Titlebook: Joseph Conrad and the Reader; Questioning Modern T Amar Acheraïou Book 2009 Amar Acheraïou 2009 aesthetics.Autorschaft.fiction.Narrative.Br

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Book 2009Joseph Conrad and the Reader is the first book fully devoted to Conrad‘s relation to the reader, visual theory and authorship. This challenging study proposes new approaches to modern literary criticism and deftly examines the limits of deconstructionist theories, introducing groundbreaking new theoretical concepts of reading and reception.

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Polish Responses: Art and the Ethics of Collectivityn the overlooked cultural, ideological, and political factors that influenced Polish responses to Conrad’s writing. The overall objective is to trace how far the responses of Conrad’s Polish readers were determined by overpowering cultural and ideological constructs that leave little room, if any, for dialogical paradigms.

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Conclusionk poet who was inspired by the Muses and keen to entertain and instruct his audience. Rather, the authorial figure that Conrad projects is more in keeping with the Flaubertian type, lurking behind the work and maintaining a detached posture towards the written fictional universe.

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A Cartography of Conrad’s Fictional Readers: Reading Hierarchy in ,, ‘Heart of Darkness’, ,, and historical documents and newspapers. The metaphorical, abstract, or rhetorical category of readers is composed of active observers and interpreters of allegorical scripts such as other characters’ faces, their body language, and their geographic, social, and cultural contexts.

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ing study proposes new approaches to modern literary criticism and deftly examines the limits of deconstructionist theories, introducing groundbreaking new theoretical concepts of reading and reception.978-1-349-30997-9978-0-230-25083-3

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Conrad’s Conception of Authorship: Probing the Implications and Limits of the Death-of-the-Author Tht in . His tragedies were not only meant to produce strong emotions, such as fear and pity, but were also intended to educate these very emotions and thus contribute to the audience’s moral education — as was expected from every tragedian.