This paper utilizes spatial figurations in "Amy Foster," Heart of Darkness, and Under Western Eyes in bringing Conrad's poetics to bear on the question of modernist borders. The illustration proceeds by tracing thematic and stylistic articulations of a character's situatedness. The first attends to national determinations and spatial figures, the second to diegetic stratification. The purpose of this analysis is to show how all serve as the national, figurative, and narratological limits that facilitate a determination of a character's moral soundness. Two complementary conclusions are offered. First, Conrad's sympathies may be traced by distinguishing between the signposting of national loyalties and their erasure in universal uprootedness. Robert Hampson's distinction between international and transnational activism will be used to show how the difference alerts us to moral considerations in Conrad's poetics. Kurtz, Yanko, and Laspara will serve as test-cases for the analysis, but the distinction will be shown to be no less valuable in its application to a more nuanced reading of Conrad's Jewish characters. Second, the manner in which a character is framed in the fiction, his stylistic situatedness, as it were, serves as a parallel moral gauge. A character's moral worth can be assessed by the manner in which he is circumscribed within the diegesis or outside it, whether his position is fixed or changing.

本文利用“艾米·福斯特”，“黑暗之心”和“西方眼神”中的空间形象在将康拉德的诗学带入现代主义边界问题上。插图通过追踪角色位置的主题和文体表达来进行。第一个涉及国家的确定和空间数据，第二个涉及营养分层。该分析的目的是显示所有这些因素如何作为有助于确定角色道德健全性的国家，图形和叙事学限制。提供了两个互补的结论。首先，康拉德的同情可以通过区分国家忠诚的路标和在普遍的连根拔除中的区别来追溯。罗伯特·汉普森（Robert Hampson）在国际和跨国行动主义之间的区别将被用来展示这种差异如何使我们警惕康拉德诗歌学中的道德考虑。库尔兹，扬科（Yanko）和拉斯帕拉（Laspara）将作为分析的测试用例，但在将其应用于康拉德（Conrad）的犹太人物的细微差别阅读中时，该区别将显示出同样重要的价值。其次，人物在小说中的构架方式，他的风格定位，实际上是一种平行的道德标准。一个角色的道德价值可以通过他在礼拜堂内或礼拜堂外被限制的方式来评估，无论他的位置是固定的还是变动的。