A good use of the textual notes in Heart of Darkness : "In a footnote to the Norton Critical Edition, Robert Kimbrough reveals an additional remark by Marlow from the Blackwood's Magazine publication: "And we men looked at her [the African woman] -- at any rate I looked at her" Here, Marlow not only makes clear the sexual magnetism of the African woman but his personal attraction, one so strong he could no longer know whether others were gazing in the same manner.
A provocative conclusion: "Through Melanctha. Stein is able to make a powerful statement on the ways in which people identify themselves, and the power of questioning those standards of identity. In following the failed attempts of Melanctha, a typical example of unquestioning identity, Stein finds Jeff, and with him the hope for overcoming the societal standards by which roles in the institutions of race, gender, and relationships come to dominate individuals.
As a representation of herself, Stein suggests in Jeff the power of her text to change ways of thinking, not just about the world, but about the people who create it. A dissenting view on Stein: Stein's attempt to write a novel about African-Americans characters only seems to reinforce American stereotypes about the morality, conscience, and overall "civilization" of black people.
She assigns levels of conscience to her characters based on "white" she thinks their upbringing or blood is. The "blacker" the character, the closer to "savageness" it is. The characters in the novel could have been used to make a statement on the lack of differences and separation between the races; instead, Stein objectifies and caricaturizes them until they no longer seem human.
The nub of an argument: This perceived absence of "self-consciousness" was not confined to areas of primitive art. In contrast, it invaded the entire Western construct of the capacity of the primitive "racial other" for conscious self-knowledge.
I propose that this same Western colonialist conception of the absence of "rational ability," "analytic power," and true "self-consciousness" in the "racial other" is evident in Gertrude Stein's highly autobiographical work, "Melanctha. Stein employs convenient notions of the "racial other" who are without "rational ability" and "self-consciousness," even bestial and childlike, to give herself a medium of self-expression, intensifying the irony that her "expedition into self" is through characters to whom no self-awareness is allotted.
Other essays focused on connections between Oedipal desire and original sin in Conrad and Freud; modernism's promise of wholeness in response to the mechanization broadly construed of modernity, grounded in Conrad and Freud; the significance of the "saving lie" e.
Further below are two complete essays. I do not offer them as models to be copied so much as complementary examples of strong writing. The following essay has several virtues, including both verbal and conceptual clarity. I also want to single this one out to highlight effective close reading. Strong papers typically manage to make some broad claims while supporting those claims and subordinate claims with some close attention to the text.
The ways in which a society might define itself are almost always negative ways. These definitions must necessarily take place at points of cultural contact, the places at which two societies come together and arrive at some stalemate of coexistence.
The African natives became the new Other, the new way to define what Europe was at that time. The way in which this redefinition took place was through the institution of a fundamentally hierarchical system. Societies passed through several stages of development on their way to true civilisation, and, while the Europeans had made it all the way, the Africans were lagging just a bit behind. This, however, created a problem for Europe.
If Africans were fundamentally the same as Europeans albeit farther back on the evolutionary ladder , what did that say about the roots of European society? This uncertainty created a very disjunctive view of primitives in the literature of the time. In his book, The Dialect of Modernism , Michael North suggests that, "The colonial subject is either a part of nature, utterly literal and therefore soothingly simple, or menacingly unreadable, mysterious, and suggestive of some vast unknown" North, The European mind at the fringes of "civilisation," when confronted with this Otherness, cannot settle on one or the other of these alternatives.
While this paradigm of shifting viewpoints is exemplified by Marlow in Joseph Conrad's Heart of Darkness , it seems to find its resolution in Sigmund Freud's assertion that in many ways the modern man is the primitive man. Marlow's oscillation between viewpoints is almost startling in its rapidity.
On his very first meeting with the natives of the Congo, he swings from one pole to the other in only a few sentences:. While he is staying in the down river station, Marlow looks upon the natives primarily from the inhuman stance. When he comes upon the dying slaves as he is entering the station for the first time, they are described as "black shapes" who "were nothing earthly now" Conrad They are anatomised to an almost absurd degree.
These beings are obviously not part of the natural world, the world that gives Marlow comfort. Instead they are unreadable ciphers; they offer Marlow no insight, only disjointed images and impressions. As he travels up the river, however, Marlow's beliefs about the savages begin to shift. He feels he and his companions are "wanderers on a prehistoric earth, on an earth that wore the aspect of an unknown planet" But as for the humanity of the natives,.
By the end of the story, however, Marlow's attitude has taken another one hundred and eighty degree turn. When he is tracking Kurtz through the jungle in the night, he sees a native priest of some sort. Some sorcerer, some witch-man, no doubt; it looked fiend-like enough" Again the savage is seen as something other than human, this time somehow merged with the animal, the inhuman.
The repetition of the figure's blackness serves to unite it with the night and the unknowable forces of nature that Marlow doesn't understand. While in Heart of Darkness this relocation of the primal self to Europe is implicit, for Sigmund Freud in Totem and Taboo it is quite the opposite.
For Freud, "a comparison between the psychology of primitive peoples, as it is taught by social anthropology, and the psychology of neurotics, as it has been revealed by psycho-analysis, will be bound to show numerous points of agreement and will throw new light upon familiar facts in both sciences" Freud 3.
In other words, the mind of the modern man, if thrown a bit off kilter by some neurosis, immediately "reverts" to a primitive state, and that primitive state can tell us a great deal about where our society came from.
Totem and Taboo is organised around one central idea, the acceptance of which, according to Freud, entails his entire chain of argument leading to the "original sin" of parricide.
This assumption is that the obsessional neurotics that Freud treated are in some way very much akin to the primitives then being studied by Frazer and others, and they are both similar to small children in their earliest stages of development. As this assumption is the lynchpin of his argument, he takes pains to remind the reader of it as often as possible. Is it so far a step from neurotics and small children to normal adults?
According to Freud, it was the guilt from that original crime that created all of society as we know it. And here we have arrived at a resolution of the problem proposed by North. While for Marlow primitive men were both intensely human and intensely inhuman, Freud shows us that these things are all one.
This continuum of thought collapses into one inescapable fact: we are the primitive, and he is us. Conrad, Joseph. Heart of Darkness. New York: W. Freud, Sigmund. Totem and Taboo. North, Michael. The Dialect of Modernism. New York: Oxford University Press, This next essay shares many of the virtues of the one above, particularly clarity, but also effective close reading.
This essay uses a deceptively simple structure -- a comparison of the father-son relationship in Totem and Taboo with the Kurtz-Marlow relationship -- in order to pursue an increasingly complex exploration of the relative valuations of reflection and action in Conrad and Freud. This paper meshes in an interesting way with one excerpted further above that took up Torgovnick's argument in Gone Primitive that Western appreciation of African art often perpetuates colonialist assumptions by depriving the non-Western of the powers of reflection.
The only minor structural change I recommended here are a few more paragraph breaks. The first point of similarity between Conrad's account of Kurtz and Freud's theory of the original father appears in the granting of absolute power to both figures. Freud's description of the paternal role in primitive society rests upon Darwin's theory of the primal horde. Freud puts forth the essential features of this society as "a violent and jealous father who keeps all the females for himself and drives away his sons" The characterization Freud uses here deliberately implies a kind of omnipotence.
In order for the echoes of the primal father to resound throughout man's psychic history, he must have an unusual potency unmatched by his descendents. This power sets up Freud's later transformation of the father into a god. The same kind of influence emerges in Conrad as well, as Kurtz defies specific definition by Marlow. Just as the primal father had possessed all the women, so too does Kurtz possess a strength of character.
Marlow is "unable to say He was a universal genius" Conrad The contradiction of broad universality and something as specific as genius or talent demands that the pairing of the two either appear absurd or grandly powerful. Kurtz takes on a mythical dimension for Marlow by the scope of his talents. For both figures, the possession of such power produces both reverence for the bearer and a feeling of inferiority in comparison with him.
Documents Last activity. Add to Add to collection s Add to saved. Reading Schedule and due dates II. Map of Africa for reference IV. Reading Strategies for H. Close Reading Questions requiring a response I. Due Friday. Turn in. Finish reading Bradley Lecture for tomorrow. Discuss how you will divide and share the work on Google Docs. Questions due Tuesday. Be ready to discuss tomorrow in class. It is impossible. We live, as we dream—alone.
He inspired uneasiness. That was it! I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror—of an intense and hopeless despair.
Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision—he cried out twice, a cry that was no more than a breath. He has also been grouped with other such esteemed authors as his friend Stephen Crane and Robert Louis Stevenson.
He gained by his own sweat and blood as a seaman the life experience and sensitivity for insight into the human condition needed to produce the dozens of famous short stories and novels he wrote, many that are still in print today. They and four-year old Joseph were exiled to the province of Vologda in Northern Russia. He was celebrated at his death by the Poles in patriotic honor.
Shaken from their deaths and also suffering from various health problems that would plague him for the rest of his life, at the age of twelve Joseph became the ward of his maternal uncle Tadeusz Bobrowski d.
He would be a great support to Joseph morally and financially for many years to come. Durand and received some schooling from his father.
Now his uncle hired a student from Cracow University to continue his education, tutoring him in Latin, Greek, geography, and mathematics although Joseph disliked the formality of lessons.
He was by nature full of nervous energy and physically active. As an important hub of the French Merchant Marine, Conrad was soon able to find employment with several French vessels over the next four years. It was the beginning of his fifteen year career as seaman during which he would meet so many of the men who would figure largely in his works. Life at sea was challenging but full of thrills and adventure and suited Conrad well who at times had a tempestuous personality.
He was involved with gunrunning and smuggling for a time, and in the off hours incurred a number of gambling debts. When he could not repay them he attempted to commit suicide by shooting himself in the chest. It was at this time that he changed his name to Joseph Conrad. His next few years of service took him to various ports of call including the Malay Archipelago, the Gulf of Siam and the Belgian Congo. He suffered gout and had periods of depression for many years.
He returned to England weakened and suffering from fever and was hospitalized. While his sense of humor and irony was intact, the Congo had also caused a profound effect on his emotional health …. And I, too, had a pen rolling about somewhere—the seldom-used, the reluctantly taken-up pen of a sailor ashore, the pen rugged with the dried ink of abandoned attempts, of answers delayed longer than decency permitted, of letters begun with infinite reluctance, and put off suddenly till next day—till next week, as like as not!
A Personal Record, Ch. Having now retired from the sea he settled in Kent County, England. In March of he married Jessie Emmeline George with whom he would have two sons, Borys b. Although he was now receiving a pension Conrad suffered financial difficulties for a number of years; it was with the immediate commercial success of Chance that was a turning point for him.
In he was offered a Knighthood but politely declined. He had become friend to many public figures and fellow authors including John Galsworthy and H. On 3 August Joseph Conrad died at home of a heart attack. Although a skeptic much of his life he was given a Roman Catholic service at St. His name is carved into the massive rough-hewn grave stone as was given at his birth, Joseph Teodor Conrad Korzeniowski.
Map of Africa IV. To understand Heart of Darkness, we need to look at some of the traditional symbols Conrad uses. In literature, physical journeys are often used to represent intellectual, emotional, or spiritual searches. Traditionally, these concepts have been used to symbolize the unknown, or something difficult to comprehend or understand; they also have symbolized foreboding and, frequently, evil. Traditionally, these colors symbolize goodness, the opposite of evil.
It refers to the Pharisees, who were priests, supposedly pure, but corrupt in their behavior as a sepulchre is painted white on the outside to give the appearance of purity yet filled with dead and decaying bodies. Also, note Marlow's physical journey as it relates to his emotional and spiritual experiences. In this regard, consider possible symbolic interpretations of Marlow's journey.
Frequently, journeys result in the enlightenment of the hero-traveler, in which he or she learns something about the world, the nature of humankind or God, or the nature of good and evil; on these occasions, the character also grasps an understanding of his or her personal self.
To what degree do the characters in Heart of Darkness achieve enlightenment? Highlight details and comments that support or relate to the following generalizations and themes that appear in the novel: o Humans act inhumanly toward their fellow humans.
Consider how whites and natives interact in the novel. Relate the religious allusions that are made throughout the text, especially those that refer to life, death, disciples, the soul, and Christ to specific characters and themes in the novel. Group Questions to ponder and discuss as you travel the Congo… Heart of Darkness Group Reading Questions Be prepared to answer these questions in class!
Part I 1. Why is the Nellie still? Describe the light in the opening scene. What diction does Conrad use to describe the light? How much repetition is there? Why is this important? How many men are in the Nellie? What do the men in the boat have in common? Who is the narrator? What is his relationship to Marlow? What do the mariners mentioned have in common?
How is Marlow like and different from most seamen? Explain the reference to the Romans. As he is telling a story, what does it suggest?
How would you characterize the description of the map? How did Marlow get the job he wanted? What happened to Fresleven? On the map with the colored pins, what do the colors represent? What river is this? Is there an allusion to Greek mythology here? Why does Marlow think of the words Morituri te salutant later? How is this connected to the earlier reference to the Romans? The representation of women in Heart of Darkness becomes an issue later. How does Charlie Marlow describe his aunt and her concerns?
The details that a character notices often reveal his values. If the boiler is a symbol, what might it be symbolic of? What do you notice about references to sun and shadow, light and dark, and black and white?
Watch for these references, and changes in them, throughout the novel. What does Marlow notice about the six black men in the chain gang, and what is his attitude toward them? Cite examples of diction to support your opinion. How is the chief accountant different from everything else at the Station? Is the chief accountant a reliable observer?
What is important to the chief accountant? What is unusual about the countryside the caravan goes through for two hundred miles?
This may extend to page What additional information does the reader learn about Mr. Kurtz from the Manager? What exasperates Marlow about the incident of the fire in a shed? Consider the description of the man—does he seem in any way bizarre? Describe the origin and appearance of the oil sketch. Build an image of it in your mind. Marlow describes the scene here in some detail. How does it compare to the opening scene of the novel? What lies has Marlow encountered so far?
What does Marlow say about life and dreams? Why does Marlow want rivets? They are symbolic—of what? In what terms does Marlow describe the jungle? Compare this scene to the descriptions of natural surroundings in the opening of the novel. What does the name Eldorado Exploring Expedition imply? What does Marlow think of this group of men? Part II 1. Marlow overhears the Manager and his uncle discuss Mr.
What does their discussion imply about the political intrigues within the Company? What do they dislike about Kurtz? What do they plan to do about Kurtz?
What happened to the Eldorado Expedition? What does Marlow think of the cannibals? Once again, imagine the scene. Again, Marlow refers to the distant past. What does Marlow think mankind is capable of? Get a mental picture of the fireman.
What does Marlow think of the fireman? On page 41, the steamboat is lost in a silent white fog. How do the men react? What does Marlow realize about the cannibals?
Does Marlow expect an attack? Why or why not? How are they attacked? How is the helmsman wounded and where does he fall? Why does Marlow throw his shoes overboard? This is symbolic—of what? What had Marlow been looking forward to, and why? The focus moves back to the frame of the story here, to Marlow speaking to the narrator in the Nellie in the Thames River.
0コメント