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The representation of women in the heart of darkness
The role of women in 20th century novels
Portrayal of women in literature
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Recommended: The representation of women in the heart of darkness
The world of women was vastly different to modern times. The unsettling truths of the view of men at this time were disconcerting “they—the women I mean—are out of it—should be out of it. We must help them to stay in that beautiful world of their own, lest ours get worse” (80). Ultimately the voice of Marlow thinks that women are naïve, delicate beings that should be sheltered from everything because they are too delicate to handle the truth. As the narrator says, “it’s queer how out of touch with truth women are. They live in a world of their own” ( 28). Marlow frequently says that women are the keepers of naïve illusions but their role is important, because those naïve illusions that he refers to are the basis of societal fiction. The role of women are the justification of European colonial expansion and imperialism. And in return, the women are the benefit from the wealth their men attain, and they become objects upon the shoulders of men that display them as their level of success and status. Kurtz’s Intended represents this particular role, his Intended embodies, faith and naive innocence. She only actually devotes herself to an image of Kurtz instead of the man himself. The woman’s has a sincere character and a high sense of morality. Marlow notices and describes that “she was not very young… not girlish. She had a mature capacity for fidelity, for belief, for suffering” (p. 119). Indeed she represents her culture and race she living in the realm of fiction. “A mystery; and yet the terms of light in which he speaks of it relate this quality to the idealism and faith embodied in a figure who is herself a core of light, Kurtz's Intended” (Ridley 6) She believes that she was in love with Kurtz but she didn’t even know who he re...
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.... The native mistress embodies a primitive darkness. From Marlow's descriptions she reflects “the mysterious impenetrable jungle with all its secret rites and forces” and as well “also exercises control over it. She possesses the ability to change the face of the landscape itself (Bode ). Marlow uses harsh diction to describe her saying that she was “savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress...the immense wilderness ... stretched tragically her bare arms after us over the somber and glittering river.” (35). Her role sort of represents Kurtz’s lustful side, and she embodies this part of his personality while also representing the savage jungle. Kurtz's African mistress reflects the mighty female force of the jungle. While Kurtz intended represents the Europe’s delusional culture of their society.
Joseph Conrad's novel Heart of Darkness uses character development and character analysis to really tell the story of European colonization. Within Conrad's characters one can find both racist and colonialist views, and it is the opinion, and the interpretation of the reader which decides what Conrad is really trying to say in his work.
Novels that are written by pronounced authors in distinct periods can possess many parallels and differences. In fact, if we were to delve further into Zora Neale Hurstons, Their Eyes Were Watching God, and Kate Chopin’s novel, The Awakening, we can draw upon many similarities. Now of course there are the obvious comparisons, such as Janie is African American and poor, unlike Edna who is white and wealthy, but there is much more than just ethnicity and materialistic wealth that binds these two characters together. Both novels portray a society in which the rights of women and their few opportunities in life are strictly governed, usually breaking the mold that has been made for them to follow The Cult of True Womanhood. These novels further explore these women’s relationships and emotions, proving that throughout the ages of history women have wanted quite similar things out life. Similarly they interconnect in the fact that the end of the stories are left for interpretation from the reader. Both these women in these novels are being woken up to the world around themselves. They are not only waking up to their own understanding of themselves as women and individuals that are not happy in the domestic world of their peers, but they are also awakening themselves as sexual beings.
Kurtz’s “superb … magnificent” mistress who “[has] the value of several elephant tusks upon her” (Conrad 137) also exemplifies power. The Russian reveals the extent of her influence on Kurtz as he recalls how she once “talked like a fury”, but Kurtz “felt too ill that day to care, or there would have been mischief” (138). The Russian also feels threatened by Kurtz’s mistress, as he “has been risking [his] life everyday … to keep her out of the house” (138). The sexist and racist attitudes of that era, in addition to the idolized Kurtz’s savage behaviour towards the Africans, amplify the anomaly of an African woman instilling fear into colonial white men. Conrad establishes the influence that women can have, as it clearly contrasts Hardy’s insinuation of the powerless nature of females when compared to men.
Catching the contrasts of black and white in the text as “all in black” “pale head” and “ashy halo” “dark eyes”, Hawthorn analyzes this figure as “living death” (407). The contrasting black and white imageries magnify the unalive features of the Intended or the middle-class European women who live in the beautiful world. Hawthorn has already explained how European women may symbolize idealism in the previous paragraph, creating a smooth transition to the characteristics of the idealism, which are exactly those of the Intended – “no energy, no living presence... weak, unhealthy, and corrupted” (407). Furthermore, Hawthorn continues the black and white imagery of two important women figures, the Intended and Kurtz’s African mistress. This time, the black and white imagery is the two women’s races.
Joseph Conrad polish colonial worked as a seaman on French and British ships before becoming a British citizen in 1886. He developed an elegant, stunning English prose style what probed many of the modern fiction in his short stories and novels. His works ware by turns adventurous and darkly gloomy, attentive in the traditional qualities of resoluteness and bravery. Also, it concerned with the epistemological voids that define modern reality and awareness. It noted one of the most experts of fictional impressionism. Conrad offered that type of fictional rendering of subjective retort that reflectively impact on writers. However, the experiences of his life as a sailor greatly influenced his writing. He wrote that the principal task of the novelist was “Heart of Darkness”.
to the natives. He was considered to be a "universal genius": he was an orator,
In Defense of "Heart of Darkness", and in Attack of Those Who Attack it on the Basis of Racism
The novel, Heart of Darkness, by Joseph Conrad, is literally about Marlow’s journey into the Belgian Congo, but symbolically about the discovery of his heart and soul during his journey, only to find that it is consumed by darkness. He realizes that the man he admired and respected most, is really demonic and that he may be just like him. He is able to come to this realization however, before it takes the best of him.
I am going to analyze this text using the intrinsic and feminist literary theory analysis. With the intrinsic analysis, I will brood mostly on the style and characterization of the text. According to Eaglestone, 2009, intrinsic analysis is a look into the text for meaning and understanding, assuming it has no connection, whatsoever, to the outside world. “Style is said to be the way one writes as opposed to what one writes about and is that voice that your readers hear when they read your work” (Wiehardt, n.d). The text uses mostly colors, poems and songs to deliver its messages. The main characters in the...
In many literary works, a common question is whether certain characters, scenes, and objects are simply just that or are instead symbols to further the author’s message. Women in particular are notable victims of this. Many literary works revolve around a woman but do not allow her to tell her own story and instead channel it through the eyes of a male protagonist. A Lost Lady by Willa Cather is one such novel. Cather’s work, however, serves as a deconstruction of its genre as the novel comes to the conclusion that its heroine is, in fact, better as a symbol. A Lost Lady ultimately in this endeavor ends up taking measures to vilify the very human behaviors of its female lead, suggesting sexist ideas about the proper role of women. The specific areas touched upon are the emotional vulnerability of women, appearances and loss of vitality, and—most troublingly—what is considered a proper end for a woman.
In this book, only two women are seen, and they both share similarities and differences. The first, the Amazonian woman, is presumed to be Kurtz’s lover in the Congo. She is displayed as unflinching and fearless: “She carried her head high…she was savage and superb, wild-eyed and magnificent…something ominous and stately in her deliberate progress.” (60). The Amazonian immediately grasps the attention of Marlow and other men, showing her powerful and commanding nature. She embodies simplicity and nature, and her dark skin symbolizes the darkness that represents Africa. The other woman is the Intended, the woman Kurtz plans on marrying. Unlike the Amazonian woman, the Intended is shown to be fragile and timid: “she put out her arms, as if after a retreating figure” (76). The Intended represents virtue and seems to need protection from men, and is exhibited as more fearful and weak than the Amazonian. Unlike the “savage” African, the Intended is displayed as more cultured and has a “mature capacity for fidelity, for belief, for suffering,” which makes her more favorable. The only similarity that is shared between the two is that they are both caricatured, in that they both have a relation to Kurtz. They are both merely treated as objects in varying capacities, and are shown as having no mind or voice. Conrad tries to show the influence of Kurtz through these two women. With both women, we see Kurtz’s ability to use words to influence and control others. Through his
In the novel Heart of Darkness, there are several themes including Good versus Evil, Power, Femininity, and Fate. Two themes are further prevalent and significant. These themes are restraint and identity. They are the two most noteworthy themes in the book because both capitalize on the complexity and flaws of human nature.
For Marlow, his story is never meant for a female to read or hear. Marlow feels that his story is far too masculine for women and because of that the story would be over their heads. To understand Smith’s essay, Smith feels it is important to be aware of her use of the word ideology. For her, the word has two different meanings “to mean not only a conscious system of meaning, either imposed or willingly adopted, but also the unconscious grounding of individual experience”.... ...
Joseph Conrad’s novella, Heart of Darkness, was written in the year 1902, a time of modernist literature. Heart of Darkness talks about the problems with alienation and confusion as much as it does about imperialism. In the early 1900’s, the lifestyle in England veered towards the Victorian values. Conrad’s novella makes a bridge to connect the Victorian values with the ideas of modernism. Thus “it belongs to a period of change.”(Sardar) For example, the natives are following in the footsteps of their predecessors, following a life of tradition, and their ideas of life are constantly being attacked by people like Mr. Kurtz who think they are doing what is best, when in reality they are creating more confusion
Amidst war, censorship, and persecution, D.H. Lawrence channeled his resulting emotions into his writing and emerged a visionary author. Wholly misplaced with regards to the century in which it was constructed and gifted to the populace, Lawrence’s Women in Love was met with criticism for its sexual implications. However, with proper deconstruction of the novel and psychoanalysis of the principal characters, it is apparent that Lawrence’s genuine intention in his creation of Women in Love was to set concepts of new complex philosophies concerning the rituals of marriage, definitions of love, rapidly increasing modernization, and the negative effects of excessive industrialization within the minds of his audiences.