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Zusatztext Honorable Mention! 2005! for the Adam Gillon Book Prize.'Schneider offers original readings of a number of Conrad's works. Her thesis-that Conrad challenges hierarchical power in 'fugitive ways' through his depictions of difference! particularly gender--is a bold one since it contradicts the critical commonplaces that Conrad was a social conservative and a misogynist. Schneider makes a compelling case! one likely to prompt even the most traditional Conradians to reconsider their assumptions about Conrad and his work.' -Tom Henthorne! Studies in the Novel'The frequently quoted letters between Conrad and Garnett concerning Conrad's intentions and methods are fascinating! and the book's best feature! along with a clear direct approach.' -Lorrie Clark! English Literature in Transition! 1880-1920! Vol. 48! Num. 4 Informationen zum Autor Lissa Schneider-Rebozo is Associate Professor of English and Director of Undergraduate Research, Scholarly, and Creative Activity at University of Wisconsin, River Falls, USA. Klappentext Though Joseph Conrad's works are notorious for an absence of female characters, this book demonstrates that he often represented women and femininity in less explicit ways. Lissa Schneider examines many of Conrad's best-known works to show that his oppositional narrative strategies and use of female allegorical imagery challenged late Victorian notions, norms, and goals. This examination of Conrad's best-known works demonstrates how they negotiate the "shadow-line" of Victorian gender, race and class paradigms to clear a space for a modern revisioning of difference. Zusammenfassung Arguing that gender and difference are conceptual and performative, Schneider examines many of Conrad's best-known fictions to show how his use of female allegorical imagery, oppositional narrative strategies and hybrid generic structures challenge late-Victorian ideologic norms and goals. Inhaltsverzeichnis Introduction: Not Exactly Tales for Boys 1. Iconography and the Feminine Ideal: Torches, Blindfolds, and the "true light of femininity" in Heart of Darkness, Lord Jim, The Rescue, and "The Return" 2. Plots and Performance: Conrad's "tricks with girls" in "Freya of the Seven Isles," Under Western Eyes, An Outcast of the Islands, and The Rescue 3. Colonial Occupations: Race and Gender in "An Outpost of Progress" and The Nigger of the "Narcissus" 4. Politics in the House: Genre, Narrative, and the Domestic Drama in The Secret Agent, Heart of Darkness, and Lord Jim Coda: Narrative, Femininity, Death ...
