DGD: Landscapes-Blue Series 21 (clonografía), 2009 4
Since we are speaking here of writers unclassifiable would describe how does the modern effort of classification, and perhaps the most telling example of this issue and side items is the experience of one of the most reluctant writers to classifications: Joseph Conrad (1857-1924). This involves briefly drawing a picture and go back to the last quarter of the nineteenth century when the British Empire reached its maximum expansion and power through a multitude of colonies and ports that are spread throughout the world's coastlines, from the South Pacific to India and the Far East. The rapid growth of commercial shipping long distances between the capital of the British Empire and its colonies led to a series of technical changes, the most profound and significant was that affected Victorian navigation.
For millennia man's relationship with the sea-the most fascinating expression, terrible and uncontrollable natural forces, had resulted in sailing. The sail with the help of the wind had derived not only a way of life and art, but an entire philosophy and worldview. In its thousand ramifications, this design included a pace , a dialogue of man with nature and the oldest meaning of concepts such as adventure and exploration. In the late nineteenth follow, the English imperialist expansionism began to demand an acceleration at all levels, primarily in the vessels, requiring greater speed, capacity and military power. Thus, the sailing, with its ancient traditions, its hardness and defiance, was replaced in a short time and not a little violent, the dehumanized, predictable Asepsis impersonal moved by steam ship with a steel hull.
Conrad, fascinated by the adventure and the hardness of the nautical life, became a sailor at an early age and witnessed the extinction of an entire world, demands of capitalism and the imposition of another monumental beginning with the replacement of pace by hurry. He was born the modern swift, consuming itself, which would extend throughout the twentieth century beginning with the industrial revolution.
Conrad tried to register in their writing remains the world was dying and therefore, very conscious, filled with its texts a unique gallery of human types in extinction: captains, officers, sailors, ship, old salts, etc., in an attempt similar to other great literature of the sea like Melville, Stevenson, Kipling and London.
The first two novels of Conrad, Almayer's Folly (1895) and An outcast of the islands (1896), were greeted in a curious way, since it immediately fueled the author's reputation as "a exotic romantic storyteller "a misunderstanding that would haunt and torment for the rest of his career. It is a nickname that is worth further consideration, since it can be clearly seen that since historians often do modern critics: if a writer as Conrad laments the disappearance of a violent world and its replacement by a much less human, it is called "romantic." This word is far from being used in the profound sense that gave the romance in the time of his powerful art, but simply, it becomes synonymous with "idealist."
problems the easy classification of Conrad as a "romantic" begin with the fact that, while this writer portrayed the contradictions of its characters and explores the trend of the devastation, rapine and evil, then the historiography and criticism, from this side of Conrad's work, they call it "precursor of modernism." There are, therefore, in the same author, two opposing sides. One of them is applied the label "romantic", which is associated with the "idealist", it is clear that here is a unique fusion of "idea" with "ideal" who has ideas is who has ideals, and the idealist is one that is anchored in the past, as obsolete, in the abstract, in the dark ages .
Rather, what matters to the history and literary criticism is other side of Conrad's work, one that is not based on the ideas (the ideal) but on "facts", ie "acts", for here is part of another forced synonymy and understood, the " act "with" currently "only" facts "are" current ", ie modern , and not all the facts but only those that are linked to the conquest, war and devastation collectively and individually.
In other words, to criticism, and not a little uncomfortable way, "Conrad is archaic when world rescues a late (rescue understood as idea, abstraction, Utopia), and is effective when it focuses on the individual's tendency to evil (a trend seen as fact, concreteness, realism). If Conrad was only the first, would be a "romantic", an "idealist" terms in which it is understood others as archaic, obscurantist, reactionary, escapist, even reactionary. But it also the latter (a portrait of vulnerability and the venality of man), and it is this facet that "saves."
In this consideration, the author emphasizes the ideas is "romantic", while that puts it in fact is "modern." No other significance is this paragraph from a popular encyclopedia
Some of his works have been labeled as romantic, although Conrad usually soothes the troubled romance with realism and turns the moral ambiguity of modern life. For this reason, many critics have placed it as a precursor of modernism.
First merit recognized by critics: Conrad "normally softens Romanticism" (the plot, ie, known to excuse this fall with a load of realism , involving "conflicting orders" and "moral ambiguity").
The English version of the same encyclopedia also contains this sentence: While Some Of His works Have A strain of romanticism, I is viewed as a precursor of modernist literature ("While some of his works have a tendency toward Romanticism is seen as a precursor of modern literature "). It is significant that the word strain, equivalent to "trend", "vein", "tone" also means "strain" and "exhaustion", and it seems free one letter over the distance of stain "stain." Second merit grant the author: Conrad wash their own spots. Hence, his biographers use phrases such as "disciplined his romantic temperament with an implacable moral code." In other words, managed to overcome its tendency to falsehood, illusion and escapism utopian (ie, to oppose the definition of the world accepted by the rush of modernity) through a discipline made of pessimism, precision and truth .
's just why the same encyclopedia in English translation comes to a crushing-and unintended-revelation when he accepts that Conrad's literary work "fills the gap between tradition classical literary writers like Dickens and Dostoevsky and modernist literary schools. " How sad destiny of unclassifiable writers, to "fill gaps", ie to work, without any deliberation, to confirm and hold that perfect world order that tend classifications. There is but one step to imagine that Conrad, when he decided to devote himself to literature, he said "my great vocation is to fill gaps."
Once located in vein, the same Encyclopedia notes: "Conrad, along with the American author Henry James, has been called pre-modern writer, and also can be framed within the symbolism and literary impressionism. " In less aware this is a "classification plural" (an effort of understanding) that an acceptance by any side you want, and Conrad is paid to have done a great service to the world map of literature, that of having "filled gaps "This means that filled gaps, which helped to build bridges between ideas (the obsolete and archaic) and facts (the new and modern), but not to bring ideas and facts but that they replace those ideas ( the same way that the engines replaced the sails).
Just the facts are read (accepted, understood) so far from the reader organicity Conrad's work (and not divided into facets but seen and undertaken as an adventure, an inner exploration, an indivisible unit.) Modernity sees only what you see, and therefore are not known even the most famous paragraphs Conrad, for example one in which, in her most famous novel, The Heart of Darkness (1902), warns that the accent is in fact closed in on themselves (which is otherwise not realistically only genre of modernity), but viewed them as metaphors:
The stories of the sailors have a frank simplicity, all its significance can enclosed within the shell of a walnut. But Marlow was not a typical man of the sea (with the exception of his penchant for telling stories), and for him the importance of a story was not in the kernel but outside, enveloping the story in the same way the glow surrounding light, like one of those misty halos that sometimes are made visible by the spectral illumination of moonlight.
obsession with the facts, believes that there is nothing more than reading the open book of reality, the reader away from that statement of principles literary Conrad recorded in the preface to the black Narciso The (1897):
Por el poder de la palabra escrita hacerte oír, hacerte sentir [...] y, ante todo, hacerte ver. Eso, y no más, y eso lo es todo. Si lo consigo, encontrarás ahí, de acuerdo con tus carencias: ánimo, consuelo, miedo, encanto —todo lo que pides— y, tal vez, también, el vistazo de una verdad de la cual te habías olvidado.
[ Leer la quinta parte .]
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