Heart Of Darkness Research Articles

Narrativizing the "Other": Joseph Conrad’s Art of Story-telling in Almayer’s Folly

This paper proposes to focus on Joseph Conrad’s narrative style in his first novel Almayer’s Folly, which has been so far neglected by most mainstream critics. Conrad’s narratives employ different narrative techniques in different texts that complicate the attempt to generalize about his narrative method or style. Still some distinctive features are common in his narratives. Critics so far agree to his modernist style that links the narrators with the characters as well to explore the deep psychology of both. When most of them find Conrad’s narrators as unreliable and reflexive especially in his Lord Jim, Heart of Darkness and some other Western fictions, this essay investigates the author’s style in his debut novel, and drawing on Edward Said’s idea of “secular criticism”, finds a “secular style” of telling the story, by which Conrad achieves a kind of narrative detachment from the text and lends his narrators a transnational identity. By hiding the authorial identity and narrator’s location and racial or national perspectives, Conrad gains the confidence of his readers across the globe. That is why in the Malay trilogy, he makes his narrators nationless, and hence makes them appear as limited omniscient narrators who satirize the dominant cultural, racial, religious and political ideologies, especially the Western Imperialist hegemony. This is what makes Conrad both a writer of the East and the West. This paper critically evaluates this secular style of fiction writing in Almayer’s Folly.

Apocalypse Now Final Cut: The French Plantation Is Back. Vive le Cinéma!

The paper analyzes the recovery of the French Plantation sequence in the films Apocalypse Now, Final Cut, and Coppola, recovering the movie’s entire narrative and aesthetic capacity. We demonstrate how Coppola, obeying distribution norms and standard marketing devices, suppresses the sequence, producing a film like all the others. Coppola recovered the narrative of the French Plantation in dialogue with Schoendoerffer’s nostalgic cinema, masterfully adapting Conrad’s work, Heart of Darkness. The description of the French and American wars in the paper provides the background, allowing us to understand why there is a French plantation in Vietnam and why the United States entered the conflict in Southeast Asia. The recovery of the sequence describes French colonization in the era of imperialism, producing commodities such as rubber in plantations—places where the planters put down their roots—the plantation becomes property, existential justification, homeland, and source of memory. Defeated in Dien Bien Phu, the French do not abandon Vietnam and their memories, transforming them into nostalgic ghosts shrouded in the mists of history. The French Plantation restored in Apocalypse Now, Final Cut, gives the film the status of a work of art, ceasing to be a confusing work about an absurd and unfortunate war.

Infernal Heavens: Narratives of Africa. From Joseph Conrad’s Heart of Darkness to Abdulrazak Gurnah’s Paradise

Situated at the intersection of literary studies and cultural studies, the present article looks at how fictional representations of Africa have evolved over the past century, from Conrad’s canonical Heart of Darkness, which has unjustly become the landmark of colonial biased narratives of Africa despite the author’s declared disengagement with his protagonists’ perspectives, to Abdulrazak Gurnah’s recent reverse rewriting of Marlow’s journey, this time from the heart of darkness outward. Dwelling on the spatial metaphors of Heaven and Hell, this study argues that the two works under scrutiny put forward two essentially dichotomic representations of the same place, the African continent, which are largely dependent on the cultural environment and on cultural constraints. Whereas Conrad’s infernal depiction of Africa relies mostly on Eurocentric stereotypes and on a personal experience whose horror mostly stemmed from a cultural shock produced by experiencing difference as evil, Gurnah’s more complex and authentic depiction is a result of telling the story from within, as an insider, and reflecting on difference as productive diversity. In this respect, this study brings into discussion Ranjan Ghosh’s recent dialogue with J. Hillis Miller on Literature and Globalization (2016) to argue that a transnational, transcultural and transdisciplinary approach to the narrative text would actually result in bridging the gap of classical binary difference and would emphasize the immanence of the literary text. Thus, Gurnah’s Paradise reconstructs pre-WWI Africa from within, as a sum of lost Paradises which are by no means of Western extraction, while Conrad’s canonical Inferno echoes the fears of an empire.

Reclaiming African Identity: Analyzing Issues of Postcolonial-ism in Chinua Achebe’s “Things Fall Apart"

Chinua Achebe's "Things Fall Apart" stands as a seminal work in postcolonial literature, exploring the intricate dynamics between colonizers and the colonized in the context of European colonization's impact on African societies. This abstract delves into the novel's portrayal of postcolonial themes, focusing on the disruption of traditional Igbo culture, power dynamics between Europeans and indigenous peoples, and the psychological and emotional repercussions of colonization. Achebe was motivated to write the novel as a response to European portrayals of Africans in literature, particularly influenced by Joyce Cary's shallow depiction of Africa in "Mr. Johnson." Achebe's use of language, particularly his appropriation of English to convey African experiences, challenges Eurocentric narratives and offers a counter-narrative that centres African perspectives. Through meticulous depiction of pre-colonial Igbo society, Achebe reclaims African history and cultural identity, countering colonial misrepresentations and emphasizing the resilience and dignity of indigenous cultures. Additionally, the abstract discusses Achebe's critique of colonial ideologies, particularly Christianity, which undermines native traditions and fractures communal bonds within Igbo society. By contrasting "Things Fall Apart" with Joseph Conrad's "Heart of Darkness," Achebe challenges demeaning depictions of Africans in Western literature and asserts the importance of authentic representation in postcolonial discourse. Overall, "Things Fall Apart" remains a powerful testament to the enduring legacy of colonialism and the ongoing struggle for cultural autonomy and identity in the postcolonial world. By using a postcolonial framework, the study aims to shed light on the socio-political implications of Achebe's work and highlight the importance of diverse narratives and marginalized voices.

Colonialism and race in Arabic translation: the case of Joseph Conrad’s Heart of Darkness

Colonialism and race in Arabic translation: the case of Joseph Conrad’s <i>Heart of Darkness</i>

Contemporary Reimaginings of Heart of Darkness

Contemporary Reimaginings of Heart of Darkness

Dionysus and His Discontents

Abstract The essay presents a comparative analysis of three modernist novellas—Heart of Darkness, Death in Venice, and The Turn of the Screw—focusing on their use of Dionysian motifs, whereby “Dionysian” is intended in its Nietzschean context. Alongside the thematic literary connections it draws, the essay also reflects on the motives and implications of Nietzsche’s Dionysism for modernist aesthetics: Nietzsche’s eventual subsumption of the Apollonian under the Dionysian ushers in modernity’s espousal of irrationality, disease, darkness, and concealment as its privileged moments of expression. However, this new Dionysism is also symptomatic of the anxiety experienced in the aftermath of the death of God (and the concomitant death of the soul), and the essay demonstrates that the figure of the irrational in all three novellas is conveyed in terms of the struggle of a soul.

GOING UP THAT RIVER: WATER SYMBOLISM IN CONRAD’S HEART OF DARKNESS

This paper seeks to interpret the foundational Modernist novella Heart of Darkness by Joseph Conrad through a set of ideas existing in and arguably creating Modernism as it is known: the mythology of water as the fundamental but fickle fluid Other subsisting at the basic level of the world and giving life to it while constantly needing to be controlled and tamed by a superior civilizing force, which is a mesmerizing narrative that lends itself all too easily to colo- nialist abuses. This mythology of water has at its core the story of katabasis/nekyia, a symbolic night journey over water deriving from ancient imaginaries, leading into Hell and back. The journey begins with exile from the rational, stable civilized world, and descent into the irrational, chaotic, watery depths of the unconscious and prime matter. In this underwater Hades or Hell, the hero is confronted with the watery beast that is the basis of carnal life at whose hands he suf- fers a symbolic death, which leads to a rebirth. The beast is often a guardian of precious life-giv- ing treasure, and the victorious hero is allowed to take the spoils with him back to the surface.

Joseph Conrad’s Criticism of Imperialism and Colonialism Through Literature

Joseph Conrad’s Criticism of Imperialism and Colonialism Through Literature

Who Civilizes Whom in Heart of Darkness?

Who Civilizes Whom in Heart of Darkness?

A Journey towards Self-discovery in Joseph Conrad’s The Heart of Darkness

The research paper sheds light on the self-discovery of Charles Marlow and considers it as a journey of initiation which extends itself to the new unending existence. There is no time and space in it, which remains vacant for advent of a new life. It examines the pursuit of Kurtz, the head of the inner station. This study objectifies both inner and outer stations for a new experiment. This is seen as a self-discovery of one’s inner spirit. These pictures, in the novella, adopt a method depicting both figurative and literal meanings. It is obviously a pursuit of self-discovery focused on the discovery of Africa and the impact of imperialism. It develops two stations are one the people and another their colonial rule. Basically, Marlow’s journey appears to be as if Joseph Conrad presents himself as a cloak of true journey. The paper portrays the physical journey in the Heart of Darkness in which the inner and outer realities are complementary to each another. The inner journey has a profound effect on unconscious thoughts and actions. It shows Marlow’s capability to differentiate between good and evil since he observes how progress implies the moral sense of judgment.

HOMERİN “ODİSSEYA” ƏSƏRİ İLƏ C.KONRADIN “QARANLIĞIN ÜRƏYİ” ƏSƏRİ ARASINDAKI PARALELLƏR

Parallels between Homer’s “Odyssey” and J. Conrad’s “Heart of Darkness” Summary Homer and Joseph Conrad are two very different figures from history and literature. While they come from different eras and wrote about different subjects, it is possible that Conrad was influenced in some way by Homer's works as a fellow author who drew from the literary canon of Western civilization. It is also possible that literary scholars have explored the connection between Conrad’s works and those of Homer, but further research would be needed to say for certain. Key words: western culture, woman, patriarchy, allusion, epic, novel

Stylistics Analysis of Heart of Darkness: A Study of Irony, Stream of Consciousness, and Metaphor

Introduction: Reading literary works offers a unique opportunity for individuals to enhance their understanding of the world and self-awareness through stylistic analysis. This study focuses on exploring the use of various lexical and grammatical choices in Joseph Conrad's masterwork "Heart of Darkness" to demonstrate the value of the English language's intrinsic aspects. Methodology: The methodology involved a detailed examination of Conrad's writing style in "Heart of Darkness." Stylistic analysis was conducted to identify the linguistic components used by Conrad to captivate the audience and evoke a sense of uncertainty. Special attention was given to the widespread usage of hypothetical phrases and the intricacy of Conrad's writing style. Findings: Conrad's adept use of language components in "Heart of Darkness" effectively captured the audience's attention and left them with a profound sense of uncertainty. The widespread usage of hypothetical phrases added a distinctive flavor to his work, compelling readers to carefully absorb the material to uncover its meanings beneath the surface. The analysis revealed clarity amidst the unpredictability of the language, shedding light on the deeper layers of Conrad's narrative. Implication/Future Direction: The findings of this study underscore the importance of stylistic analysis in understanding literary works and enhancing cognitive development. Further research could explore the impact of Conrad's writing style on readers' interpretation and appreciation of "Heart of Darkness," as well as its broader implications for literary analysis and education. Additionally, future studies could investigate the application of similar stylistic analysis techniques to other literary works across different genres and authors

APPLYING VLADIMIR PROPP’S MORPHOLOGY OF THE FOLKTALE TO NICHOLAS SPARKS’ "THE LUCKY ONE"

The novel as a literary genre appeared in the eighteenth century with the rise of the mid-class as a form of entertainment. Nickola Spark is one of the modern American novelists. He is a New York Times bestseller author with over eighty million international copies in forty-five languages. The researcher aims to examine Spark’s “The Lucky One” (2008) according to the Russian folklorist and scholar Vladimir Propp’s Morphology of the Folktale (1927). Even though Propp's theory used to apply to folktales, some researchers apply it to novels, such as Nursantia (2003), entitled "The Moral Aspect in Joseph Conrad's 'Heart of Darkness'" and Salmah (2004) in his thesis entitled "The Moral Forms in Charles Dickens's 'Our Mutual Friend'". Thus, the lack of applying Propp's theory on novels in general and modern text in specific encourages the researcher to fill this gap in the study by applying Propp's Morphology of the Folktale to a modern novel, “The Lucky One” (2008). Trying to answer the following research questions: 1) Is it possible to apply Vladimir Propp’s Morphology of the Folktale (1927) to Nicholas Spark’s novel “The Lucky One”? 2) What are the good and bad morals portrayed by the main characters in “The Lucky One”? 3)How many features of Propp’s thirty-one features can be found in Nickola Spark’s “The Lucky One”?

"Heart of darkness" as a sample of Colonial Gothic

"Heart of darkness" as a sample of Colonial Gothic

Changing Medium: The Contemporary Reception of Joseph Conrad’s Heart of Darkness in Two Graphic Novels

A number of contemporary authors/artists have chosen not to “write back” vehemently to what they find problematic in Joseph Conrad’s Heart of Darkness, but to resort to a different medium and “rewrite” or adapt the novella as a graphic novel, as if the power of images could clarify the text for 21st-century readers. Changing medium and associating text and image enables them to underline the historical context, tackle elements in the stories that would otherwise remain largely unnoticed, and therefore problematize its ambiguities, as is the case in Anyango and Mairowitz’s Heart of Darkness (2010) and Au cœur des ténèbres. Librement adapté du roman de Joseph Conrad (Miquel and Godart, 2014). Changing medium allowed them to revisit both the colonial past and the meaning of a novella like Heart of Darkness since both graphic novels perform an implicit criticism of the source text and serve to reexamine its controversial aspects in the 21st century. Interestingly, in one case it implies the spectral presence of the novelist, Joseph Conrad as if, in a postcolonial context, a text could not be separated from the figure of its author.

Textual Representation of Mr. Kurtz in Heart of Darkness

The paper attempts to study the way the character of Mr. Kurtz is materialised in Heart of Darkness. The portrayal of Mr. Kurtz’s character is studied and analysed in this research work with reference to two of the major ways of character portrayal – direct definition and indirect presentation. The direct mode of description refers to the description of a character directly and explicitly with the help of a particular word, sentence, or event, whereas in indirect presentation, a character is materialized in terms of various means, such as the action, the speech, the external appearance and even the environment. The paper with references to the textual examples from Heart of Darkness, endeavours to explore how Mr. Kurtz’s character is sketched out using the two modes of textual representation.

The Thematic Study of Psychogeography in Joseph Conrad’s “The Heart of Darkness”

The Thematic Study of Psychogeography in Joseph Conrad’s “The Heart of Darkness”

When Literature Turns into History: Heart of Darkness (1902) by Joseph Conrad and Avatar (2009) by James Cameron

More than one century after the publication of Heart of Darkness, Joseph Conrad’s conceptualization of the world and representation of both the Whiteman and the African black characters still have an impact on the representation of the Other whether African or nonAfrican. This article examines the legacy of Conrad’s novel through James Cameron’s Avatar produced by 20th Century Fox and released in 2009. It mainly refers to Roland Barthes’s view of connotation and denotation and art, in this case image and cinema, as a means to transit meaning. His framework is developed in Mythologies (1972), ImageMusic-Text (1977) and Elements of Semiology (1986). The analysis relies on specific selected citations from Conrad’s novel and their equivalent visual quotations from Cameron’s media text focusing on four signs. I study Avatar as a text that reproduces Conrad’s novel, which certifies the internal and external impact of expressions such as “the interminable waterway” and “the European genius” on twenty-first century cinema. Conrad’s masterpiece still draws the faces of the non-Western that Hollywood unconsciously reproduces.

«Аванпост прогресса» Джозефа Конрада: миметическая история и эпистемология художественного произведения

Published three years prior the Heart of Darkness, Joseph Conrad’s short story An Outpost of Progress (1896) hosts all the themes explored in his indictment of colonial imperialism. Unlike the multilayered narrative strategies of the Heart, the short story engages a traditional, third-person narrative point of view in its more detailed portrayal of two colonial agents who find themselves complicit in the slave trade for the acquisition of ivory. This discovery on their part causes their previously fraternal interaction to degenerate into fratricidal hostility, a violence of mimetic doubles that results in the murder of the one and the suicide of the other. The narrative concludes with unmistakable apocalyptic imagery that the resolutely anti-Christian Conrad draws from the figurative inventory of Western literature and that, according to René Girard, is the legacy of the biblical critique of sacrificial practices. Massive historical material on colonialism unveils the sacrificial mechanisms at work in this system. Thus the Outpost can be read as a chapter in “mimetic history” that Girard explores in the Battling the End with special attention to the “movement to extremes” of violent reciprocity. For Conrad, murder and world-destroying madness are twin themes that align with mimetic theory’s scrutiny of Western institutions.