By John G. Peters
John Peters investigates the effect of Impressionism on Conrad and hyperlinks this to his literary innovations in addition to his philosophical and political opinions. Impressionism, Peters argues, enabled Conrad to surround either floor and intensity not just in visually perceived phenomena but in addition in his narratives and gadgets of recognition, be they actual gadgets, human matters, occasions or rules. Conrad and Impressionism investigates the resources and implications of Conrad's impressionism that allows you to argue for a constant hyperlink between his literary strategy, philosophical presuppositions and socio-political perspectives.
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Extra resources for Conrad and Impressionism
At the same time, though, Marlow himself is transformed by his experience with that wilderness, and in this epistemological encounter it is impossible to tell for certain where Marlow’s outlines end and those of the wilderness begin. Positivism, idealism, and impressionism all represent change occurring in the interaction between subject and object. But while positivism and idealism render a one-sided change, impressionism renders a twosided exchange. For positivism, since reality exists outside the subject, objects may change subjects, but the objects themselves remain the same regardless of who experiences them.
As a result, none has a complete picture of Jim. For example, Stein says Jim is a romantic (LJ ). Cornelius says he is a fool (LJ ). Jewel says Jim is false (LJ ). These narrators (as well as others) assume they accurately perceive Jim, and in a sense they do in that Jim conforms to their perception. In other words, Jim acts the romantic Stein perceives him to be. He acts the fool Cornelius perceives him to be. He acts falsely as Jewel perceives him to be. However, Jim is not necessarily each of these in essence, but rather the other characters’ points of view present different perceptions of Jim.
In the end, impressionism’s individual, fully contextualized epistemology is precisely what previous movements in art ignored, and its return to that idea was a radical departure from most earlier art and literature. At the same time, literary impressionism provides a bridge between realist and stream-of-consciousness literature in the same way it bridges subject and object. Furthermore, impressionism leads to an epistemological and representational process that, because of its highly individual nature, is relative rather than absolute.
Conrad and Impressionism by John G. Peters