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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 cognizance, be they actual items, human matters, occasions or principles. Conrad and Impressionism investigates the assets and implications of Conrad's impressionism with a purpose to argue for a constant hyperlink between his literary approach, philosophical presuppositions and socio-political perspectives.

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Example text

Of Science and the epistemological origins of literary impressionism  course, differences between realism and impressionism are not always wholly distinct because impressionism did not disagree with the realist attempt to portray the world realistically;⁴⁹ it simply disagreed with realism’s fundamental assumptions about human experience. Whereas realism’s primary emphasis was to represent an object such that everyone experiences the same object, impressionism emphasized that all interaction between consciousness and its objects is, by definition, dependent upon the existence of both subject and object.

While at the  Conrad and Impressionism Outer Station, Marlow sees the rivets as simply a useless nuisance, but when he reaches the Central Station, he sees them very differently: ‘‘What I really wanted was rivets, by heaven! Rivets. 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.

You could fill your pockets with rivets for the trouble of stooping down’’ (Y ). While at the  Conrad and Impressionism Outer Station, Marlow sees the rivets as simply a useless nuisance, but when he reaches the Central Station, he sees them very differently: ‘‘What I really wanted was rivets, by heaven! Rivets. 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.

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