By Joseph Conrad
Dieses booklet: "Das Herz der Finsternis / middle of Darkness - Zweisprachige Ausgabe (Deutsch-Englisch) / Bilingual version (German-English)" ist mit einem detaillierten und dynamischen Inhaltsverzeichnis versehen und wurde sorgfältig korrekturgelesen. Diese Zweisprachige Ausgabe hilft dem Leser Joseph Conrad besser zu verstehen und zu interpretieren, ist praktisch beim Nachschlagen und sehr nützlich um Englisch / Deutsch als Fremdsprache zu Lernen oder zu Lehren.
This rigorously crafted publication: "Das Herz der Finsternis / middle of Darkness - Zweisprachige Ausgabe (Deutsch-Englisch) / Bilingual version (German-English)" is formatted in your eReader with a sensible and designated desk of contents. This bilingual variation is helping the reader to appreciate and to interpret Joseph Conrad larger, is functional for having a look up textual content passages and intensely necessary for studying and instructing German / English language via vintage literature.
Herz der Finsternis ist eine Erzählung aus dem Jahre 1899 von Joseph Conrad.
Zur Inhalt: Auf der nächtlich an der Themsemündung in Gravesend stillliegenden Seeyacht Nellie erzählt der ehemalige Seemann Marlow seinen vier Freunden, die das Band der See eint, eine Episode aus seinem Leben. Er beschreibt seine Sehnsucht, die letzten weißen Flecken des Globus kennenzulernen, und wie sie nach einigen Mühen dazu führte, dass er Flusskapitän wurde.
- middle of Darkness is a quick novel via Joseph Conrad, released in 1899.
Plot: Aboard the Nellie, anchored within the River Thames close to Gravesend, England, Charles Marlow tells his fellow sailors in regards to the occasions that ended in his appointment as captain of a river-steamboat for an ivory buying and selling corporation. He describes his passage on ships to the wasteland to the Company's station down the Congo River in vital Africa.
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Extra resources for Das Herz der Finsternis / Heart of Darkness - Zweisprachige Ausgabe (Deutsch-Englisch)
So Basilius can be read as suggesting some of the dimensions of Elizabeth’s position. Arcadia works with a series of equivalences that ‘figure forth’, as Sidney’s first biographer Fulke Greville wrote, particular ideas and issues, working through suggestion and shadowings rather than precise identifications. So the strength of the passages surrounding Philisides and the Iberian tournament in Arcadia establishes a connection, as Dennis Kay suggests, with Sidney and Elizabeth’s Accession Day tilts, and these textual events invite readers to understand Philisides as sometimes more successful than his historical counterpart.
I fear, indeed, the weakness of my government before, made you think such a mask would be grateful unto me and my weaker government since, makes you to pull off the visor. What shall I do then? Shall I seek far-fetched inventions? Shall I labour to lay marble colours over my ruinous thoughts? ’ (NA, p. 330) In this passage Philoclea demonstrates the fear that taxes most romance heroines – the anxiety that they will be deemed to have invited sexual advances through their own behaviour. Tinged with Philoclea’s joy is the fear and anger that she has been tricked into staining her own honour despite herself.
That is, she is a woman of great wit, wise beyond her gender, and certainly superior to her husband. She is chaste, but passionate and intelligent. This combination of qualities is ‘terrible’, in the full sense of that word, when Gynecia’s vehement spirits get the better of her, and she acts on her desires for Prince Pyrocles. Gynecia, then, provides an appropriate starting point for a discussion of the designing woman – a woman who acts in her own interests and on her own desires – primarily because she does so without becoming simply a negative exemplum.