康拉德《密探》中的狂欢世界探微
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摘要
作为英国现代文学史上最具影响力的作家之,约瑟夫·康拉德的长篇小说和中篇小说常被视作是从复杂的道德层面和心理角度对界限不清的善与恶的诘问,对人类所承受的劫难的探究。康拉德的水手经历和外国人的特殊身份以及他所处的时代共同影响了他对于人生的洞察,也造就了他在文学创作中的独特表达方式。《间谍》作为康拉德政治三部曲之一,以20世纪初英国国内的政治乱象为写作背景,追问人生真谛、探讨道德问题。
“狂欢”的概念由俄罗斯批评家巴赫金提出,这一概念形容多元的大众幽默以及大众文化中蕴含的对于正统文化禁锢的反抗。“狂欢”一词来源于中世纪的一种古老仪式,它代表平民的智慧,对立于一切形式的权威。“狂欢化”强调文学的戏谑功能,讥讽权威并以释放人类天性为己任。
康拉德的文本常被视作展现人生的阴暗和深重危机的典范。然而,康拉德小说世界中对阴暗面的深刻描写常常以幽默戏谑的方式示人。同样的,《间谍》中那阴郁的气氛和作者对于主人公的讽刺性描写正蕴含着这种具有幽默色彩的阴暗感。福格尔首次将康拉德的文学作品与狂欢化联系起来。福格尔的观点为论文作者提供了解读康拉德和他的小说《间谍》的灵感。虽然已有前人用狂欢化解读康拉德的小说作品,但几乎没有论著涉及康拉德的这部政治题材小说《间谍》。
本文旨在借助狂欢理论探究《间谍》主题的复杂性：从回顾康拉德众多小说中都具有的狂欢幽默和狂欢的死亡场面入手,揭示康拉德小说和狂欢化之间的内在联系；以狂欢化理论解读《间谍》中的狂欢主角,狂欢地狱和狂欢人群；同时观照巴赫金理论的核心——对话性,指出其作为实现狂欢化的重要手段的统摄力量。论文作者力图通过对《间谍》中在不同人群间进行的自由对话的细致梳理,归纳出善与恶、聪明者和愚笨者的对话,从而揭示康拉德对人生、特别是道德问题的深邃洞见。
本文得出以下结论：《间谍》主题的复杂性来源于蕴含在小说中的狂欢因子。论文同样展现了真理的对话性。小说的狂欢化魅力向人们表明：人类的认知是开放的,对于真理的探求是开放的,错综复杂的世界同样是开放的。
As one of the most influential writers of modern English literature, Joseph Conrad is regarded as the pioneer of taking the complex moral and psychological examinations of the ambiguity of good and evil and human beings'struggle between mortal and immortal. Conrad's special identity as a sailor and alien and the time he was in jointly shape Conrad's insight of life and the way he expresses his understanding of life in his literary work. The Secret Agent, which belongs to Conrad's political trilogy, investigates the profound meaning of life and discusses moral issues with the background of domestic dynamism in England at the beginning of 20th century.
Carnival is a term coined by the Russian critic M. Bakhtin to describe various manifestations of popular humor and cultural resistance to the restraints of official cultural hierarchies. Carnival originates from the medieval ritual celebration. Carnival embodies a kind of folk wisdom that celebrates the body and opposes all forms of authority. Carnivalization emphasizes the playful effects of literature, mocking the authorities and releasing the real nature of human beings.
Conrad's works are always regarded as the representation of darkness and deep crisis of life. Nevertheless, the profound darkness in Conrad's fictional world always appears in a comic way. Similarly, this comic darkness can also be found in The Secret Agent in terms of the gloomy atmosphere and the ironic description of the main characters. It is Fogel who first combines carnivalization with Conrad's literary works, regarding his novels as dialogic works and containing struggles among words. Fogel's point of view provides inspiration for my reading of Conrad and his The Secret Agent. Although Bakhtin's theory has been adopted for the studies on Conrad's works, there are very few works devoted to the special study of The Secret Agent, whose complexity has elicited so many diverse responses.
Therefore, this thesis attempts an exploration of the complexity of The Secret Agent in terms of carnivalization. Searching for the bonding points between carnival and The Secret Agent, this thesis will first give a general review of the carnival spirits reflected in Conrad's fictional world as a whole, demonstrating the inner connection between Conrad's writing style and carnivalization. More elaborations are devoted to the analysis of the carnival spirit in The Secret Agent with the discussion of the carnival hero, the carnival hell and the carnival collective. As an important concept in Bakhtin's theory, dialogicity is the way of realizing carnivalization. "Joyful relativity" successfully removes the boundaries between different social groups. The "free dialogues" among people from different hierarchies demonstrate the dialogic nature of truth. The free dialogues between justice and evil, between the wise and the stupid are elaborately studied so as to manifest Conrad's profound understanding of life, specifically his concern for moral issues.
This thesis comes to the conclusion that the complexity of the theme in The Secret Agent originates from the carnival spirit embedded in the story. This thesis also presents the dialogic nature of human thinking about truth. Man's cognition is open, truth is open, so is the whole complex world.
“狂欢”的概念由俄罗斯批评家巴赫金提出,这一概念形容多元的大众幽默以及大众文化中蕴含的对于正统文化禁锢的反抗。“狂欢”一词来源于中世纪的一种古老仪式,它代表平民的智慧,对立于一切形式的权威。“狂欢化”强调文学的戏谑功能,讥讽权威并以释放人类天性为己任。
康拉德的文本常被视作展现人生的阴暗和深重危机的典范。然而,康拉德小说世界中对阴暗面的深刻描写常常以幽默戏谑的方式示人。同样的,《间谍》中那阴郁的气氛和作者对于主人公的讽刺性描写正蕴含着这种具有幽默色彩的阴暗感。福格尔首次将康拉德的文学作品与狂欢化联系起来。福格尔的观点为论文作者提供了解读康拉德和他的小说《间谍》的灵感。虽然已有前人用狂欢化解读康拉德的小说作品,但几乎没有论著涉及康拉德的这部政治题材小说《间谍》。
本文旨在借助狂欢理论探究《间谍》主题的复杂性：从回顾康拉德众多小说中都具有的狂欢幽默和狂欢的死亡场面入手,揭示康拉德小说和狂欢化之间的内在联系；以狂欢化理论解读《间谍》中的狂欢主角,狂欢地狱和狂欢人群；同时观照巴赫金理论的核心——对话性,指出其作为实现狂欢化的重要手段的统摄力量。论文作者力图通过对《间谍》中在不同人群间进行的自由对话的细致梳理,归纳出善与恶、聪明者和愚笨者的对话,从而揭示康拉德对人生、特别是道德问题的深邃洞见。
本文得出以下结论：《间谍》主题的复杂性来源于蕴含在小说中的狂欢因子。论文同样展现了真理的对话性。小说的狂欢化魅力向人们表明：人类的认知是开放的,对于真理的探求是开放的,错综复杂的世界同样是开放的。
As one of the most influential writers of modern English literature, Joseph Conrad is regarded as the pioneer of taking the complex moral and psychological examinations of the ambiguity of good and evil and human beings'struggle between mortal and immortal. Conrad's special identity as a sailor and alien and the time he was in jointly shape Conrad's insight of life and the way he expresses his understanding of life in his literary work. The Secret Agent, which belongs to Conrad's political trilogy, investigates the profound meaning of life and discusses moral issues with the background of domestic dynamism in England at the beginning of 20th century.
Carnival is a term coined by the Russian critic M. Bakhtin to describe various manifestations of popular humor and cultural resistance to the restraints of official cultural hierarchies. Carnival originates from the medieval ritual celebration. Carnival embodies a kind of folk wisdom that celebrates the body and opposes all forms of authority. Carnivalization emphasizes the playful effects of literature, mocking the authorities and releasing the real nature of human beings.
Conrad's works are always regarded as the representation of darkness and deep crisis of life. Nevertheless, the profound darkness in Conrad's fictional world always appears in a comic way. Similarly, this comic darkness can also be found in The Secret Agent in terms of the gloomy atmosphere and the ironic description of the main characters. It is Fogel who first combines carnivalization with Conrad's literary works, regarding his novels as dialogic works and containing struggles among words. Fogel's point of view provides inspiration for my reading of Conrad and his The Secret Agent. Although Bakhtin's theory has been adopted for the studies on Conrad's works, there are very few works devoted to the special study of The Secret Agent, whose complexity has elicited so many diverse responses.
Therefore, this thesis attempts an exploration of the complexity of The Secret Agent in terms of carnivalization. Searching for the bonding points between carnival and The Secret Agent, this thesis will first give a general review of the carnival spirits reflected in Conrad's fictional world as a whole, demonstrating the inner connection between Conrad's writing style and carnivalization. More elaborations are devoted to the analysis of the carnival spirit in The Secret Agent with the discussion of the carnival hero, the carnival hell and the carnival collective. As an important concept in Bakhtin's theory, dialogicity is the way of realizing carnivalization. "Joyful relativity" successfully removes the boundaries between different social groups. The "free dialogues" among people from different hierarchies demonstrate the dialogic nature of truth. The free dialogues between justice and evil, between the wise and the stupid are elaborately studied so as to manifest Conrad's profound understanding of life, specifically his concern for moral issues.
This thesis comes to the conclusion that the complexity of the theme in The Secret Agent originates from the carnival spirit embedded in the story. This thesis also presents the dialogic nature of human thinking about truth. Man's cognition is open, truth is open, so is the whole complex world.
引文
1 Linda Pavlovski, Twentieth-century Literary Criticism, Vol.4 (Detroit, Mich.:Gale,1998), p.120.
2 Ibid., p.121.
3 Cedric Watts, A Preface to Conrad (Beijing:Beijing University Press,2006), p.7.
4 Aaron Fogel, "The Mood of Overhearing in Conrad's Fiction", Joseph Conrad:Critical Assessment, ed. Keith Carabine (Hastings:Helm Information Ltd.,1992), pp.681-682.
5 F.R.利维斯：《伟大的传统》,袁伟译, 三联书店2002年版,第285页。
6 Page Norman, A Conrad's Companion (Macmillan:Basingstoke, Hampshire,1986), p.101.
7 John G. Peters, The Cambridge Introduction to Joseph Conrad (Shanghai:Shanghai Foreign Language Education Press,2008), p.125.
8 Knowles Owen, An Annotated Critical Bibliography of Joseph Conrad (Hemel Hempstead, Hertfordshire: Harvester Wheatsheaf,1992), p.47.
9 Ibid., p.48.
10 Ibid., p.54.
11 Knowles Owen, An Annotated Critical Bibliography of Joseph Conrad (Hemel Hempstead, Hertfordshire: Harvester Wheatsheaf,1992), p.136.
12 Ibid., p.137.
13 Ibid., p.66.
14 胡强：《康拉德政治三部曲研究》,中国社会科学出版社2008年版,“导论”,第15页。
15 Michael P. Jones, Conrad's Heroism:A Paradise Lost, ed. Ann Arbor (Mi:UMI Research Press,1985), p.23.
16 John G. Peters, The Cambridge Introduction to Joseph Conrad (Shanghai:Shanghai Foreign Language Education Press,2008), p.127.
17 梁遇春：《醉中梦话》,天津人民出版社1998年版,第66页。梁遇春先生对十康拉德的海洋小说的精神所在做了精辟的解读,认为康拉德并非“只会肤浅地描写海上风浪”,而是“抓住海上的一种情调”,写出“满纸的波澜”,给人一种“神秘的感觉”
18 老舍：《老舍文集》(第15卷),人民文学出版社1990年版,第299-307页。老舍特殊强调了康拉德对于道 德和人生的领悟：“康拉德的写实手段有时虽然近乎残酷,但是他并非是一个冷酷的观察者,而是有着自己道德和人生哲理的近代最伟大境界与人格的创造者。”
19 胡强：《康拉德政治三部曲研究》,中国社会科学出版社2008年版,“导论”,第24页。
20 王佐良,周钰良：《英国二十世纪文学史》,外语教学与研究出版社1994年版, “序言”,第五页。
21胡强：《康拉德政治三部曲研究》,中国社会科学出版社2008年版,“导论”,第41页。
22 Margaret Drabble, The Oxford Companion to English Literature (New York:Oxford University Press,2000), p. 175.
23 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.122.
24 "Heteroglossia." Wikipedia. Wikipedia Foundation, Ltd.,,15, June, 2009.
25 "Mikhail Bakhtin", The Edinburgh Encyclopedia of Modern Criticism and Theory, ed. Wolfreys Julian (Edinburgh: Edinburgh Univ. Pr.,2002), p.171.
26 Ibid., p.122.
27 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.106.
28 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.106.
29 Ibid., p.109
30 Ibid., p.107.
31 Brian Spittles, Joseph Conrad:Text and Context (Hampshire:Macmillan,1992), p.58.
32 Ibid., p.172.
33 Ibid., p.169.
34 Viacheslav V. Ivanov, "Dialogue and Carnival," Carnival and Other Subjects, ed. David Shepherd (Amsterdam: Rodopi,1993), p.3.
35 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.177.
1 "Mikhail Bakhtin", The Edinburgh Encyclopedia of Modern Criticism and Theory, ed. Wolfreys Julian (Edinburgh: Edinburgh Univ. Pr.,2002), p.403.
2 Ning Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.41.
3 Keith Carabine, et al, Contexts for Conrad (Boulder:East European Monographs,1998), p.89.
4 "Mikhail Bakhtin", The Edinburgh Encyclopedia of Modern Criticism and Theory, ed. Wolfreys Julian (Edinburgh: Edinburgh Univ. Pr.,2002), p.224.
3 Aaron Fogel, Coercion to Speak (Cambridge:Harward UP,1985), p.62.
6 Ning Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.45.
7 Keith Carabine, et al, Contexts for Conrad (Boulder:East European Monographs,1998), p.45.
8 Brian Spittles, Joseph Conrad:Text and Context (Hampshire:Macmillan,1992), p.66.
9 Ning, Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.35.
10 Joseph Conrad, Lord Jim (London:Routledge/Thoemmes Press,1995), p.122.
11 Joseph Conrad, Heart of Darkness Nostromo and under Western Eyes:a Casebook (London:Macmillan Pr. Ltd., 1981), p.113.
12 G. Jean-Aubry, Joseph Conrad:Life and Letters, Ⅱ (Garden City, New York:Douleday,1927), pp.133-4.
13 "Letter to Mme. Poradowska",16 October 1891, Collected Letters of Joseph Conrad, Vol.1(Cambridge: Cambridge UP.1983.), p.97.
14 Ning, Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.41.
13 Ning, Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.42.
1 Allan H. Simmons, Joseph Conrad, Introduction (New York:Palgrave MacMillan,2006), p.17.
2 Robert Schultz, "'The Secret Agent':Conrad's Perfect Detonator," in the Midwest Quarterly Vol. XXII, No.3, spring (Pittsburg:Pittsburg State University,1981), p.223.
3 Ning Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.111.
4 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.115.
5 Joseph Conrad, The Secret Agent (London:Routledge/Thoemmes Press,1995), p.6.
6 Mikhail Bakhtin, Problems ofDostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.124.
7 Ibid., p.171.
8 Ning Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.52.
9 M. Bakhtin, "The Grotesque Image of the Body and Its Sources", Bakhtinian Thought, ed. Simon Dentith (London: Routledge,1992), p.403.
10 M. Bakhtin, "The Grotesque Image of the Body and Its Sources", Bakhtinian Thought, ed. Simon Dentith (London: Routledge,1992), p.403.
11 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.174.
12 Ibid., p.133.
13 Ibid., p.174.
14 Ibid., p.173.
15 Brian Spittles, Joseph Conrad:Text and Context (Hampshire:Macmillan,1992), p.115.
1 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis: University of Minnesota Press,1984), p.112.
2 Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsy (Cambridge:MIT Press,1968), p.18.
3 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.110.
4 Vlacheslav. V. Ivanov, "Dialogue and Carnival," Carnival and Other Subjects, ed. David Shepherd (Amsterdam: Rodopi,1993), p.3.
5 Mikhail Bakhtin, Problems ofDostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.109.
6 Ibid., p.107.
7 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.123
8 Ibid., p.6.
9 Ibid., p.7.
10 Mikhail Bakhtin, Problems ofDostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.113.
11 Joseph Conrad, The Secret Agent (London:Routledge/Thoemmes Press,1995), p.28.
12 Joseph Conrad, The Secret Agent, Preface (London:Routledge/Thoemmes Press,1995), p.2.
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______. Rabelais and His World. trans. Helene Iswolsy. Cambridge:MIT Press,1968.
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2 Ibid., p.121.
3 Cedric Watts, A Preface to Conrad (Beijing:Beijing University Press,2006), p.7.
4 Aaron Fogel, "The Mood of Overhearing in Conrad's Fiction", Joseph Conrad:Critical Assessment, ed. Keith Carabine (Hastings:Helm Information Ltd.,1992), pp.681-682.
5 F.R.利维斯：《伟大的传统》,袁伟译, 三联书店2002年版,第285页。
6 Page Norman, A Conrad's Companion (Macmillan:Basingstoke, Hampshire,1986), p.101.
7 John G. Peters, The Cambridge Introduction to Joseph Conrad (Shanghai:Shanghai Foreign Language Education Press,2008), p.125.
8 Knowles Owen, An Annotated Critical Bibliography of Joseph Conrad (Hemel Hempstead, Hertfordshire: Harvester Wheatsheaf,1992), p.47.
9 Ibid., p.48.
10 Ibid., p.54.
11 Knowles Owen, An Annotated Critical Bibliography of Joseph Conrad (Hemel Hempstead, Hertfordshire: Harvester Wheatsheaf,1992), p.136.
12 Ibid., p.137.
13 Ibid., p.66.
14 胡强：《康拉德政治三部曲研究》,中国社会科学出版社2008年版,“导论”,第15页。
15 Michael P. Jones, Conrad's Heroism:A Paradise Lost, ed. Ann Arbor (Mi:UMI Research Press,1985), p.23.
16 John G. Peters, The Cambridge Introduction to Joseph Conrad (Shanghai:Shanghai Foreign Language Education Press,2008), p.127.
17 梁遇春：《醉中梦话》,天津人民出版社1998年版,第66页。梁遇春先生对十康拉德的海洋小说的精神所在做了精辟的解读,认为康拉德并非“只会肤浅地描写海上风浪”,而是“抓住海上的一种情调”,写出“满纸的波澜”,给人一种“神秘的感觉”
18 老舍：《老舍文集》(第15卷),人民文学出版社1990年版,第299-307页。老舍特殊强调了康拉德对于道 德和人生的领悟：“康拉德的写实手段有时虽然近乎残酷,但是他并非是一个冷酷的观察者,而是有着自己道德和人生哲理的近代最伟大境界与人格的创造者。”
19 胡强：《康拉德政治三部曲研究》,中国社会科学出版社2008年版,“导论”,第24页。
20 王佐良,周钰良：《英国二十世纪文学史》,外语教学与研究出版社1994年版, “序言”,第五页。
21胡强：《康拉德政治三部曲研究》,中国社会科学出版社2008年版,“导论”,第41页。
22 Margaret Drabble, The Oxford Companion to English Literature (New York:Oxford University Press,2000), p. 175.
23 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.122.
24 "Heteroglossia." Wikipedia. Wikipedia Foundation, Ltd.,
25 "Mikhail Bakhtin", The Edinburgh Encyclopedia of Modern Criticism and Theory, ed. Wolfreys Julian (Edinburgh: Edinburgh Univ. Pr.,2002), p.171.
26 Ibid., p.122.
27 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.106.
28 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.106.
29 Ibid., p.109
30 Ibid., p.107.
31 Brian Spittles, Joseph Conrad:Text and Context (Hampshire:Macmillan,1992), p.58.
32 Ibid., p.172.
33 Ibid., p.169.
34 Viacheslav V. Ivanov, "Dialogue and Carnival," Carnival and Other Subjects, ed. David Shepherd (Amsterdam: Rodopi,1993), p.3.
35 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.177.
1 "Mikhail Bakhtin", The Edinburgh Encyclopedia of Modern Criticism and Theory, ed. Wolfreys Julian (Edinburgh: Edinburgh Univ. Pr.,2002), p.403.
2 Ning Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.41.
3 Keith Carabine, et al, Contexts for Conrad (Boulder:East European Monographs,1998), p.89.
4 "Mikhail Bakhtin", The Edinburgh Encyclopedia of Modern Criticism and Theory, ed. Wolfreys Julian (Edinburgh: Edinburgh Univ. Pr.,2002), p.224.
3 Aaron Fogel, Coercion to Speak (Cambridge:Harward UP,1985), p.62.
6 Ning Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.45.
7 Keith Carabine, et al, Contexts for Conrad (Boulder:East European Monographs,1998), p.45.
8 Brian Spittles, Joseph Conrad:Text and Context (Hampshire:Macmillan,1992), p.66.
9 Ning, Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.35.
10 Joseph Conrad, Lord Jim (London:Routledge/Thoemmes Press,1995), p.122.
11 Joseph Conrad, Heart of Darkness Nostromo and under Western Eyes:a Casebook (London:Macmillan Pr. Ltd., 1981), p.113.
12 G. Jean-Aubry, Joseph Conrad:Life and Letters, Ⅱ (Garden City, New York:Douleday,1927), pp.133-4.
13 "Letter to Mme. Poradowska",16 October 1891, Collected Letters of Joseph Conrad, Vol.1(Cambridge: Cambridge UP.1983.), p.97.
14 Ning, Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.41.
13 Ning, Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.42.
1 Allan H. Simmons, Joseph Conrad, Introduction (New York:Palgrave MacMillan,2006), p.17.
2 Robert Schultz, "'The Secret Agent':Conrad's Perfect Detonator," in the Midwest Quarterly Vol. XXII, No.3, spring (Pittsburg:Pittsburg State University,1981), p.223.
3 Ning Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.111.
4 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.115.
5 Joseph Conrad, The Secret Agent (London:Routledge/Thoemmes Press,1995), p.6.
6 Mikhail Bakhtin, Problems ofDostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.124.
7 Ibid., p.171.
8 Ning Yizhong, Carnivalization and Joseph Conrad's Fictional World (Beijing:Beijing Language and Culture University Press,2005), p.52.
9 M. Bakhtin, "The Grotesque Image of the Body and Its Sources", Bakhtinian Thought, ed. Simon Dentith (London: Routledge,1992), p.403.
10 M. Bakhtin, "The Grotesque Image of the Body and Its Sources", Bakhtinian Thought, ed. Simon Dentith (London: Routledge,1992), p.403.
11 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.174.
12 Ibid., p.133.
13 Ibid., p.174.
14 Ibid., p.173.
15 Brian Spittles, Joseph Conrad:Text and Context (Hampshire:Macmillan,1992), p.115.
1 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis: University of Minnesota Press,1984), p.112.
2 Mikhail Bakhtin, Rabelais and His World, trans. Helene Iswolsy (Cambridge:MIT Press,1968), p.18.
3 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.110.
4 Vlacheslav. V. Ivanov, "Dialogue and Carnival," Carnival and Other Subjects, ed. David Shepherd (Amsterdam: Rodopi,1993), p.3.
5 Mikhail Bakhtin, Problems ofDostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.109.
6 Ibid., p.107.
7 Mikhail Bakhtin, Problems of Dostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.123
8 Ibid., p.6.
9 Ibid., p.7.
10 Mikhail Bakhtin, Problems ofDostoevsky's Poetics, trans. Caryl Emerson (Minneapolis:University of Minnesota Press,1984), p.113.
11 Joseph Conrad, The Secret Agent (London:Routledge/Thoemmes Press,1995), p.28.
12 Joseph Conrad, The Secret Agent, Preface (London:Routledge/Thoemmes Press,1995), p.2.
Bakhtin, M.. Problems of Dostoevsky's Poetics. trans. Caryl Emerson. Minneapolis:University of Minnesota Press,1984.
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