Titlebook: Joseph Conrad and Postcritique; Politics of Hope, Po Jay Parker,Joyce Wexler Book 2021 The Editor(s) (if applicable) and The Author(s), und

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Book 2021ted Conrad that this book aims to bring to light, one who delves into the politics of hope as well as the politics of fear. .Chapters 1 and 2 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

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Quixotic Conrad: Betrayal, Conversion, and Flightking) to critique, and conversion (as a form of positive transformation) to postcritique, and explores how conversion reveals a potentially postcritical Conrad. Secondly, through a reading practice structured by Gilles Deleuze’s thinking on betrayal and lines of flight, it makes a series of leaps, o

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“The new sun is rising”: Conrad, Women, and Hopeility of hope. Sedgwick’s famous critique of paranoid reading enables a new understanding of how Winnie Verloc and Natalia Haldin preserve a queer space of ethics within their otherwise pessimistic novels. By contrast, . features an explicit disavowal of feminist or queer alternatives to the status

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Doubling Down on the Politics of Fear, Opening Up the Politics of Hopexperts in Terrorism Studies report that terrorists are not fanatics. Conrad’s political fiction is consistent with this finding: his anarchists illustrate how ordinary people can become terrorists. He portrays political terrorists and government agents as counterparts, similar in their quest for aut

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Joseph Conrad’s “Strange Air of Finality”: Negative Affect and the Politics of Fear in “The Tale”terature may offer different modes of affect. “The Tale” works within the negative affect register and mediates experiences that may be more pronounced in times of trauma. Conrad shares the negative affect of dread by placing his commander in a position that feels rather like our own: as a critical,

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“Pulsating Wrongfully”: Critique, Cliché, and s, his anarchists, and then through his sympathetic characters, the novel’s central family. There is no systematic theory of cliché achieved in the end for the critic to discover and summarize, only figurations in highly wrought scenes whose operations are more important for their affective result t

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“Heart of Darkness” and the Memory of the Holocaustng the path opened by Hannah Arendt’s ., works such as . by Sven Lindqvist, . by W. G. Sebald, and the historical essay . by Adam Hochschild have used Conrad’s novella to explore the relation between Nazi and colonial violence. The renewed impact of “Heart of Darkness” brings to the fore ethical and

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The Beating Heart of Sublime Empire: , as Sequel to “Heart of Darkness”racist discourse in “Heart of Darkness.” Drawing on theories of the sublime from Longinus to Lyotard, I argue that Conrad shows how sublimity—rhetorical, natural, and artistic—is not recuperated by Romantic transcendence, but is merely an artifact of human limitation. The people—the beating heart—ar