Secrets Between Selves and The Exchange of Desires: Mirror-Stage Politics and Self-Reflecting Wishes within Conrad's "The Secret Sharer" and Under Western Eyes
Thesis written by a student in the UNT Honors College discussing author Joseph Conrad's work in relation to self-realization, self-awareness, and the loss of self. Includes psychoanalytic theories, especially those of Jacques Lacan.
Under Western Eyes
Under Western Eyes traces a sequence or error, guilt, and expiation. Its composition placed such demands upon Conrad that he suffered a serious breakdown upon its completion. It is by common critical consent one of his finest achievements. Bomb-throwing assassins, political repression and revolt, emigre revolutionaries infiltrated by a government spy: much of Under Western Eyes (1911) is more topical than we might wish. Set in tsarist Russia and in Geneva, its concern with perennial issues of human responsibility gives it a lasting moral force. The contradictory demands placed upon men and women by the social and political convulsions of the modern age have never been more revealingly depicted. Joseph Conrad personally felt no sympathy with either Russians or revolutionaries. None the less his portrayal of both in Under Western Eyes is dispassionate and disinterested. Through the Western eyes of his narrator we are given a sombre but not entirely pessimistic view of the human dilemmas which are born of oppression and violence.
"The Plain Round Tale of Faithful Thady": Castle Rackrent as Slave Narrative
Critics of Maria Edgeworth’s Castle Rackrent tend to focus on textual elements—gender issues, the symbolism of the Big House, colonial hegemony— or contextual readings by placing Edgeworth in the Anglo-Irish history and tradition. While such criticism usually in some way examines the main theme of the text, the appropriation of power and authority, little of it accomplishes both the textual and contextual analysis that Castle Rackrent deserves. Exploring Thady’s “plain round tale” as a slave narrative in content and form sheds new light on the work both textually and contextually; in Thady Quirk, Edgeworth has created a typical slave narrator who recounts a history of oppression which is ultimately mediated by an outside editor. As John Cronin writes of Castle Rackrent, “What Maria Edgeworth has given us . . . is a magnificently realised slave, a terrifying vision of the results of colonial misrule. There must have been a moment of clearly deliberate artistic decision in which she realised that what needed to be said must be said through one of the submerged people.”1 The three main textual elements of the narrative indicate its likeness to typical slave narratives: its presentation of a conflicted slave narrator, its use of the framing device of the outside editor, and its narrative structure of episodic anecdotes that utilizes memory, description, and didacticism.