani offerti a Mario Curreli. Edizioni ETS, 2009.
"A lengthy collection of essay on Conrad's life and works, some in English and some in Italian, by such scholars as Robert Hampson, Andrzej Busza, Jeremy Hawthorn, Laurence Davies, and Cedric Watts."
¬ ¬ ¬ ¬ Michael John DiSanto. Under Conrad's Eyes: The Novel as Criticism. McGill-Queen's University Press, 2009.
"Joseph Conrad's novels are recognized as great works of fiction, but they should also be counted as great works of criticism. A voracious reader throughout his life, Conrad wrote novels that question and transform the ideas he encountered in non-fiction, novels, and scientific and philosophic works. Under Conrad's Eyes looks at Conrad's revaluations of some of his important nineteenth-century predecessors--Carlyle, Darwin, Dickens, George Eliot, Dostoevsky, and Nietzsche. Detailed readings of works from 'Heart of Darkness' to Victory explore Conrad's language and style, focusing on questions regarding the will to know and the avoidance of knowledge, the potential harmfulness of sympathy, and the competing instincts for self-preservation and self-destruction. Comparative analyses show how Conrad transforms aspects ofBleak House into The Secret Agent and Middlemarch intoNostromo. Also included are explorations of Conrad's ambivalence towards Carlyle's faith in work and hero-worship as rejuvenators of English culture and his views on Nietzsche's assault on Christianity. This important new study of a novelist of profound contemporary relevance demonstrates how Conrad exemplifies the artist as critic while challenging both the categories we impose on texts and the boundaries we erect between literary periods."
¬ ¬ ¬ ¬ Linda Dryden, Stephen Arata, and Eric Masse, eds. Robert Louis Stevenson and Joseph Conrad: Writers of Transition. Texas Tech University Press, 2009.
"This book-length study specifically examines the many intersections in the works of Robert Louis Stevenson and Joseph Conrad and extends the focus of current debate beyond the writers' South Seas literature. Considering Stevenson and Conrad's shared literary history and experience of Victorian London, it examines their convergence of styles in the emergent modernism of the fin de siecle, their romance and adventure modes, their fictions of duality, and their exploration of the human psyche. Moreover, the book attempts to recuperate Stevenson's reputation as a serious writer, not only as Conrad's antecedent and influence but as a writer equally worthy of study in these shared modes."
¬ ¬ ¬ ¬ Wieslaw Krajka, ed. Joseph Conrad: Between Literary Techniques and Their Messages. East European Monographs, 2009.
"Thirteen contributors from a variety of backgrounds tackle the use of irony, contrast, narrative, themes of belonging, Englishness, imperialism, portrayals of women, and conceptions of truth and evil as they were expressed in the work of Joseph Conrad. Krajka expands Conrad criticism to explore the modernist's mastery of literary technique and his contribution to visions of humanity. Krajka's collection opens with two essays that explore the identity of Conrad, his characters, and his narrators, and then engages with the ideology, philosophy, and ethics of Conrad's fiction, especially the balance he strikes between literary technique and the meanings those techniques convey."
¬ ¬ ¬ ¬ John T. Nichol. Reader‚Äs Guide to Joseph Conrad. Centrum Press, 2009.
¬ ¬ ¬ ¬ Ludwig Schauder. Free Will and Determinism in Joseph Conrad's Major Novels. Rodopi, 2009.
"This interdisciplinary study seeks to consider the philosophical debate about free will and determinism but also to consider the relevant historical, economic, scientific, and literary discourses in the Victorian and Early-Modernist periods. Against this background a paradigmatic analysis of three of Conrad's most significant novels--Heart of Darkness, Nostromo, and The Secret Agent--investigates the writer's position in the free will and determinism debate by identifying certain recurring themes in which the freedom-of-the-will problem manifests itself. It is hoped that light is thereby also thrown on a central Conradian paradox: how Conrad can insist on morality and moral responsibility, which presupposes the existence of free will, in a materialist-deterministic world, which denies it."
¬ ¬ ¬ ¬ Allan H. Simmons, ed. Conrad in Context. Cambridge University Press, 2009.
"Joseph Conrad's Polish background, his extensive travels and his detached view of his adopted country, Britain, gave him a perspective unique among English writers of the twentieth century. Combining Continental and British influences, Victorian and Modernist styles, he was an artist acutely responsive to his age, whose works reflect and chronicle its shaping forces. This volume examines the biographical, historical, cultural and political contexts that fashioned his works. Written by a specialist, each short chapter covers a specific theme in relation to Conrad's life and work: letters, Modernism, the sea, the Polish and French languages, the First World War, and many other topics. This book is directed toward scholars as well as to those beginning their study of this extraordinary writer. It seeks to show how this combination of different contexts allowed Conrad to become a key transitional figure in the early emergence of British literary modernism."
¬ ¬ ¬ ¬ Joanna Skolik. The Ideal of Fidelity in Conrad's Works. Adam Marszalek, 2009.
"For Polish general readers and scholars alike, Conrad's evident respect for the words solidarity and fidelity has resonated long and loud, suggesting as they do that his world, fiction and non-fiction alike, are imbued with values that are most fully understood by those who have Polish history and culture in their veins. Skolik shares this conviction, and, in spite of the extensive Polish (and indeed international) commentary already in existence, argues for something new to say about the concept of fidelity in general and its significance to Conrad's writings in particular. Rather than take the meaning of fidelity as self-evident, as it rather frequently has been in the critical literature, she starts by setting a wider philosophical context, drawing among other on Plato, Aristotle, Rousseau, Durkheim, and Russell for a concentrated discussion of the moral values, and on Gabriel Marcel and Josiah Royce for their contributions to understanding the specific virtue offidelity. This, so to speak, internationalisation of the subject works toward the effect not of blurring the Polish aspects of the idea but of offering a broader perceptive in which the national particularities shine all the more clearly."