By John G. Peters
John Peters investigates the impression of Impressionism on Conrad and hyperlinks this to his literary thoughts in addition to his philosophical and political beliefs. 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 principles. Conrad and Impressionism investigates the resources and implications of Conrad's impressionism that allows you to argue for a constant hyperlink between his literary method, philosophical presuppositions and socio-political perspectives.
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Others also identify sharp juxtaposition of colors,²⁶ innovative use of light,²⁷ and the use of ‘‘empathetic and evocative brushwork’’²⁸ as common techniques in impressionist painting. ²⁹ Because impressionism originated in the visual arts and because of the movement’s importance in the history of the visual arts, most critics of impressionist literature have looked at it in the light of techniques of impressionist visual arts. ’’³⁰ Problems arise, however, when critics identify the techniques of impressionist painting and then insist on transferring them to impressionist writing.
Realism’s representation of objects contrasts with that of impressionism. Realists tried to access the object as free as possible of the accidents of particular instances – including human subjectivity. In so doing, they sought to represent an unmediated product. In a sense, this product was universal because it was supposed to appear the same regardless of who experienced it; objects were to be recognized from the subject’s own experience, and that experience would concur with the experience of others.
To get on with the work – to stop the hole. Rivets I wanted . . [A]nd there wasn’t one rivet to be found where it was wanted’’ (Y –). At the Central Station, those rivets have become Marlow’s means to repair his ship and assume his command. Discovering his ship sunk in the Congo River alters the way Marlow perceives the rivets such that they appear one way at the Outer Station and yet another at the Central Station. Always the subject’s individual experience (both personal and cultural), together with the fluid, changing circumstances of space and time, affect the way an object is experienced.
Conrad and Impressionism by John G. Peters