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Heart of darkness interpretation
Heart of darkness interpretation
Ambiguity in the heart of darkness
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The word ‘Deconstruction’ (Derrida 34) introduced by French philosopher Jacques Derrida to demonstrate that any text is not a discrete whole but contains several irreconcilable and contradictory meanings; that any text therefore has more than one interpretation; that the text itself links these interpretations inextricably; that the incompatibility of these interpretations is irreducible; and thus that an interpretative reading cannot go beyond a certain point. In psychological terms, the Other is but the undiscovered territory in the Self. In the colonial enterprise, this territory of the unconscious is displaced onto another people who both allures and terrify. The colonizer, fearing to succumb to the Other, attempts to contain it- through subordination, suppression, or conversion. These strategies of containment are designed to preserve the opposition and inequality between Self and Other that justifies the imperialist enterprise. The central trope of imperialism is what Abdul R. Janmohamed terms “Manchean allegory” (Hena 13) that converts racial difference “into moral and even metaphysical difference”. (13) This allegory characterizes the relationship dominant and subordinate culture as one of the ineradicable opposition. Although the opposing terms of the allegory change- good and evil, civilization and savagery, intelligence and emotion, rationality and sensuality- they are always predicated upon the assumption of the superiority of the outside evaluator and the inferiority of the native being observed. Colonialist literature, as byproduct of the imperialist enterprise, necessarily re-inscribes the Manichean allegory either to conform or to interrogate it in an effort to move beyond its limits. As a result, colonialist texts...
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...his image, be self-evident. Europe’s own idea of itself was thus predicated on its image of Africa. This means that each Other is a Self and each Self an Other, depending on one’s perspective. This does a lot to undermine the absolute distinction between the Self and the Other essential to the imperialist ideology.
Works Cited
Conrad, Joseph. Heart of Darkness. New Delhi: Penguin Publishers. 1975. Print.
Hena. York Notes on Heart of Darkness. London: York Press.2001. Print.
Hudson, Robert. Joseph Conrad: A Critical Study. New Delhi: Anmol Publications. 2006. Print.
Ashcroft, Bill. Postcolonial Studies: The Key Concepts. New York: Routledge Publication. 2007. Print.
Derrida, Jaques. Derrida and Deconstruction. Ed. Hugh J. Silverman.New York: Routledge Publication. 1989. Print.
Said, Edward. Culture and Imperialism. New York: Knopf Publishing House. 2012. Print
Post-colonialism is a discourse draped in history. In one point in time or another, European colonialism dominated most non-European lands since the end of the Renaissance. Naturally, colonialists depicted the cultures of non-Europeans incorrectly and inferior. Traditionally, the canon has misappropriated and misrepresented these cultures, but also the Western academia has yet to teach us the valuable and basic lessons that allow true representations to develop. Partly in response, Post-colonialism arose. Though this term is a broad one, Post-colonialists generally agree on certain key principles. They understand that colonialism exploits the dominated people or country in one way or another, evoking inequalities. Examples of past inequalities include “genocide, economic exploitation, cultural decimation and political exclusion…” (Loomba 9-10). They abhor traditional colonialism but also believe that every people, through the context of their own cultures, have something to contribute to our understanding of human nature (Loomba 1-20). This is the theme that Lewis prescribes in his, self described, “satirical fantasy”, Out of the Silent Planet (Of Other 77).
Joseph Conrad was born in 1857 to Polish parents (Gorra 42). His classic novella Heart of Darkness is based largely on his personal journey to the Dark Continent in 1890. His naval adventures with the French Merchant Marines and British Merchant Service greatly influenced each of his works (Hampson 99).
In the book “Heart of Darkness”, Joseph Conrad wrote about the horrors that were committed by Leopold’s regime. As one of the first insider to witness these horrors, he wrote “Heart of Darkness”, with this book, he was able to spread the word about the atrocities he had seen in Leopold’s greedy pursuit of rubber and ivory in the congo. This book details closely how Leopold made his humongous profit. Leopold issued decrees on the Congo such as that the native people may only trade with his state agents or with his concessions. Leopold’s concessions were private companies that would sell the ivory and rubber, they would give Leopold 50% of their profits. The Abir Congo Company was one of these concessions that harvest the natural rubber of the Congo.They were granted a large portion of the land in the north and had the right to impose a rubber tax on its inhabitants. It was through concessions like these but also from his personal company (the Congo Free State) that Leopold created his personal wealth. This book brings us one step closer to answering our question since it tells us how Leopold got ahold of all of his profits. But this brings us to another question of, exactly how much money did the Congo bring to Leopold II?
Joseph Conrad is the author of the novel, The Heart of Darkness, along with many other profound works. Compared on any scale, Conrad is nowhere near average. Joseph Conrad is a very interesting character who sees the world through wide eyes. By traveling the world and exploring the many walks of life he is able to discuss common global views and habits that include injustices which are explained in his renowned novel, The Heart of Darkness.
When people think of the concept of imperialism, they usually view it as something that pertains to government. Even the first definition of imperialism in the dictionary is “imperial state, authority, spirit, or system of government” (Webster 729). However, imperialism encompasses so much more than this. In comparing the resonations between Joseph Conrad’s Heart of Darkness with Johann Goethe’s Faust, one can see how imperialism affects the political, the social, the psychological, and the spiritual, especially within the past 200 years. Stemming from this is man’s existential freedom, his “mechanical and lifeless existence in society”, explored in Fyodor Dostoevsky’s “The Grand Inquisitor” and Herman Melville’s “Bartleby the Scrivener”.
One example that could be considered racist is in Chapter one. In this paragraph, Joseph Conrad is talking about how the Europeans are colonizing Africa and what they are doing to the natives in the process. He says that the Europeans are at fault for many things, including extremely violent robbery and the murders of numerous people. He is speaking about the reality of colonization and how in the end, countries will only care about making money off of it. He said they accomplish this by using “brute force,” which obviously means violence and killing. The European countries wanted to take away Africa from those who had “a different complexion or slightly flatter noses.” Up until this point, it does not seem as if Conrad is using any racist ideas. However, he then goes on to say that all of this is acceptable because it will be worth it in the end. In other words, he was trying to say that the end will justify the means, no matter how many innocent people must be hurt in the process (page 8).
Within the text of Heart of Darkness, the reader is presented with many metaphors. Those that recur, and are most arresting and notable, are light and dark, nature and Kurtz and Marlow. The repeated use of light and dark imagery represents civilization and primitiveness, and of course the eternal meaning of good and evil. However, the more in depth the reader goes the more complex it becomes. Complex also are the meanings behind the metaphors of nature included within the text. It represents a challenge for the colonists, often also signifying decay and degeneration. Finally Kurtz and Marlow represent imperialism and the colonists. All these metaphors come together and contribute not only to the effect for the reader, but also to the overall meaning.
Throughout its entirety, Joseph Conrad’s Heart of Darkness utilizes many contrasts and paradoxes in an attempt to teach readers about the complexities of both human nature and the world. Some are more easily distinguishable, such as the comparison between civilized and uncivilized people, and some are more difficult to identify, like the usage of vagueness and clarity to contrast each other. One of the most prominent inversions contradicts the typical views of light and dark. While typically light is imagined to expose the truth and darkness to conceal it, Conrad creates a paradox in which darkness displays the truth and light blinds us from it.
The child’s game had ended. After I nearly ran Kurtz over, we stood facing each other. He was unsteady on his feet, swaying like the trees that surrounded us. What stood before me was a ghost. Each layer of him had been carved away by the jungle, until nothing remained. Despite this, his strength still exceeded that of my own. With the tribal fires burning so close, one shout from him would unleash his natives on me. But in that same realization, I felt my own strength kindle inside me. I could just as easily muffle his command and overtake him. The scene flashed past my eyes as though I was remembering not imagining. The stick that lay two feet from me was beating down on the ghost, as my bloodied hand strangled his cries. My mind abruptly reeled backwards as I realized what unspeakable dark thoughts I had let in. Kurtz seemed to understand where my mind had wandered; it was as though the jungle’s wind has whispered my internal struggles to him. His face twisted into a smile. He seemed to gloat and enjoy standing by to watch my soul begin to destroy itself.
Without personal access to authors, readers are left to themselves to interpret literature. This can become challenging with more difficult texts, such as Joseph Conrad’s novella Heart of Darkness. Fortunately, literary audiences are not abandoned to flounder in pieces such as this; active readers may look through many different lenses to see possible meanings in a work. For example, Conrad’s Heart of Darkness may be deciphered with a post-colonial, feminist, or archetypal mindset, or analyzed with Freudian psycho-analytic theory. The latter two would effectively reveal the greater roles of Kurtz and Marlow as the id and the ego, respectively, and offer the opportunity to draw a conclusion about the work as a whole.
Literature is never interpreted in exactly the same way by two different readers. A prime example of a work of literature that is very ambiguous is Joseph Conrad's, "Heart of Darkness". The Ambiguities that exist in this book are Marlow's relationship to colonialism, Marlow's changing feelings toward Kurtz, and Marlow's lie to the Intended at the end of the story.
One important characteristic of imperialistic belief is the impersonality that makes imperialism happen. The repetition of the word "one" is significant because it shows that detachment. The imperialists try to appease their consciences by making the natives less than human. Marlow and Kurtz are both exceptions to this ideal, but in contrasting ways. Kurtz uses fear to belittle the natives, but does not take away their humanity. Marlow, however, considers t...
Furthermore, it is the establishment of this binary opposition that justifies the colonial enterprise as a civilizing mission, a God-given task, where colonizers are “emissar[ies] of pity and science and progress” (Conrad 43) who not only appropriate but speak for the Orient in the “timeless dimension of a completely healed world” (Orientalism 174), a romantic notion of an idealized utopia with the colonizers as the new chosen ones who will lead the Orient into a better
In Joseph Conrad's novel, The Heart of Darkness, Charlie Marlow narrates the story of his journey into the dark continent, Africa. Through his experiences he learns a lot about himself and about the nature of mankind. He discovers that all humans have the capability within themselves to do good or evil. Outside circumstances substantially influence which path a human will take. Marlow travels not only through the darkness of Africa, but also through the darkness of the human soul.
Modernism began as a movement in that late 19th, early 20th centuries. Artists started to feel restricted by the styles and conventions of the Renaissance period. Thusly came the dawn of Modernism in many different forms, ranging from Impressionism to Cubism.