Titlebook: ;

爆米花

,‘Dissolving into Laughter’: Comedy and Carnival in the Final Chapter, (216). In spite of its apparent lightness, however, the story dramatises a more serious religious and moral theme, initiating a series of comic novels which bring the religious, political and psychological narratives into yet another relation.

recession

物質(zhì)

Introduction,e heavy pages of the second was the distorted ghost of Conrad’ (. 206). He castigates . as ‘romantic and derivative’ (211), describing its prose in . (1982) as ‘flat and stilted and pretentious’ and its characterisation as ‘non-existent’, explaining that ‘the young writer had obviously been reading

洞穴

Medium Companies of Europe 1991-92e heavy pages of the second was the distorted ghost of Conrad’ (. 206). He castigates . as ‘romantic and derivative’ (211), describing its prose in . (1982) as ‘flat and stilted and pretentious’ and its characterisation as ‘non-existent’, explaining that ‘the young writer had obviously been reading

厭惡

Introduction,ion for Joseph Conrad. At Balliol, for example, Greene wrote a poem which asserted that ‘no Browne brings me such pleasure, / As my loved Barrie, Conrad, Bernard Shaw’ (129), and in a letter to his fiancée in 1925, he told her ‘I love you more than John Donne … and Joseph Conrad and wet laurels’ (21

豐滿中國

,‘The Proper Formula’: Conrad’s Transformed Adventure Story,asoning affection’ for ., ‘dating from the days of [his] childhood, that its very weaknesses are more precious to [him] than the strengths of other men’s work’ (124). Conrad found Dickens attractive for his ability to combine a suspenseful plot with a revelation of character and atmosphere through s

SEVER

,‘Writing off the Elaborate Scaffolding’: Greene’s Detour to Adventure,so much what he called the ‘romantic[ism] and derivative[ness]’ of this novel’s theme that mars his early fiction, but the confusion of its generic makeup. Like Conrad, Greene seems unsure what . of novel he is attempting to write. . (1929) teeters uneasily between interior revelation and boys’ smug

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打擊

,‘He Who Forms a Tie’: The Conradian Protagonist in Greene’s Later Novels,sed’ which ‘works as a process of . towards the creation of an energetic constant-state situation’ (Brooks 100–1). What Brooks means by this is that narratives moving towards their conclusions seem to ‘come together’, integrating hitherto fragmented material in new and significant ways. Applying thi

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