Winner of the 2006 NSW Prize for Literary Scholarship. The work of Joseph Conrad has been read so disparately that it is tempting to talk of many different Conrads. One lasting impression however, is that his colonial novels, which record encounters between Europe and Europe’s ‘Other’, are highly significant for the field of post-colonial studies. Drawing on many years of research and a rich body of criticism, Postcolonial Conrad not only presents fresh readings of his novels of imperialism, but also maps and analyzes the interpretative tradition they have generated. Terry Collits first examines the reception of the author’s work in terms of the history of ideas, literary criticism, traditions of ‘Englishness’, Marxism and post-colonialism, before re-reading Heart of Darkness, Lord Jim, Nostromo and Victory in greater depth. Collits’ incisive and wide-ranging volume provides a much needed reconsideration of more than a century of criticism, discussing the many different perspectives born of constantly shifting contexts. Most importantly though, the book encourages and equips us for twenty-first criticism, where we must ask anew how we might read and understand these crucial and fascinating novels.
Along with democracy, tragedy is recognized as a genuine invention of the Athenians (fifth century BC). Indeed, what is now referred to often as the golden age of Ancient Greece is based on the development at the level of both the art and politics: tragic drama and the democratic form of government. The two cultural institutions then are rightly considered to be central elements of the Greek heritage . This collection seeks to complement and stimulate the broad interest in tragedy demonstrated in university curricula around the world. Both the ancient Greek plays and their successors such as Shakespeare in the Renaissance, or playwrights such as Brecht and Beckett in the twentieth century, have extended the range and complexity of the category of tragedy. What is being mapped in this collection of critical essays is the variety of ways in which teachers, students, and theatre practitioners now think, talk, produce and enact tragedies. Contributors to this anthology seek to achieve two broad aims. The first is to increase respect for the complexity of the texts themselves (albeit working mainly through the medium of translation) as well as a detailed understanding of their original context; the second is to adopt the position of contemporary readers who bring a range of contemporary theoretical approaches to bear in their search for meaning in these classical works. They include theatre theory and practice, feminism and gender sensitivity, new understandings of the very concepts of text and narrative and the impact on extra literary fields of knowledge such as psychoanalysis - all contribute to our reading of the genre of tragedy today. These in particular reflect some of the most exciting work on tragedy of the last fifty years. This collection is a collaborative Australian-Indian one. The location in different cultures of both the editors and contributors has enabled the range of essays represented in this Reader. What the collection foregrounds
Winner of the 2006 NSW Prize for Literary Scholarship. The work of Joseph Conrad has been read so disparately that it is tempting to talk of many different Conrads. One lasting impression however, is that his colonial novels, which record encounters between Europe and Europe’s ‘Other’, are highly significant for the field of post-colonial studies. Drawing on many years of research and a rich body of criticism, Postcolonial Conrad not only presents fresh readings of his novels of imperialism, but also maps and analyzes the interpretative tradition they have generated. Terry Collits first examines the reception of the author’s work in terms of the history of ideas, literary criticism, traditions of ‘Englishness’, Marxism and post-colonialism, before re-reading Heart of Darkness, Lord Jim, Nostromo and Victory in greater depth. Collits’ incisive and wide-ranging volume provides a much needed reconsideration of more than a century of criticism, discussing the many different perspectives born of constantly shifting contexts. Most importantly though, the book encourages and equips us for twenty-first criticism, where we must ask anew how we might read and understand these crucial and fascinating novels.
A new account of tragedy and its fundamental position in Western culture In this compelling account, eminent literary critic Terry Eagleton explores the nuances of tragedy in Western culture—from literature and politics to philosophy and theater. Eagleton covers a vast array of thinkers and practitioners, including Nietzsche, Walter Benjamin, and Slavoj Žižek, as well as key figures in theater, from Sophocles and Aeschylus to Shakespeare and Ibsen. Eagleton examines the political nature of tragedy, looking closely at its connection with periods of historical transition. The dramatic form originated not as a meditation on the human condition, but at moments of political engagement, when civilizations struggled with the conflicts that beset them. Tragedy, Eagleton demonstrates, is fundamental to human experience and culture.
This wide-ranging book argues that criticism emerged in early bourgeois society as a central feature of a "public sphere" in which political, ethical, and literary judgements could mingle under the benign rule of reason. The disintegration of this fragile culture brought on a crisis in criticism, whose history since the 18th century has been fraught with ambivalence and anxiety. Eagleton's account embraces Addison and Steele, Johnson and the 19-century reviewers, such critics as Arnold and Stephen, the heyday of Scrutiny and New Criticism, and finally the proliferation of avant-garde literary theories such as deconstructionism. The Function of Criticism is nothing less than a history and critique of the "critical institution" itself. Eagleton's judgements on individual critics are sharp and illuminating, which his general argument raises crucial questions about the relations between language, literature and politics.
Terry Eagleton's Tragedy provides a major critical and analytical account of the concept of 'tragedy' from its origins in the Ancient world right down to the twenty-first century. A major new intellectual endeavour from one of the world's finest, and most controversial, cultural theorists. Provides an analytical account of the concept of 'tragedy' from its origins in the ancient world to the present day. Explores the idea of the 'tragic' across all genres of writing, as well as in philosophy, politics, religion and psychology, and throughout western culture. Considers the psychological, religious and socio-political implications and consequences of our fascination with the tragic.
Don Tweedie, Fighting Bandsman's Last Stand is a story of courage, determination, heroism, faith, love, and mateship throughout World War II. Don Tweedie’s last stand against the Japanese was in 1942 at Holland Hill, Singapore where he was severely wounded. Most stories that have been written have been more of a historical sense, whereas this is a more personal story. This book is written in three parts, and outlines his childhood/teenage years and leads into World War II, and then how he dealt with the images of war when he returned home in 1945. Part 2 is written from the heart, as it was told to his son about his war experience. Don Tweedie grew up throughout the Depression years, leading into WWII. He worked in a clothing warehouse in Sydney, and always wanted to play in a brass band. He joined the militia in 1937, and then enlisted in the infantry in 1940 to fight for his country. Don Tweedie was posted with the 2/20th Battalion in the Australian 8th Division to Malaya. It was while he was in the infantry that he became a bass drummer for the 2/20th Battalion band. However, he was severely wounded and captured in the fall of Singapore and was placed in captivity in Changi, Burma Railway, Saigon, Singapore, and Japan for the rest of the war. Don Tweedie was a quiet honest and respectful person. He was a very proud man who loved the fact that he fought for his country. More importantly, he was not going to give in to his captors. He had a strong bond between himself and those POWs who suffered or died and witnessed all those atrocities with him. While the physical problems were an issue, it was the emotional and psychological scars that a lot of these men suffered that would haunt them for a lifetime. However, life goes on, and Don Tweedie fulfilled his dreams to own his own cattle studs and play in a brass band. He played in the Forbes Town band for forty-six years right up until he passed away. This book is to pay tribute to Don Tweedie and all his fellow POWs, and also the families and friends of those POWs including the mothers, wives, and girlfriends who suffered along with their husbands, sons, uncles, brothers, grandfathers, or friends.
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