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Intertextuality within Conrad: An Intratextual Reading of Under Western Eyes and "The Secret Sharer"
성길호 한국현대영미소설학회 2004 현대영미소설 Vol.11 No.2
Intertextuality matters when one text is read as part of another text in a single unit of meaning. Intertextual critics often discuss two works by different authors, yet we may employ the term "intratextuality" to designate the relationship between works by one and the same author. Conrad's Under Western Eyes and "The Secret Sharer" have many points between them to repay an intratextual reading. Merged together, the dyad encapsulates his whole fiction. The two stories show a thematic contrast of betrayal and loyalty. In the narrative mode, one is tragic while the other is comic. They are set on land and sea respectively. Compared with the sea story that deals with conflicts among characters on an isolated ship on the sea, a "land story" like Under Western Eyes presents actions of expansive social resonance. Viewed in terms of narrative technique, too, the two works reveal a wide difference in complexity. The contrapuntal imagery of light and darkness (or black and white) as a hallmark of Conrad's imaged style appears at key moments in both works. That he wrote the short story during a break from composing the novel epitomizes his whole fiction-writing career as it was divided between short and long genres of fiction. Intratextually considered, all these aspects reflect Conrad's insight into humanity as homo duplex. The two Conrad texts yoked together constitute a double-voiced discourse incorporating a hidden polemic between them. Their dialogic interaction carries an endless exchange of views without resolution. The intratextual coupling of the two works that occupy the middle point in the sequence of Conrad's literary production forms a capsulized version of the full gamut of his fictional art. By means of this mise en abyme or internal duplication, Conrad provides a synecdochal reflection of his entire fiction.
Conrad`s Melodramatic Imagination in Chance
성길호 ( Kil Ho Sung ) 한국근대영미소설학회 2013 근대 영미소설 Vol.20 No.3
Chance was Conrad`s first commercial success in his writer`s career. One of the reasons for its success might be that the author`s melodramatic imagination was more markedly crystallized in the novel than in the preceding works. Melodramatic emotionality informs the plight of the heroine, Flora, as a damsel in distress. Viewed from the perspective of melodramatism, Flora stands for "innocence beleaguered" and feminine passivity. The innocent heroine is melodramatically flanked by the gallant hero and the mischievous villain, for her good or evil. Flora is also the object of desire, a melodramatic object par excellence, sought by Captain Anthony, Powell, Marlow and her father, de Barral, in their respective ways. Chance reads like a melodramatic piece for its quality of domestic drama, its lack of psychological depth in characterization, and its heavy dependence on the workings of chance. Conrad`s melodramatism in this novel does not lower his status as a bona fide artist of fiction. It rather shows off the multifarious artistry of Conrad the novelist, a novelist who evidently knew the use of melodrama as a modern form, as a response to the historical symptoms of modernity.
Robinson Crusoe under Bakhtinian Eyes
성길호 ( Kil Ho Sung ) 한국18세기영문학회 2008 18세기영문학 Vol.5 No.1
Critical studies of Robinson Crusoe have tended to treat the novel as a single-voiced discourse, focusing on one subject or another among those related to its various moral, religious, economic, political, and ideological themes. The time of great social change in which the story is set, however, makes it tempting, and rewarding, to discuss it as a text of heteroglossia. Close scrutiny reveals that the strength of the novel lies in its internal dialogic structure. Two opposing voices, attitudes, perspectives, and discursive forces engage in hidden polemics. Disputative dialogue centers around didactic, political, economic, or ideological issues, among others. In the final analysis, the two sides of dialogic interplay endorse respectively the status quo and change, stasis and flux, or being and becoming. One may well say that Robinson Crusoe is a Bakhtinian double-voiced discourse par excellence.