By Paul Coates
This e-book employs the unconventional as a version of the workings of mind's eye and projection within the building of our ideological definitions of identification. The self's solidarity is proven to be a pseudo-unity accomplished throughout the projection, transformation and tabooing of its personal otherness. It examines the double as an epitome of the nineteenth century and charts its upward push and fall within the fiction of the interval. The centre-piece of the publication is a protracted essay on Conrad, whose quest for id in the course of the include of non-identity is interpreted as an uneasy synthesis of the contradictions of the "fin-de-siecle" (eg. symbolism and naturalism). The e-book concludes with a attention of the comparable syntheses of 2 postwar authors from important Europe, Milan Kundera and Andrzej Kusniewicz. Paul Coates is the writer of numerous books together with "Words After Speech - a Comparative examine of Romanticism and Symbolism".
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Additional info for The Double and the Other: Identity As Ideology in Post-Romantic Fiction
Attempts are still made to disavow the knowledge of the inner corruption of the self - that of Conrad, for instance, which succeeds in the fog of mystification that engulfs Heart of Darkness, but founders on the greater scrupulosity of The Secret Sharer - but these are increasingly ineffective rearguard actions. And so the great modernists who succeed the generation of Conrad and James will base their writing on the image of the Double, and will be unremitting in their attempt to dissolve their own blind spots and see themselves as they are.
I have used the metaphor of meditation upon a photograph to define the method the narrator uses when depicting a scene. The metaphor is appropriate because of the enigmatic nature of the photograph, which is a message without a code. And the more realistic its appearance, the fewer the number of human fingerprints on the lens, the more enigmatic its intention as a mode of address. The photographic metaphor arises from Beckett's own text. At one point it issues the injunction: 'Quick enlarge and devour before night falls' (p.
I compassioned him, and sometimes felt a wish to console him; but when I looked upon him, when I saw the filthy mass that moved and talked, my heart sickened, and my feelings were altered to those of horror and hatred' (p. 147). Given the book's deliberate eschewal of visualisation, to film it is grossly to misapprehend it. Frankenstein's actual identity with his creature is a commonplace of writing on Mary Shelley's novel. It is apparent, for instance, when he describes his remorse-stricken wanderings after Justine's wrongful execution for the murder of William: 'Sleep fled from my eyes; I wandered like an evil spirit, for I had committed deeds of mischief beyond description horrible' (p.