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The Style, Technique, and Structure of Heart of Darkness
The novella Heart of Darkness by Joseph Conrad is proof that a novel does not have to be long to have literary merit. Heart of Darkness is quite short, yet intriguing, due to the content of the novel. Much like Shakespeare’s Hamlet, Heart of Darkness overwhelms the reader by the power of the story so that one will never feel quite satisfied with their attempts to intellectualize the experience (Adelman 8).
Heart of Darkness was written during the time of British imperialism and extreme exploitation of Africans in the Congo. The British were exploiting the Africans in an effort to extract ivory from the primitive jungle. Throughout the novel, Conrad expresses his dislike with the 'civilized' white people exploiting the 'savage' black Africans. Conrad also uses several literary devices in his writing to portray and express several messages. The writing style, techniques, structure and themes in Heart of Darkness all combine to create one of the most renowned, respected and mysterious novels of all time. Conrad wrote an ultimate enigma for readers to interpret and critically analyze for years to come.
Conrad's excellence in style is very controversial; some believe that he is "a literary genius" (Adelman 16), while others "criticize him for being limited, pretentious and vague" ((Adelman 16). Throughout the novel, Conrad uses ample amounts of descriptive language, vivid imagery, and powerful symbolism. The vague part is that he leaves it up to the reader to interpret his mysterious and 'unspeakable' enigmas. Conrad's descriptive language in Heart of Darkness is present from the beginning to the end. With the opening paragraphs d...
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...xperience" (Adelman 8). Overall, readers must interpret for themselves which meanings Conrad intended or if he intended all the meanings. This deep novel by Joseph Conrad is not easy to read but is valuable knowledge once it is read.
Works Cited
Adelman, Gary. Heart of Darkness: Search for the Unconscious. Boston: Twayne Publishers, 1987.
Conrad, Joseph. The Heart of Darkness. Ed. Cedric Watts. London: Everyman, 1995.
Fothergill, Anthony. Open Guides to Literature: Heart of Darkness. Philadelphia: Open University Press, 1989.
Glassman, Peter J. Language and Being: Joseph Conrad and the Literature of the Personality. New York and London: Columbia: University Press, 1976.
Tindall, W.Y. "The Duty of Marlow." In Conrad's Heart of Darkness and the Critics. Ed. Bruce Harkness. Belmont, California: Wadsworth Publishing Company Inc., 1968.
Francis, David R. “Communities of Killer Whales.” The Christian Science Monitor. National Newspapers Core, 15
This book discusses the viewpoints of many expert critics through extracts of their critical essays on the novel “The Bluest Eye”. Harold Bloom states Michael Woods narrative is the best he has seen of the book, “Each member of the family interprets and acts out of his or her ugliness, but none of them understands that the all-knowing master is not God but only history and habit; the projection of their own numbed collusion w...
The Bluest Eye by Toni Morrison is a tragic coming-of-age story that switches between the first person point of view of character Claudia MacTeer and an omniscient third person narrator. The novel takes place in Lorain, Ohio 1941, a time when racism was still extremely prevalent, especially in the southern United States. African American women often faced many setbacks, simply because of their race and gender. Toni Morrison’s background helped to lay the foundation for her novel The Bluest Eye; racism, self-hatred, women’s roles, and rape culture are all societally imposed elements that follow Pecola Breedlove, Morrison’s main character,
...ror of Pecola’s first sexual experience: her father rapes her), and a difficult marriage situation (caused by his own drunkenness). The “bads” certainly outweigh the “goods” in his situation. Thus, the reader ought not to feel sympathy for Cholly. But, Morrison presents information about Cholly in such a way that mandates sympathy from her reader. This depiction of Cholly as a man of freedom and the victim of awful happenings is wrong because it evokes sympathy for a man who does not deserve it. He deserves the reader’s hate, but Morrison prevents Cholly covered with a blanket of undeserved, inescapable sympathy. Morrison creates undeserved sympathy from the reader using language and her depiction of Cholly acting within the bounds of his character. This ultimately generates a reader who becomes soft on crime and led by emotions manipulated by the authority of text.
After watching several documentaries on how poorly killer whales are treated in captivity, it drew me into researching more information on the treatment of Killer whales that are kept in captivity. I found several scientific journals, and articles on wild life facts of killer whales and I found published books on the treatment of killer whales in captivity. The information I found includes both wild killer whales and killer whales kept in captivity. With the information I found, I plan to prove the shortened lifespan and health problems killer whales get while living in captivity are not normal. In fact the information you learned about killer whales from aquariums and commercial parks are false. This paper will argue why killer whales should not be held captive in commercial parks. This Paper will include information on the killer whale’s diet, the killer whale’s communication, and the killer whale’s physical traits.
“The sky, without a speck, was a benign immensity of unstained light” (Conrad 2). By using wording such as “benign” and “unstained”, it paints a picture in one’s mind of a kindly, pure environment. Since the story begins here, it seems as though the tale has begun in the light, and accordingly, honesty, and as the day progresses will descend into darkness and thus falsehood. As Marlow begins to speak, he contemplates the history of the land around him. “Light came out of this river since-you say knights? Yes; but it is like a running blaze on a plain, like a flash of lightning in the clouds. We live in the flicker-may it last as long as the old earth keeps rolling! But darkness was here yesterday” (Conrad 3). He speaks of our world as a “flicker”, a twinkle in the “darkness” that was present before our civilization arose. T...
* Conrad, Joseph. “Heart of Darkness” in The Norton Anthology of English Literature, M.H. Abrams, general editor. (London: W.W. Norton, 1962, 2000)
...could work miracles." This comes from the character Soaphead who finally realizes what it must be like to be an African American in a racist society. If only Pecola could literally see life through the eyes of someone who is not oppressed by their society. Pecola only wants to live up to the image of a blue-eyed white person. This is important, and it shows that the author is not only speaking to the black person about their sorrows, but also to the white person which shows how a racist social system can wear down an innocent mind. Basically being white is being successful and Pecola has no hope in this society. It is not solely because of racism that Pecola is not accepted. Not only does she have to deal with the hatred she receives from the white person, but also she is an outcast in the black infrastructure. This proves that Pecola is a "total victim" because she has no way out and the only way she can be normal is to try to change who she is in order to be someone she is not. Basically Pecola is totally entrapped by everything, her past (rape etc..), her present (society both black and white) and her future (she has very little hope at being an contributing member of society).
The Balaenoptera Musculus, or the blue whale, is the largest animal in the world. Blue
Heart of Darkness describes a voyage to Africa, common for the British still, despite the horrific treatment which was apparent of colonization. The chaotic, stream-of-consciousness style Conrad took on helped to display the confusion, and made the reader have to interpret for themselves what they thought the writer meant. Conrad experiments with this style, leaving some sentences without ending: "not a sentimental pretense but an idea;…something you can set up…and offer a sacrifice to…." (Conrad, Longman p. 2195), a very choppy form of literature and causes the reader to fill in the holes and interpret themselves, alone. Conrad skips about from talking of the "two women knitted black wool feverishly" at the gate of the city (of hell), to his aunt which he feels women are "out of touch with truth," to how the British are as "weak-eyed devil(s) of a rapacious and pitiless folly" (Conrad, Longman pp. 2198, 2199, & 2202). Conrad's mind moves about as ours do along a large duration of literary monologue to convey to the reader the author's ideas, as interpreted by the reader.
Throughout The Bluest Eye, Toni Morrison includes a number of background stories for minor characters along with the main plotline in order to add dimension to the novel and further convey the intense racial prejudice felt by almost all African Americans. Her main story tells of the outrageous landslide of wounding events that Pecola Breedlove experiences, a young black girl constantly patronized by her peers, and the things that eventually make her go crazy. The struggle for a deep black skinned person can be significantly different from what a lighter skinned black person feels, and Toni Morrison adds secondary story lines to stress that difference, and the extremes that racism can force people into. The back-story of Geraldine expresses the desire to be white supported by social circumstances, the comparison of how much easier whiter life could be on Pecola and her family, but also the poor results that can come from shying away from one’s own nature and history.
The North Atlantic right whale (Eubalaena glacialis) has had a slow recovery since the cessation of commercial...
Chadwick, Douglas H. "Whatever Happened To "Save The Whales"?." Sierra 93.4 (2008): 52-72. Academic Search Premier. Web. 12 Nov. 2013.
Joseph Conrad’s Heart of Darkness is a great example of a Modernist novel because of its general obscurity. The language is thick and opaque. The novel is littered with words such as: inconceivable, inscrutable, gloom. Rather than defining characters in black and white terms, like good and bad, they entire novel is in different shades of gray. The unfolding of events takes the reader between many a foggy bank; the action in the book and not just the language echoes tones of gray.
Heart of Darkness is a story in which racism presents itself so deliberately that, for many, the dilemma of race must be tackled before anything else in the book may be dealt with. Conrad used derogatory, outdated and offensive terminology to devaluate people’s color as savages. This use of language disturbs many readers who read this book. Although Conrad uses racist language in this book, it doesn’t mean that he is really racist. When we look at the language, we are just looking at the very surface of the story.