Katherine Isobel Baxter – författare

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 exciting, 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 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.

In the first critical study wholly devoted to Joseph Conrad's use of techniques associated with the literary tradition of romance, the author argues that Conrad's engagement with the genre invigorated his work throughout his career. Exploring the ways in which Conrad borrows from, alludes to, and subverts the tropes of romance, the author suggests that Conrad's ambivalent relationship with popular forms like the adventure novel is revealed in the way he uses romance conventions to disrupt narrative expectations and make visible ethical problems with Europe's colonial project. The author examines not only familiar novels like Lord Jim but also less-studied works such as Romance and The Rover, using Robert Miles's model of the 'philosophical romance' to show that for Conrad, romance is also philosophically engaged with issues of ideology. Her study enables a new appreciation of the ways in which Conrad continued to experiment, even in his later fiction, and of the ethical import of that aesthetic experimentation.

In the first critical study wholly devoted to Joseph Conrad's use of techniques associated with the literary tradition of romance, the author argues that Conrad's engagement with the genre invigorated his work throughout his career. Exploring the ways in which Conrad borrows from, alludes to, and subverts the tropes of romance, the author suggests that Conrad's ambivalent relationship with popular forms like the adventure novel is revealed in the way he uses romance conventions to disrupt narrative expectations and make visible ethical problems with Europe's colonial project. The author examines not only familiar novels like Lord Jim but also less-studied works such as Romance and The Rover, using Robert Miles's model of the 'philosophical romance' to show that for Conrad, romance is also philosophically engaged with issues of ideology. Her study enables a new appreciation of the ways in which Conrad continued to experiment, even in his later fiction, and of the ethical import of that aesthetic experimentation.

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 exciting, 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 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.

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 exciting, 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 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.

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 exciting, 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 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.

In the first critical study wholly devoted to Joseph Conrad''s use of techniques associated with the literary tradition of romance, the author argues that Conrad''s engagement with the genre invigorated his work throughout his career. Exploring the ways in which Conrad borrows from, alludes to, and subverts the tropes of romance, the author suggests that Conrad''s ambivalent relationship with popular forms like the adventure novel is revealed in the way he uses romance conventions to disrupt narrative expectations and make visible ethical problems with Europe''s colonial project. The author examines not only familiar novels like Lord Jim but also less-studied works such as Romance and The Rover, using Robert Miles''s model of the ''philosophical romance'' to show that for Conrad, romance is also philosophically engaged with issues of ideology. Her study enables a new appreciation of the ways in which Conrad continued to experiment, even in his later fiction, and of the ethical import of that aesthetic experimentation.

In the first critical study wholly devoted to Joseph Conrad''s use of techniques associated with the literary tradition of romance, the author argues that Conrad''s engagement with the genre invigorated his work throughout his career. Exploring the ways in which Conrad borrows from, alludes to, and subverts the tropes of romance, the author suggests that Conrad''s ambivalent relationship with popular forms like the adventure novel is revealed in the way he uses romance conventions to disrupt narrative expectations and make visible ethical problems with Europe''s colonial project. The author examines not only familiar novels like Lord Jim but also less-studied works such as Romance and The Rover, using Robert Miles''s model of the ''philosophical romance'' to show that for Conrad, romance is also philosophically engaged with issues of ideology. Her study enables a new appreciation of the ways in which Conrad continued to experiment, even in his later fiction, and of the ethical import of that aesthetic experimentation.

A new exploration of literary and artistic responses to WW1 from 1914 to the presentThis authoritative reference work examines literary and artistic responses to the war's upheavals across a wide range of media and genres, from poetry to pamphlets, sculpture to television documentary, and requiems to war reporting. Rather than looking at particular forms of artistic expression in isolation and focusing only on the war and inter-war period, the 26 essays collected in this volume approach artistic responses to the war from a wide variety of angles and, where appropriate, pursue their inquiry into the present day. In 6 sections, covering Literature, the Visual Arts, Music, Periodicals and Journalism, Film and Broadcasting, and Publishing and Material Culture, a wide range of original chapters from experts across literature and the arts examine what means and approaches were employed to respond to the shock of war as well as asking such key questions as how and why literary and artistic responses to the war have changed over time, and how far later works of art are responses not only to the war itself, but to earlier cultural production. Key FeaturesOffers new insights into the breadth and depth of artistic responses to WWIEstablishes links and parallels across a wide range of different media and genresEmphasises the development of responses in different fields from 1914 to the presentIllustrated with 36 b&w and 16 colour illustrations

A new exploration of literary and artistic responses to WW1 from 1914 to the presentThis authoritative reference work examines literary and artistic responses to the war’s upheavals across a wide range of media and genres, from poetry to pamphlets, sculpture to television documentary, and requiems to war reporting. Rather than looking at particular forms of artistic expression in isolation and focusing only on the war and inter-war period, the 26 essays collected in this volume approach artistic responses to the war from a wide variety of angles and, where appropriate, pursue their inquiry into the present day. In 6 sections, covering Literature, the Visual Arts, Music, Periodicals and Journalism, Film and Broadcasting, and Publishing and Material Culture, a wide range of original chapters from experts across literature and the arts examine what means and approaches were employed to respond to the shock of war as well as asking such key questions as how and why literary and artistic responses to the war have changed over time, and how far later works of art are responses not only to the war itself, but to earlier cultural production. Key FeaturesOffers new insights into the breadth and depth of artistic responses to WWIEstablishes links and parallels across a wide range of different media and genresEmphasises the development of responses in different fields from 1914 to the presentIllustrated with 36 b&w and 16 colour illustrations

Opens up the rich topic of Joseph Conrad’s complex relationship with languageJoseph Conrad was, famously, trilingual in Polish, French and English, and was also familiar with German, Russian, Dutch and Malay. He was also a consummate stylist, using words with the precision of a poet in his fiction.The essays in this collection examine his engagement with specific lexical sets and terminology – maritime language, the language of terror, and abstract language; issues of linguistic communication – speech, hearing, and writing; and his relationship to specific languages – his deployment of foreign languages, his decision to write in English, and his reception through translation. The collection closes with an Afterword by renowned Conrad scholar, Laurence Davies.Key FeaturesThe first academic and critical study wholly devoted to the topic of Conrad and language, and the first to address that topic from a diversity of critical approachesSpeaks to a range of current trends in literary criticism including transnationalism, lateness, translation studies, terrorism and disabilities studiesComprises newly commissioned essays by leading and emerging Conrad scholars from around the world, employing a variety of approaches including philosophy, psychoanalytical theory, biographical theory, as well as textually driven readings

Imagined States examines representations of the law in British and Nigerian high-brow, middle-brow and popular fiction and journalism. Drawing on a rich range of examples, the book focuses on the imaginative role that the state of exception played in the application of indirect rule during British colonialism and in the legal machinations of the postcolonial state. It reads works by Chinua Achebe, Joyce Cary, Cyprian Ekwensi and Edgar Wallace, together with a range of Nigerian market literature and journalism.

The essays in this collection examine Conrad's engagement with specific lexical sets and terminology maritime language, the language of terror, and abstract language; issues of linguistic communication speech, hearing, and writing; and his relationship to specific languages.