By John G. Peters
John Peters investigates the effect of Impressionism on Conrad and hyperlinks this to his literary suggestions 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 realization, be they actual gadgets, human matters, occasions or rules. Conrad and Impressionism investigates the resources and implications of Conrad's impressionism so as to argue for a constant hyperlink between his literary process, philosophical presuppositions and socio-political perspectives.
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Additional info for Conrad and Impressionism
More important, though, the objective view excludes the subject’s personal experience from the process, and so a physical object, for instance, may be perceived (to a certain extent) divorced from cultural influences but still appear the same to any observer who can forget conventional thinking about visual perception. As a result, the objective view eliminates part of the subject’s subjectivity and does not posit an individual epistemological experience. Nevertheless, Laforgue correctly asserts that impressionists do not allow cultural conventions to rule their art and that they make a conscious effort to set aside outside influences and render the object as it actually appears at a specific moment.
Similarly, Jim acts like a fool, not necessarily because he is one but because Cornelius thinks Jim’s code of honor is foolish. As a result of the blurred distinctions between perceiver and perceived, the perceiver’s own subjective characteristics and physical point of view, as much as Jim’s essential characteristics themselves, present Jim in the light they do. Each is a different Jim, as his outlines blur with those of the perceiver. Both multiple and limited point of view narrators dramatize the limitations of a single consciousness to comprehend phenomena other than individually, and thus knowledge itself is revealed to be limited as well.
H. Lawrence, Stephen Crane, Willa Cather, Henry James, Ford Madox Ford, Jean Rhys, Sarah Orne Jewett, Katherine Mansfield, George Moore, R. B. Cunninghame Graham, W. H. , Maupassant and Flaubert). Nagel correctly assesses the degree of subjectivity these authors emphasize, but his distinction does not really clear the waters since we are still left with vastly different writers all classified as impressionists of some sort. Of course, circumscribing ‘‘isms’’ of any kind invites disagreement, but with impressionism opinions conflict considerably.
Conrad and Impressionism by John G. Peters