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Wey, Shyh-chyi. "A rhetorical analysis of Joseph Conrad's Heart of darkness." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/923.
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Li, Mun-wai Julie. "Narration in Heart of Darkness, The Waste Land and Lolita." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161707.
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Joyce, Beverly Rose. "An analysis of "The Real," as reflected in Conrad's Heart of darkness." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232244552.
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Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on Apr. 20, 2009). Includes bibliographical references (p. 109-110). Available online via the OhioLINK ETD Center. Also available in print.
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Svensson, Morgan. "Critical responses to Joseph Conrad’s Heart of Darkness." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3959.
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This essay will revolve around the critical reception of Joseph Conrad's Heart of Darkness. The focus will be on three primary sources: firstly, the early critical reception and how the novella was received when it was originally published in 1902, secondly, Chinua's famous critique in 1977 when he called Conrad a racist and condemned both the author and the novella, and thirdly, Said's defence and contextualization of Conrad’s novella in 1992. The essay will explore how the critics have been influenced and from what standpoints they have entered into the debate on Conrad and show how the discussion has changed over time. Furthermore, it will show that the early responses ignore the ‘race’ aspect because ‘race-thinking’ was seen as something natural. It will also explain why Achebe might feel so strongly against Conrad. He is after all fighting for a strong African identity after the colonies gained their independence. Said defends and contextualizes Conrad as a creature of his time. Finally, the essay will discuss and contrast the critics, concluding that each critique is highly influenced by the time-period in which it was written.
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Drösdal-Levillain, Annick Paccaud-Huguet Josiane. "Joseph Conrad et Malcolm Lowry "La musique sombre du chaos", "Heart of darkness" (1902), "Nostromo" (1904) et "Under the volcano" (1947) /." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/drosdal_a.
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Chu, Ngan-fung Teresa. "A harvest of names : a study of the naming strategies in Virginia Woolf's Mrs. Dalloway and Joseph Conrad's heart of darkness /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18685304.
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Vinson, Haili Ann. "The Time Machine and Heart of Darkness: H.G. Wells, Joseph Conrad, and the fin de siecle." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3396.
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Much work has been done on the relationship between fin de siècle authors H.G. Wells, Joseph Conrad, Henry James, Stephen Crane, and Ford Madox Ford. As Nicholas Delbanco explains, these writers lived closely to one another in Kent during the transition into the Twentieth Century. While scholars have stressed the collaboration between Conrad and Ford and the disagreements between Wells and James, fewer have treated the relationship of Wells and Conrad. Their most widely read works, The Time Machine and Heart of Darkness, share remarkable similarities that reveal common topical influences on both writers. Furthermore, I argue that Wells and his novella influenced some aspects of Conrad's most popular text.
From a historical contextual approach, I examine the relationship between the two authors, several themes shared by the two works, and their balance between social criticism and aesthetic responses. The novels feature a movement through time and space, a divided humanity, and cannibalism. The Time Machine critiques England's socioeconomic circumstances and the Social Darwinist belief in progress, while Heart of Darkness depicts the Belgian Congo under the merciless King Leopold II. Wells and Conrad rejected the artistic labels of impressionism and aestheticism, though their novels fulfill many aims of these movements. An understanding of the Wells-Conrad friendship and fin de siècle society opens each text to interpretations from diverse areas of criticism and is key in identifying the most important elements of the novels.
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Roskvist, Kiro. "Heart of Darkness och The Rum Diary : Skildringar av kolonialism och neokolonialism." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-43614.
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Summary This essay examines how Joseph Conrad's novella Heart of Darkness and Hunter S. Thompson's novel The Rum Diary portray´s the effects of colonialism and neocolonialism in Africa and Puerto Rico. Using postcolonial theory, the essay shows how Conrad's and Thompson´s complex images of the Europeans and Africans, Westerners and Puertoricans stand in contrast to orientalistic and racist images of the colonial natives. The thesis discusses responsibility and guiltissues in the colonial states and analyses how Conrad and Thompson raise questions about these topics when they chose to portray the suffering among the colonial natives. Furthermore, the essay discusses how Conrad's and Thompson's many images of violence can be seen as images of a brutal reality carried out in countries marked by colonialism. Based on intertextual literary theory, and in the light of the literary journalistic genre ""new journalism"", in which Thompson was active, the essay markes out The Rum Diary's intertextual references to Conrad's Heart of Darkness. The essay argue that The Rum Diary's intertextual references to Heart of Darkness indicate to the reader that the novel belongs to a certain genre, and by this; link the novel to a literary system, codes and traditions already constructed by Conrad. The Rum Diay, that portrays the neocolonial era in the 1950's in the former U.S's colony Puerto Rico, is therefore to be understood in the light of Conrad's Heart of Darkness, even though it portrays an earlier era of colonialism.Sammanfattning Sammanfattningsvis behandlar uppsatsen skildringar av kolonialismens och neokolonialismens verkningar i Joseph Conrads novell Heart of Darkness och i Hunter S. Thompsons roman The Rum Diary. Med utgångspunkt i den postkoloniala litteraturteorin och mot bakgrund av den historiska bilden av den koloniala världen granskar uppsatsen bland annat hur Conrad och Thompson valde att skildra kolonialistiska och neokolonialistiska maktstrukturer och samhälleliga missförhållanden. Uppsatsen granskar även kolonialismens orientalistiska och rasistiska bild av utomeuropén kontrasterat de respektive verkens komplexa skildringar av européer och afrikaner, västerlänningar och puertoricaner. Uppsatsen berör även frågan om västvärldens ansvar och skuld inför koloniernas och de forna koloniernas inhemska problematik samt belyser Conrad och Thompson framställningar av lokalbefolkningens lidanden. Vidare granskar uppsatsen våldets betydelse för kolonialismens etablering och hur de respektive verkens våldsskildringar kan ses berätta om en våldspräglad realitet i de länder som är märkta av kolonialismens verkningar. Uppsatsen belyser också The Rum Diarys litterära beröringspunkter och direkta referenser till Conrads Heart of Darkness med utgångspunkt i den intertextuella litteraturteorin och mot bakgrund av den litterära journalistiska genren ”"new journalism"” inom vilken Thompson var verksam i. Uppsatsen argumenterar för att Thompsons avsikt med de intertextuella referenserna var att indikera för läsaren om verkets genre, textens mening och sammanlänka det egna verket med det system, de koder och den tradition som Conrad sedan tidigare utstakat. Uppsatsen avslutats med ett intertextuellt perspektiv som med flera exempel visar hur The Rum Diary refererar till Conrads litterära produktion.
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Anlicker, Christine D. "Evolution of Ethics in the Island of Doctor Moreau and Heart of Darkness." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/139.
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This thesis analyzes H. G. Wells’s The Island of Doctor Moreau and Joseph Conrad’s Heart of Darkness within the context of nineteenth-century evolutionary theory. I explore how Charles Darwin and Thomas Huxley used evolution by natural selection to develop differing explanations of the origins of ethics and how this impacted the place each scientist gave morality in civilization. By exploring how Huxley and Darwin understood morality to derive from the phenomena of sympathy and restrain, I illustrate how Wells’s and Conrad’s novellas interrogate these discourses of altruism.
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Nordström, Sara. "En analys av Joseph Conrads roman Heart of Darkness samt novell An outpost of progress." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-12649.
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Denna studie är en analys av romanen Heart of Darkness (1902) och novellen An outpost ofprogress (1898) av Joseph Conrad (1857-1924) i syfte att undersöka berättelsernashuvudsakliga tematik ur en postkolonial infallsvinkel samt vad Conrads avsikt tycks ha varitmed porträtteringen av elfenbensagenten Kurtz. För att genomföra denna analys har jag gjorten närläsning av Heart of Darkness samt An outpost of progress och samtidigt tolkathändelseförloppen.Tolkningarna är delvis mina egna samt delvis baserat på tidigare forskning. Efter att hagenomfört dessa närläsningar är min slutsats att Conrads huvudsakliga avsikt var att skildaden mänskliga moralens förfall genom den ondskefulla girigheten. Det är denna girighet somhan definierar som det mörka i en människas hjärta. Genom framställningen av Kurtz visarhan exempel på detta samt hur farlig en skicklig retoriker kan vara.
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Medeiros, Fyama da Silva. "A narrativa emoldurada: Heart of Darkness em graphic novel." Universidade Federal de Pelotas, 2018. http://guaiaca.ufpel.edu.br:8080/handle/prefix/4068.
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Esta dissertação analisa a adaptação do romance Heart of Darkness, de Joseph Conrad (2007), para o formato de graphic novel, publicada por Catherine Anyango e David Zane Mairowitz (CONRAD, 2010). A análise consiste no estudo da transição do foco narrativo, da personagem e do espaço do modo “contar” na narrativa literária para o modo “mostrar” e “contar” das graphic novels. Este trabalho de pesquisa aborda a adaptação como uma obra independente, uma recriação, conforme sugere Hutcheon (2013). A fim de explorar as similaridades entre a narrativa literária e a narrativa em graphic novel e verificar as transformações ocorridas no processo de adaptação, foram levados em consideração os estudos de Groensteen (2013; 2015) e outros autores da teoria literária e da teoria das graphic novels. A análise mostra que o trabalho de Anyango e Mairowitz recria, por meio do uso de recursos visuais e verbais, os aspectos centrais da narrativa de Heart of Darkness, destacando a história do período colonial do Congo através do acréscimo de fragmentos do relato autobiográfico presente em The Congo Diary e de elementos cartográficos, como os mapas do Rio Congo e da Colônia Belga no Congo.
This thesis analyzes the work published by Catherine Anyango and David Zane Mairowitz in 2010, which adapts Joseph Conrad’s novel Heart of Darkness (2007) into a graphic novel. The analysis of the transition of the narrative focus, characters and space from the literary narrative’s “telling mode” to graphic novel’s “telling” and “showing” modes. This research project addresses adaptation as an independent work, a recreation, as suggested by Hutcheon (2013). In order to explore the similarities between the literary narrative and the graphic novel and to verify the transformations taking place in the adaptation process, Groensteen’s (2013/ 2015) and other authors’ contributions to both literary and graphic novel theories were taken into account. The analysis shows that the work by Anyango and Mairowitz recreates through the use of both verbal and non-verbal resources the core aspects of Conrad’s novel, emphasizing the history of Congo’s colonial period by adding fragments of the autobiographical account found in The Congo Diary as well as cartographic elements such as maps of the Congo River and Belgian Congo.
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Klavebäck, Kerstin. "A Rude Awakening to Sounds : A Study of the Soundscape in Joseph Conrad’s Heart of Darkness." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-23633.
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This study examines the significance of sounds and silence in Joseph Conrad’s novella Heart of Darkness (1902). The importance of visual effects has repeatedly been analyzed and therefore, it is high time to explore the text from an auditory perspective. By comparing and contrasting Victorian city sounds to sounds in the wilderness, I show that the urban and rural worlds have a great deal in common. Furthermore, by deconstructing the seemingly stable binary opposition of sound and silence as well as that of civilization and wilderness, it becomes evident that they are related and depend on one another. This paper also examines noise and how it is used as a means of power. Moreover, it deals with Thomas Edison’s invention, the phonograph, as an implicit discursive device in the text. In conclusion, it is argued that the sonic environment is of high significance and should therefore not be ignored and readers must try to close their eyes in order to hear what is said.
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Santos, Lidiana de Moraes dos. "O encontro da luz com as trevas: uma análise do pós-colonialismo através de Heart of Darkness." Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/4073.
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Previous issue date: 2012The goal with the present study is to reread the work Heart of Darkness, written by Joseph Conrad, through a post-colonial perspective. First a review of the post-colonial theory was made. With the study of the writings of authors such as Edward Said, Homi K. Bhabha and Gayatri Chakravarty Spivak will be possible to comprehend the post-colonial thought. Also, some literary texts were revisited in a way that their colonialist points of view help to built a counterpoint to the post-colonial precepts. In a second moment, Heart of Darkness was analyzed in a special way, through the recovery of meaningful parts of the text that can illustrate the mistakes and understandings of the criticisms made to Conrad‘s literary text by names that emerged in the post-colonial period, such as the Nigerian author, Chinua Achebe. With this rereading we aim to perceive the true message that Joseph Conrad wanted to send by telling the story of Kurtz and Marlow as explorers in Africa.
O presente estudo tem como objetivo fazer uma releitura da obra Heart of Darkness, escrita por Joseph Conrad, através de uma perspectiva pós-colonial. Para tanto, primeiramente será feito um resgate da teoria pós-colonialista a partir do estudo dos pensamentos de autores como Edward Said, Homi K. Bhabha e Gayatri Chakravarty Spivak. Além disso, alguns textos literários serão retomados uma vez que suas visões colonialistas ajudam na construção de um contraponto para com os preceitos pós-coloniais. Em um segundo momento, Heart of Darkness será analisado de modo especial, através da retomada de passagens significativas da obra que possam ilustrar os erros e acertos das críticas que feitas ao texto por nomes que emergiram no período pós-colonial, tal qual o escritor nigeriano Chinua Achebe. Através dessa releitura, busca-se o entendimento da verdadeira mensagem que Joseph Conrad queria deixar ao contar a história de Kurtz e Marlow como desbravadores da África.
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Drösdal-Levillain, Annick. "Joseph Conrad et Malcolm Lowry : "La musique sombre du chaos", "Heart of darkness" (1902), "Nostromo" (1904) et "Under the volcano" (1947)." Lyon 2, 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/drosdal_a.
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Comment le malaise dans la civilisation du jeune XXème siècle se "mi-dit-il" dans Heart of Darkness, Nostrama et Under the Volcano ? Qu'est-ce qui unit Conrad et Lowry si ce n'est leur rôle de révélateurs des brèches de l'histoire et du coeur de l'homme moderne ? La littérature et l'art ne nous en disent-ils pas plus sur la vérité enfouie sous les emplâtres des écritures réalistes, que les livres d'histoire ? Avec Conrad, les écrans fictionnels posés sur le Réel se mettent à bouger, pour finalement voter en éclats sous la plume de Lowry. Les va-et-vient entre littérature, art et psychanalyse font émerger des bribes sonores et visuelles desquelles se dégage un réseau de signifiance qui fait accroc et accroche chez le lecteur attentif. Mues par une musique souterraine, ces écritures de la modernité font sourdre jusqu'à la surface des textes, des fragments d'une langue d'avant le langage, cette "lalangue" (lacan) qui fait vibrer la corde sensible du lecteur ayant renoncé à la jouissance phallique, au profit d'une "écoute flottante" (Freud). Le lecteur, à son tour morcelé, voit alors éclater le cri muet lancé à la face des "non-dupes" (Lacan) errant au pays des lettres. L'autre qui n'existe pas fascine, et, par son absence, met en marche le désir et la créativité. Les pulsions scopiques et dévoratrices font alors voir et entendre l'importance des objets regard et voix pour l'analyse de ces écritures opaques, dont la dimension lyrique, "poéthique", se propage telle une onde de choc partie d'un noyau obscur. Le rayonnement de ces oeuvres met en évidence l'importance de l'art, et en l'occurrence, de la littérature qui fait voir, entendre et sentir des bribes de ce qui fait de nous des hommes encore "connectés" avec leurs émotions. C'est peut être vers une jouissance autre, non-phallique et réfractaire à toute pensée dogmatique ou idéologique qu'il faut errer, entre son et sens, avec bonheur. . .
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Cook, Corina K. "Hollow at the core apocalyptic visions in Joseph Conrad's Heart of darkness and T.S. Eliot's The waste land /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2002. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2002.Source: Masters Abstracts International, Volume: 45-06, page: 2842. Typescript. Abstract precedes thesis as preliminary leaves 1-2. Includes bibliographical references (leaves 81-86).
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Anttonen, Ramona. "Animal Imagery and Religious Symbolism in Joseph Conrad's." Thesis, Växjö University, School of Humanities, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-536.
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The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included.
Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology.
The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.
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De, Lange Adriaan Michiel. "Conrad's impressionism the treatment of space and atmosphere in selected works." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002272.
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This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
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Texier, Vandamme Christine Maisonnat Claude. "Espace et écriture ou l'herméneutique dans "Heart of darkness" de Joseph Conrad, "Under the volcano" de Malcolm Lowry et "Voss" de Patrick White." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/texier_c.
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Pfiffer, Grace Amiel. "No Coração das Trevas: o paraíso e inferno do outro em Bernardo Carvalho e Joseph Conrad." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3822.
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Esta dissertação estuda o papel do sujeito na literatura e sua relação com a cultura e alteridade através da análise de duas obras: Nove noites, de Bernardo de Carvalho e Coração das Trevas de Joseph Conrad. As obras estudadas mostram a crise que atinge os protagonistas dos dois livros depois do encontro com outras culturas. Em Nove noites o outro é representado pelo índio e em Coração das Trevas pelos africanos. Em Nove noites o antropólogo Buell Quain se suicida depois de uma estada entre os índios Krahô, e em Coração das Trevas vemos a deterioração do homem branco representada pelo personagem de Kurtz. Considerado um homem notável e um altruísta na Europa, Kurtz teria se corrompido no contato com a realidade do Congo e se torna, nas palavras do narrador Marlow, um dos demônios da terra. A dissolução da personalidade e código moral do homem branco, representada pelos dois personagens, será estudada analisando a relação entre personalidade e cultura e como a falta de apoio e controle grupal desarticula valores até então considerados estáveis, assim como o contato com o outro. Esta desarticulação do sujeito causada pelo choque cultural se soma à crise geral do sujeito moderno e ao mal-estar na civilização, como descrito por Freud. A posição paradoxal do antropólogo, que se situa entre duas culturas, faz parte desta análise, do mesmo modo questões pertinentes a posição dos índios e africanos no Congo. No caso específico de Coração das Trevas trabalha-se a interseção entre a análise do sujeito, e suas implicações, e a construção do personagem de Kurtz como símbolo da violência colonial. O trabalho analisa também as semelhanças entre as duas obras, tanto temáticas como em suas técnicas narrativas e a influência da obra de Conrad nos romances de CarvalhoThis dissertation studies the role of subject in literature and its relation to culture and alterity through the analysis of two works: Nine Nights by Bernardo Carvalho and Heart of Darkness by Joseph Conrad. This work show the crisis that the protagonists of both books faces after the encounter with other cultures. In Nine nights the Indian and Heart of Darkness by Africans represents the other. Nine nights tells the story of the anthropologist Buell Quain who commits suicide after a stay between the Indians Krahô, and in Heart of Darkness we see the deterioration of the white man represented by the character of Kurtz. Considered a remarkable man and an unselfish in Europe, Kurtz would have been corrupted by contact with the reality of the Congo and becomes, in the words of the narrator Marlow, one of the demons of the land. The dissolution of the personality and moral code of the white man, represented by two characters, will be studied by analyzing the relationship between personality and culture and how the lack of support and control of the group disarticulates values until then considered stable, as well as the contact with other cultures. The disarticulation of the subject caused by culture shock adds to the general crisis of the modern subject and the discontents of civilization, as described by Freud. The paradoxical position of the anthropologist, which is situated between two cultures, is part of this analysis, even as questions regarding the position of Indians and Africans in the Congo. In the specific case of Heart of Darkness will be studied a intersection between the analysis of the subject, and their implications, and the construction of the character of Kurtz as a symbol of colonial violence. The paper also examines the similarities between the two works, both in thematic and in narrative techniques in their work and influence of Conrad's novels Carvalho
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Wright, Farley. ""In European clothes and without a lotus-flower" : Zen and Joseph Conrad's Heart of darkness /." Title page, contents and conclusion only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arw949.pdf.
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Texier, Vandamme Christine. "Espace et écriture ou l'herméneutique dans "Heart of darkness" de Joseph Conrad, "Under the volcano" de Malcolm Lowry et "Voss" de Patrick White." Lyon 2, 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/texier_c.
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L'objet de cette thèse est d'interroger l'affirmation selon laquelle le roman à partir du XXe siècle est résolument " spatial ", en s'appuyant sur trois romans qui encadrent et traversent la période moderniste : Heart of Darkness de Joseph Conrad, Under the Volcano de Malcolm Lowry et Voss de Patrick White. Après un premier chapitre consacré à un tour d'horizon de la notion d'écriture spatiale dans la critique depuis les thèses de Joseph Frank et en passant par les analyses de Bakhtine, Todorov, Barthes et Ricoeur, deux positions critiques se dégagent : soit définir les œuvres " spatiales " comme des romans qui s'éloignent d'un modèle logico-temporel tel qu'on peut l'observer dans nombre de romans au XIXe, inspiré d'une esthétique à visée référentielle et mimétique, soit les définir par leurs caractéristiques propres qui sont celles d'œuvres dont la cohérence et la structure reflètent une logique interne et non externe. La première position est étudiée au deuxième chapitre qui porte par conséquent sur tous les avatars de la ligne logico-temporelle et leur remise en cause dans ces trois romans : la ligne logique et narrative, la ligne des origines ou téléologique, la ligne herméneutique et enfin la ligne organique. Dans le troisième chapitre, il s'agit de voir dans quelle mesure on peut parler d'une structuration à dominante spatiale dans Heart of Darkness, Under the Volcano et Voss et cette fois-ci de manière " positive " et non plus à contrario. Le paradigme de la ligne se voit remplacé par celui de l'étoilement des points de vue, des voix et des mots. Brouillage de la perspective, polyphonie et étoilement du signifiant redonnent du volume à la structuration linéaire héritée du XIXe. En dernier lieu se pose alors la question de la position du sujet (Personnage, narrateur, auteur, lecteur) dans ses rapports avec les autres, le monde, les mots et selon trois figures spatiales principales : la faille, l'entre-deux et une prédilection pour la surface.
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Lorenz, Matthias N. [Verfasser]. "Distant Kinship - Entfernte Verwandtschaft : Joseph Conrads »Heart of Darkness« in der deutschen Literatur von Kafka bis Kracht." Stuttgart : J.B. Metzler, 2017. http://d-nb.info/1136830510/34.
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Kong, Ching-man Paula. "Powerful obsession : variations on a theme in four fictions : Mary Shelley's Frankenstein, Joseph Conrad's Heart of darkness, William Golding's Lord of the flies and the spire /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1868550X.
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Santos, Lidiana de Moraes dos. "O encontro da luz com as trevas : uma an?lise do p?s-colonialismo atrav?s de Heart of Darkness." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2012. http://tede2.pucrs.br/tede2/handle/tede/2102.
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Previous issue date: 2012-12-20The goal with the present study is to reread the work Heart of Darkness, written by Joseph Conrad, through a post-colonial perspective. First a review of the post-colonial theory was made. With the study of the writings of authors such as Edward Said, Homi K. Bhabha and Gayatri Chakravarty Spivak will be possible to comprehend the post-colonial thought. Also, some literary texts were revisited in a way that their colonialist points of view help to built a counterpoint to the post-colonial precepts. In a second moment, Heart of Darkness was analyzed in a special way, through the recovery of meaningful parts of the text that can illustrate the mistakes and understandings of the criticisms made to Conrad s literary text by names that emerged in the post-colonial period, such as the Nigerian author, Chinua Achebe. With this rereading we aim to perceive the true message that Joseph Conrad wanted to send by telling the story of Kurtz and Marlow as explorers in Africa.
O presente estudo tem como objetivo fazer uma releitura da obra Heart of Darkness, escrita por Joseph Conrad, atrav?s de uma perspectiva p?s-colonial. Para tanto, primeiramente ser? feito um resgate da teoria p?s-colonialista a partir do estudo dos pensamentos de autores como Edward Said, Homi K. Bhabha e Gayatri Chakravarty Spivak. Al?m disso, alguns textos liter?rios ser?o retomados uma vez que suas vis?es colonialistas ajudam na constru??o de um contraponto para com os preceitos p?s-coloniais. Em um segundo momento, Heart of Darkness ser? analisado de modo especial, atrav?s da retomada de passagens significativas da obra que possam ilustrar os erros e acertos das cr?ticas que feitas ao texto por nomes que emergiram no per?odo p?s-colonial, tal qual o escritor nigeriano Chinua Achebe. Atrav?s dessa releitura, busca-se o entendimento da verdadeira mensagem que Joseph Conrad queria deixar ao contar a hist?ria de Kurtz e Marlow como desbravadores da ?frica.
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Mastropierro, Lorenzo. "Corpus stylistics and translation studies : a corpus-assisted study of Joseph Conrad's 'Heart of Darkness' and its Italian translations." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33678/.
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This thesis carries out a corpus stylistic study of Joseph Conrad’s Heart of Darkness and four of its Italian translations. It investigates the role of textual patterns as building blocks of the fictional world and triggers of literary themes. It also investigates the effects of translation on the relation between textual patterns and the fictional world, and discusses the potential consequences of translational alterations on the text’s themes. Heart of Darkness is a complex and multifaceted text that deals with a multitude of themes and has been interpreted in many different ways. By offering an overview of the text’s literary reception, I foreground two major themes that emerge from the contemporary critical debate as particularly central to the discussion about Conrad and his text: “Africa and its representation” and “race and racism”. Through a keyword analysis, I establish a connection between these themes and the lexical level of the text. Adopting Mahlberg & McIntyre’s (2011) model, I group keywords into categories that reflect specific aspects of the fictional world and the thematic concerns of the text. I then select groups of keywords that relate specifically to “Africa and its representation” and “race and racism” for more in-depth examination. Specifically, I analyse how the African jungle and the African natives are linguistically represented in the text. I demonstrate that repeated lexico-semantic patterns shape these fictional representations and play a fundamental part in the interpretation of the two themes related to them. I then focus on the Italian versions and compare them in order to show the effects of translation on the lexico-semantic patterns. I show that alterations made at the linguistic level affect the interpretational level of the translations, with potential consequences for the reception of the major themes in the target context. Finally, I use computational methods to compare the original and the translations at the level of whole texts, as opposed to feature-specific comparisons. I claim that together these two perspectives provide a more nuanced understanding of the relation between source and target texts. Through this analysis, the present thesis explores how the fictional world and literary themes are constructed and conveyed in literature and in its translation. It also contributes to the critical discussion on Heart of Darkness and proposes a methodology to analyse and compare literary translations. Finally, as an interdisciplinary project, this thesis builds on the interaction between corpus stylistics and translation studies, and strengthens this relation further.
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Dardzinski, Thomas. "The regenerative paradigm: male initiations in Joseph Conrad's The Nigger of the "Narcissus", Heart of Darkness, and the shadow-line." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106260.
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The following thesis looks at the male initiation motif in Joseph Conrad's The Nigger of the "Narcissus," Heart of Darkness, and The Shadow-Line from the perspective of contemporary anthropology. I argue that Conrad was not only well versed in late-Victorian science, but also used anthropological data on so-called primitive races in his fiction to challenge the covert political ideologies of social Darwinism. He recognized that new developments in Darwin's theory of evolution, which propagated widespread anxiety over the cultural and biological degeneration of Western civilization at the fin de siècle, were aligned with European imperialism and contributed to the exploitation of colonial territories. To counter the scientific studies that characterized indigenous peoples such as the Australian Aborigines as inferior races that were slated for extinction, Conrad applied male initiation rites as a subversive motif in his stories. Following the pattern first described in Arnold Van Gennep's Les Rites de Passage (1908), I analyze each novella in terms of the universal tripartite structure of initiations in which a novice is separated from the known world, enters a sacred liminal zone where he undergoes inwardly transformative ordeals, and is then reincorporated into society with an increased level of self-awareness. Conrad uses male initiations as a regenerative paradigm to contrast with the spiritual emptiness of his own modern secular civilization and to suggest that storytelling can function as a potentially restorative form of discourse.La thèse suivante examine le thème de l'initiation masculine dans les romans The Nigger of the “Narcissus,” Heart of Darkness et The Shadow-Line de Joseph Conrad du point de vue de l'anthropologie contemporaine. J'avance que Conrad avait non seulement une bonne connaissance de la science de l'époque victorienne, mais qu'il a également appliqué dans sa fiction certaines données anthropologiques à des races dites primitives pour dénoncer les idéologies politiques du darwinisme social. Il a reconnu que de nouveaux développements dans la théorie darwinienne de l'évolution, qui propageaient une anxiété à l'égard de la dégénérescence culturelle et biologique de la civilisation occidentale en fin de siècle, pouvaient être interprétés parallèlement à l'impérialisme européen, et comme élément de justification de l'exploitation des territoires coloniaux. Afin de réfuter les théories de l'évolution qui catégorisaient les indigènes comme des sauvages inférieurs voués à l'extinction, Conrad a utilisé le thème des rites d'initiation masculine comme un moyen de subversion dans ses histoires. J'analyse chaque roman à travers la structure universelle tripartite des initiations qu'Arnold Van Gennep met en lumière dans Les rites de passage (1908); structure selon laquelle un novice est séparé du monde connu, entre dans une zone liminale sacrée où il subit des épreuves qui résultent en une transformation interne et est ensuite réintégré dans la société avec une plus grande conscience de soi. Conrad utilise les rites de passage comme un paradigme de régénération, en opposition avec le vide spirituel de la civilisation séculière caractéristique de l'époque, et comme moyen pour montrer que la narration peut fonctionner comme une forme de discours potentiellement rajeunissant.
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McIntyre, John 1966. "Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and Woolf." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38232.
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This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected.I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.
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Badenhorst-Roux, Toinette. "Polyphonic conversations between novel and film : Heart of darkness and Apocalypse now ; Na die geliefde land and Promised land / Toinette Badenhorst-Roux." Thesis, North-West University, 2006. http://hdl.handle.net/10394/1385.
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Pieterse, Annel. "Islands under threat : heterotopia and the disintegration of the ideal in Joseph Conrad's Heart of darkness, Antjie Krog's Country of my skull and Irvan Welsh's Marabou stork nightmares." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50382.
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Thesis (MA)--Stellenbosch University, 2005.ENGLISH ABSTRACT: The stories and histories of the human race are littered with the remnants of utopia. These utopias always exist in some "far away" place, whether this place be removed in terms of time (either as a nostalgically remembered past, or an idealistically projected future), or in terms of space (as a place that one must arrive at). In our attempts to attain these utopias, we construct our worlddefinitions in accordance with our projections of these ideal places and ways of "being". Our discourses come to embody and perpetuate these ideals, which are maintained by excluding any definitions of the world that run counter to these ideals. The continued existence of utopia relies on the subjects of that utopia continuing their belief in its ideals, and not questioning its construction. Counter-discourse to utopia manifests in the same space as the original utopia and gives rise to questions that threaten the stability of the ideal. Questions challenge belief, and therefore the discourse of the ideal must neutralise those who question and challenge it. This process of neutralisation requires that more definitions be constructed within utopian discourse - definitions that allow the subjects of the discourse to objectify the questioner. However, as these new definitions arise, they create yet more counter-definitions, thereby increasing the fragmentation of the aforementioned space. A subject of any "dominant" discourse, removed from that discourse, is exposed to the questions inherent in counter-discourse. In such circumstances, the definitions of the questioner - the "other" - that have previously enabled the subject to disregard the questioner's existence and/or point of view are no longer reinforced, and the subject begins to question those definitions. Once this questioning process starts, the utopia of the subject is re-defined as dystopia, for the questioning highlights the (often violent) methods of exclusion needed to maintain that utopia. Foucault's theory of heterotopia, used as the basis for the analysis of the three texts in question, suggests a space in which several conflicting and contradictory discourses which seemingly bear no relation to each other are found grouped together. Whereas utopia sustains myth in discourse, running with the grain of language, heterotopias run against the grain, undermining the order that we create through language, because they destroy the syntax that holds words and things together. The narrators in the three texts dealt with are all subjects of dominant discourses sustained by exclusive definitions and informed by ideals that require this exclusion in order to exist. Displaced into spaces that subvert the definitions within their discourses, the narrators experience a sense of "madness", resulting from the disintegration of their perception of "order". However, through embracing and perpetuating that which challenged their established sense of identity, the narrators can regain their sense of agency, and so their narratives become vehicles for the reconstitution of the subject-status of the narrators, as well as a means of perpetuating the counter-discourse.
AFRIKAANSE OPSOMMING: Utopias spikkel die landskap van menseheugenis as plekke in "lank lank gelede" of "eendag", in "n land baie ver van hier", en is dus altyd verwyderd van die huidige, óf in ruimte, óf in tyd. In ons strewe na die ideale, skep ons definisies van die wêreld wat in voeling is met hierdie idealistiese plekke en bestaanswyses. Sulke definisies sypel deur die diskoers, of taal, waarmee ons ons omgewing beskryf. Die ideale wat dan in die diskoers omvat word, word onderhou deur die uitsluiting van enige definisie wat teenstrydig is met dié in die idealistiese diskoers. Die volgehoue bestaan van utopie berus daarop dat die subjekte van daardie utopie voortdurend glo in die ideale voorgehou in en onderhou deur die diskoers, en dus nie die diskoers se konstruksie bevraagteken nie. Die manifestering van teen-diskoers in dieselfde ruimte as die utopie, gee aanleiding tot vrae wat die bestaan van die ideaal bedreig omdat geloof in die ideaal noodsaaklik is vir die ideaal se voortbestaan. Aangesien bevraagtekening dikwels geloof uitdaag en ontwrig, lei dit daartoe dat die diskoers wat die ideaal onderhou, diegene wat dit bevraagteken, neutraliseer. Hierdie neutraliseringsproses behels die vorming van nog definisies binne die diskoers wat die vraagsteller objektiveer. Die vorming van nuwe definisies loop op sy beurt uit op die vorming van teen-definisies wat bloot verdere verbrokkeling van die voorgenoemde ruimte veroorsaak. "n Subjek van die "dominante" diskoers van die utopie wat hom- /haarself buite die spergebiede van sy/haar diskoers bevind, word blootgestel aan vrae wat in teen-diskoers omvat word. In sulke omstandighede is die subjek verwyder van die versterking van daardie definisies wat die vraagsteller - die "ander" - se opinies of bestaan as nietig voorgestel het, en die subjek mag dan hierdie definisies bevraagteken. Sodra hierdie proses begin, vind "n herdefinisie van ruimte plaas, en utopie word distopie soos die vrae (soms geweldadige) uitsluitingsmetodes wat die onderhoud van die ideaal behels, aan die lig bring en, in sommige gevalle, aan die kaak stel. Hierdie tesis gebruik Foucault se teorie van "heterotopia" om die drie tekste te analiseer. Dié teorie veronderstel "n ruimte waarin die oorvleueling van verskeie teenstrydighede (diskoerse) plaasvind. Waar utopie die bestaan van fabels en diskoerse akkommodeer, ondermyn heterotopia die orde wat ons deur taal en definisie skep omdat dit die sintaks vernietig wat woorde aan konsepte koppel. Die drie vertellers is elkeen "n subjek van "n "dominante diskoers" wat onderhou word deur uitsluitende definisies in "n utopia waar die voortgesette bestaan van die ideale wat in die diskoers omvat word op eksklusiwiteit staatmaak. Omdat die vertellers verplaas is na ruimtes wat hulle eksklusiewe definisies omverwerp, vind hulle dat hulle aan "n soort waansin grens wat veroorsaak is deur die verbrokkeling van hul sin van "orde". Deur die teen-diskoers in hul stories in te bou as verteltaal, of te implementeer as die meganisme van oordrag, kan die vertellers hul "selfsin" herwin. Deur vertelling hervestig die vertellers dus hul status as subjek, en verseker hulle hul plek in die opkomende diskoers deur middel van hulle voortsetting daarvan.
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Svensson, Christer. "Nineteenth-century critique of colonialism and racism in Joseph Conrad’s Heart of Darkness (1899) : A denunciation of European colonialism in a time of atrocities." Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-38051.
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Giglio, Mirella de Lemos. "Coração das trevas: uma expressão simbólica da depressão." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20229.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Fundação São Paulo - FUNDASP
This project aims to analyze the symbols of Heart of Darkness, searching for elements of depression, using the theories developed by Carl G. Jung. Depression is a subject frequently heard, either presented in formal academic texts or chats among acquaintances. This theme is seen in the history of human kind since the first historical documents, however, its definition would suffer changes according to the point of view men had of themselves. The theory developed by Carl G. Jung depicted that depression might have a creative function for those who suffer from it, as long as the ego encounters the unconsciousness. Joseph Conrad, the author of Heart of Darkness, presented depressive symptoms in his life. He had a life in which he lost his parents at a young age and decided to live alone in the sea, as a sailor. These situations with different obstacles prevented his psychic to develop a strong structure as an adult. His traumas and his sea journeys inspired him to express his private contents and contemplate subjective themes about the human existence. Heart of Darkness presents a plethora of symbols. Some of them express the archetypal journey to Hades’ world, the inner darkness, as the depression process that may result in the transcendence of the consciousness
Esta pesquisa tem como objetivo analisar os símbolos da obra Coração das Trevas, em busca de elementos da depressão por meios da teoria junguiana. A depressão é um assunto tratado frequentemente, seja em formato formal de textos acadêmicos, ou batepapos entre conhecidos. A presença desse assunto está na humanidade desde os primeiros registros históricos, porém a sua definição era diferente de acordo com a visão de homem que as pessoas tinham em cada período. Atualmente, a depressão atinge 350 milhões de indivíduos. Mesmo assim, nos deparamos com uma diversidade de interpretações sobre o assunto e como tratá-lo. A teoria elaborada por Carl G. Jung revelou que a depressão pode ter uma função criativa e transformadora para quem passa por ela, contanto que exista um espaço para o encontro do Ego com o inconsciente. Joseph Conrad, o autor do livro Coração das Trevas, apresentou sintomas depressivos em sua vida. Ele teve uma vida com obstáculos, na qual perdeu os pais na infância e decidiu viver sozinho no mar, como marinheiro. Essas situações dificultaram o fortalecimento de uma estrutura psíquica de um ser adulto. Seus traumas e suas viagens marítimas foram inspirações para o autor expressar seus conteúdos íntimos e comtemplar assuntos subjetivos para toda a humanidade. Coração das Trevas apresenta diversos símbolos. Alguns deles expressam a jornada simbólica ao mundo de Hades, as trevas internas, como o processo da depressão que pode resultar na ampliação de consciência como forma de transcender
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Elander, Viktor. "Vit är människa, svart är svart : En postkolonial analys av synen på ”den andre” i Joseph Conrads Mörkrets hjärta." Thesis, Södertörns högskola, Lärarutbildningen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34504.
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The purpose of this paper was to examine how ”the other” is portrayed in Joseph Conrad’s novel Heart of darkness from a postcolonial perspective. Thru this analysis determine if and in what way the novel may be beneficial to education surrounding postcolonial perspectives in the subject Swedish at upper secondary school. Thru close reading of the text focusing on the novels portrayal of “the other”, the analysis concludes that the novel gives a stereotypical and dichotomous picture rooted in the novels contemporary science and culture of the western world. The way “the other” is portrayed in Joseph Conrad´s Heart of darkness does not consist with the fundamental values of the Swedish upper secondary school. The analysis has concluded that the novels potential as an educational tool in the education surrounding postcolonial perspectives is limited due to it´s lack of non-European perspectives.
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Ferdjani, Youssef. "Le voyage intérieur dans Le tiers livre de Rabelais, Le voyage sentimental de Sterne, Au coeur des ténêbres de Conrad et Voyage au bout de la nuit de Céline." Paris 3, 2008. http://www.theses.fr/2008PA030016.
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Le Tiers livre,le Voyage sentimental,Au coeur des ténèbres et Voyage au bout de la nuit racontent des voyages dans lesquels les endroits que le personnage principal visite ont moins d’importance que les changements qui ont lieu dans sa conscience. Le voyage devient une quête du sens perdu,à travers laquelle les auteurs proposent une réflexion sur l’interprétation,la compréhension de l’autre et la possibilité d’atteindre la connaissance. Il s’agit donc de voyages intérieurs qui permettent aux personnages de mieux se connaître eux-mêmes. Ces oeuvres,qui sont modernes puisqu’elles sont influencées par différents genres,ont également une dimension philosophique et métaphysique car elles analysent la place et le rôle de l’homme dans l’universThe Third Book,A Sentimental Journey,Heart of Darkness and Journey to the End of the Night tell the story of a journey in which the places visited by the main character have less importance than the changes taking place in his consciousness. The journey becomes a quest for the lost meaning of things,through which the authors suggest a reflection on interpretation understanding of the other and the possibility to reach knowledge. These are therefore inner journeys that allow characters to know themselves better. These works,which are modern since they are influenced by various genres,also have a philosophical and metaphysical dimension because they analyse the place and the role of man in the universe
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Olsson, Tillström Johanna. "A Study of Metaphors in the Heart of Darkness and their Swedish Translations." Thesis, Växjö University, School of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2566.
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The aim of this study is to compare metaphors from the 1970 edition of Joseph Conrsd's Heart of Darkness (originally published in 1902) with their Swedish translations in Mörkrets Hjärta, by Einar Hecksher (2006), to see how mwtaphors have been translated from English into Swedish, i.e. to see if there are any structural differences which cause semantic differences to the metaphors. By comparing the original metaphors with their translations, it is possible to point to difficulties, which may cause problems in the translation process. One example indicates that homonyms can be a problem. Nearly all of the English metaphors have been translated as metaphors in Swedish as well. About half of the metaphors studied have been semantically changed in their translations, yet without any pragmatic differences compared to the originals. It seems not that important which theory about metaphors (e.g. Lakoff, Leech, Levinson, Black) is more 'applicable' than the others with regard to translation. The result of translation of metaphors is more likely due to the translator's perception of the source language, rather than to theories about metaphors per se.
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Montgomery, III Erwin B. "Specters of Marks: Elements of Derridean Hauntology and Benjaminian Politico-Historical Eschatology in Frankenstein, Heart of Darkness, and The French Lieutenant's Woman." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194105.
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The present work explicates the concept of "the messianic" as it figures in the work of Jacques Derrida and Walter Benjamin in order to establish the foundation of a useful (and, one hopes, potentially innovative) critical approach to the works of Mary Shelley, Joseph Conrad, John Fowles, as well as to novelistic fiction generally. This foundation rests on a common quality of the messianic as it figures in Derrida and Benjamin's respective corpora. In their conception the messianic refers not to some individual of divine, semi-divine, or even mortal origin who is charged with functioning as the world-historical agent by whose deeds history itself comes to an end, and a new holy, paradisiacal order is thereby founded, but to the aspirational tenor to humankind's orientation to futurity. The messianic finds expression in the myriad instantiations of human beings' future-oriented activity. As such, it achieves a sort of spectrality--or, to borrow the term Marx applies to the commodity, a phantom-like objectivity--having a somewhat intuitive apprehensibility, if in fact not form or substance.Novelistic fiction, which exploits its own spectrality in a bid for arranging impossible arrangements, realizing impossible realities, ordering impossible orders, attempts to occupy an impossible-to-occupy space between on one hand, the catastrophic present and the messianic future, and on the other hand, the future to come and the future as it is wished to be. Wracked by the tension created by its allegiance to chance, the contingent, and the aleatory on one side, and to the deterministic, the necessary, and the climactic or teleological on the other side, novelistic fiction achieves its particular character precisely through pursuit of its abortive program, just as humanity achieves its character, to the extent that such a notion is legitimate, precisely through its abortive program, which is nothing more no less than survival, than living on.
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Lin, Jing-ing, and 林靜鶯. "Travel Narrative in Joseph Conrad''s Heart of Darkness." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/01139761969734348249.
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碩士國立政治大學
英國語文學研究所
83
Abstract What sets the traveler on road? What makes him search for the higher truth during his journey? Does he tell the truth while recounts his story? Where does traveler''s anxiety come from? How does a traveler''s mind change after making a journey? In this issue, those issues can play an important role in the study of literary text. With Heart of Darkness in mind, I will probe into colonial discourse, the neatly embedded narrative frame, and the multi-facet levels of travel narrative. This thesis attempts to adopt some strands of contemporary literary theory, such as psychology, semiotics, tourism, and narratology. By adding new dimension to the time- honored travelogue, this thesis tends to explore the travel narrative as a complex and multifarious form of expression.
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LIN, SONGYEN, and 林松燕. "Violence of Representation in Joseph Conrad's Heart of Darkness." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/78487056548742168319.
Full textAbstract:
碩士國立政治大學
英國語文學系
86
Heart of Darkness participates in the very ideology which it attempts to expose and destroy. A critic of empire, however severe and satiric one reproves, must function within one's culture and will find it difficult to go beyond the ideological boundaries which a critic intends to dissolve and transcend. Despite Marlow's effort to step outside the circle of imperialist premises and to expose their fallacy, there still remains blind spots to the most acute and sardonic critic's perception. In Marlow's vacillations between corrupted and ideal imperialism, a concrete world of the other hemisphere is renderd silent and invisible in Marlow's narrative. The Africa and Africans are invisible in that they transformed into a negative and abstract category which contributes to Marlow's moral and metaphysical contemplations. Through a violence of representation, the Africa as an alien other holds the wicked powerthe Europe does not possess. Africa and Africans are relegated to a category opposite to the West and are deprived of any concrete reality of history and language. They are reduced to a function as a negative mirror which reflects the original and primitive psyche of the European self. Colonial realities arein service of Marlow's inner struggles in order to achieve his and European self-understanding.
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Hsu, Ching-ying, and 許靜瑛. "Gaze and Racism in Joseph Conrad's Heart of Darkness." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/31959203288028598222.
Full textAbstract:
碩士國立臺灣大學
外國語文學系研究所
87
English abstract: This thesis aims to explicate horror as experienced by the imperialist masters of the nineteenth-century Belgian colony of Congo in Joseph Conrad’s Heart of Darkness. This horror has haunted a large portion of the critical legacy concerning Heart of Darkness. With the rise of post-structuralist and post-colonial theories, the critical engagement with horror turns to new political inquisitions dealing with the issues of race, class, and gender considerably framed by theories of discourse. Reading Heart of Darkness as a literary form of colonial discourse, criticism comes to designate this novella as the product both of the colonial rule and of the discursive force in accomplice with colonialism (Spurr 1). This line of criticism focuses on the relation between discourse and power, interrogating the function of representation in shaping and maintaining certain perceptual frameworks which may contribute to or subvert colonialism. Articulating from a Lacanian perspective, this thesis proposes to go beyond the discourse analysis of colonialism and racism, to explore the tension between the colonial and the colonized, embodied most conspicuously in Marlow’s horrified visual contact with the African Other, and to unveil the relation of the experience of horror to the “uncanny logic of racism” (Zizek 1988: 154). According to Slavoj Zizek, instead of merely taking racism as discursive construction, the analysis of the uncanny logic of racism tries to unravel the dimension of enjoyment in racism, designating racism in terms of “the subject’s elementary relationship to the traumatic kernel of jouissance structurally unassimilable into his or her symbolic universe” (1988: 154- 55). This thesis proposes an inquiry of the imperialist gaze in terms of Lacan’s thesis of the objet a and provides detailed discussions of the episodes relevant to visual experiences in Heart of Darkness. I would like to take the subject’s encounter with the gaze as the visual manifestation of the uncanny logic of racism, exploring the implications of racism in the field of vision. In order to unravel the troubled logic of the uncanny in racism, I also draw light from Lacan's theories of the Real and of fantasy as the subject’s confrontation with the structural void, and from Zizek's proposition to account for ideological fantasy in Lacanian terms.
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KIRCHNER, RENATE EDELTRUD. "THOMAS MANN, "DER TOD IN VENEDIG" AND JOSEPH CONRAD, "HEART OF DARKNESS": A COMPARISON. (GERMAN TEXT)." Thesis, 1985. http://hdl.handle.net/1911/13143.
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Kao, Pei-Wen, and 高珮文. "The Integration between Colonizer and Colonized: A Contrapuntal Reading of Joseph Conrad''s Heart of Darkness." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/76453756750297826455.
Full textAbstract:
碩士國立臺灣大學
外國語文學研究所
94
Abstract My thesis is a rereading of Joseph Conrad’s Heart of Darkness based on the dialectic model of contrapuntal reading proposed by Edward Said. In the process of contrapuntal reading, the reader is expected to deal with the canonical texts involved with colonial issues from the different perspectives of the colonizers and colonized. Accordingly, in my rereading of the novella, I shall proceed from the dominant perspective of the colonizer to its antithesis in the marginalized perspective of the resistant colonized figure, and finally to a synthesis that attempts to integrate their perspectives. My central argument is to demonstrate how Marlow’s dominant narrative of his colonial experience discloses the duplicity and inequity of European colonization in Central Africa (thesis) and how Marlow’s native helmsman displays his resistance to colonial rule and thus transforms the unequal power relations of colonialism (antithesis). Finally I shall concentrate on the racial integration and mutual recognition between the colonizers and colonized through their contesting yet intertwined experiences of colonialism (synthesis). On the whole, I want to convey two agendas in my thesis – human agency and interracial brotherhood. The affirmation of human agency to confront the adversity of external situations is displayed by the three figures in the novella – Marlow, the native helmsman, and Kurtz – with their development into mature humanity through the harrowing experiences of colonial enterprise. The prospects of brotherhood are realized by the integration between Marlow and his native crews and between Kurtz and his native disciples. The racial integration between the colonizers and colonized must be based on their mutual acceptance of racial and cultural differences and their recognition of the common humanity between Africans and Europeans. With their mutual recognition and reciprocal services, then it is possible to attain the status of racial harmony in the colonial society.
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LIN, MIN-TSER, and 林明澤. "Joseph Conrad's negative dialectics in Heart of Darkness and Lord Jim." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/61699688961146220025.
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Lou, Aye-ling, and 樓愛玲. "A Dialectical Approach to Joseph Conrad's Heart of Darkness and Lord Jim." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/37995106678395879955.
Full textAbstract:
碩士國立中正大學
外國語文學系
85
The field of Conradian criticism has undergone great changes in recent decades. The labels attached to his works by previous critics as merely adventurous stories or his personal journals have been discarded. Recent criticisms are now emphasized on the complexity of the plots and multiple themes of his fictions. The purpose of my thesis is to explore how Conrad, through the ambivalence of the character-narrator Marlow in Heart of Darkness and Lord Jim, expresses his double visions as well as his aesthetic aim to make us see the world dialectically. The first chapter is an introduction to Conrad the artist and his aesthetic views. Conrad's doubleness is a recognized feature in his artistic works, especially in the so- called Marlovian fictions. In those fictions, by the invention of a self-contradictory narrator Marlow, Conrad speaks out his double visions as well as his dialectical view toward truth and human existence. Through Marlow's ambivalence and his inconclusive story telling, Conrad offers us a higher level of truth--not the factual truth, but the truth of imagination. Chapter two focuses on Marlow's ambivalence in Heart of Darkness. Through Marlow's Congo journey and his exposure to Kurtz, Conrad leads us to the exploration of the paradoxes of morality and human nature. The third chapter debates the ambiguityies and contradictions in human experiences as exhibited in another Marlovian fictions, Lord Jim. Through Marlow's obscurantism, Conrad shows us the complexity of human experiences and the difficulty of a definite judgment. The last chapter is the conclusion of my thesis. Finally, I'd like to define his art as an art of dialectics in which no sense of an ending is achieved in the text. Thus, the aesthetic value of his art lies not on its ending, but on the search itself.
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HO, CHIA-CHIANG, and 何家強. "CENTER AND DECENTER : A STUDY OF THE LANGUAGE IN JOSEPH CONRAD'S HEART OF DARKNESS." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/27348491663307882637.
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Pei-Wen, Kao. "The Integration between Colonizer and Colonized: A Contrapuntal Reading of Joseph Conrad's Heart of Darkness." 2005. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0001-0201200621353900.
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Priscilla, Pei-chin Lin, and 林珮瑾. "The Disinherited Reclaimed: A Study of Joseph Conrad's Heart of Darkness and Franz Kafka's The Trial." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/32598681988360638795.
Full textAbstract:
碩士國立中正大學
外國語文研究所
87
What does it mean by "disinherited"? What are disinherited? How are "the disinherited" reclaimed? "The disinherited" in this thesis can be seen in two ways: the disinheritance of Western civilization and the disinheritance of the artist. The former centers on the problem of Western civilization, the latter focuses on the role of artist in modern society. Joseph Conrad's Heart of Darkness and Franz Kafka's The Trial describe the falling apart of civilization, and man struggles within it. And such, too, is precisely the dilemma of Conrad and Kafka. Unable to find their place in the modern society, both Conrad and Kafka retreat to their desks, using writing as the only way to keep themselves alive. In revealing the problems of their society, both Conrad and Kafka have entered the dominant stream of contemporary thinking. Through their writing, they have reclaimed their roles as artists. Thus, the aesthetic value of art has accomplished its practical function in society. It is no longer useless. The first chapter talks about Goethe's idea of Weltliteratur, and points out that the purpose of this thesis is to approach a cosmopolitanism of literature. Furthermore, this chapter discusses how and in what ways are artists "disinherited." The second chapter discusses how the narrator Marlow in Heart of Darkness, through his Congo journey, discovers the power of nature. Because man underestimates the power of nature, his reason is devoured and can hardly function any more. The third chapter focuses on how the protagonist Joseph K. in The Trial, through his inquiry of the essence of his accused guilt, discovers the loathsome aspects of the bureaucratic organizations. The people in The Trial, under the oppression of the bureaucratic systems, can no longer utilize their reason. Man becomes the victim of bureaucracy. The last chapter is my conclusion. Through the writers' uncovering the problems of our society, literature again has become part of our lives. Therefore, the storyteller regains his inheritance from oral tradition when storytelling provided life-giving advice for its listeners.
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Fang, Shu-hua, and 方淑華. "(Anti-)imperialism and the Question of Canon: Post-colonial Readings of Joseph Conrad's Heart of Darkness." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/64919810046694231199.
Full textAbstract:
碩士淡江大學
西洋語文研究所
83
Joseph Conrad's Heart of Darkness has long been taken, by its first readers and since, as a powerful critique of imperialism. But as time changes, more and more post-colonial critics start to question such a view. Some of them criticize that this novella is indeed a vile product of a racist, others assert that the story is unable to transcend the ideology of Western hegemony, even if it was intended to critique. What has resulted in such different readings? And are these different readings much involved with the realities of politics and cultures? This thesis aims to discuss these questions. Besides introduction and conclusion, this thesis is divided into three chapters. Chapter one offers a review of the principal debates on the imperial subject of Heart of Darkness. Chapter two, on one hand, introduces the background and characteristics of post-colonial readings; on the other hand, analyzes the inadequacy of such readings while being applied to this novella. The main dish of the thesis is chapter three, in which the questions dug out by post-colonial readings, such as the question of subjectivity (a Englightenment Subject) and canon, are observed. Although the idea of Enlightenment has opened a door to Reason and Progress for the West, but such an idea simultaneously has devaluated the existence of the non-West. Similarly, while establishing a Western canon such as Heart of Darkness, the voice and image of minor race is likely being silenced and distorted. Therefore, I hope this thesis could stimulate the reader to examine the complex relationship between literature, culture and politics in a more profound way.
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Lo, Ching-Hsiang, and 羅青香. "The Uncanny on Joseph Conrad's Heart of Darkness: Heimlich and Unheimlich in the Text and the Criticism." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/62966401518115556963.
Full textAbstract:
碩士國立清華大學
外國語文學系
88
Generally speaking, the uncanny in Joseph Conrad’s Heart of Darkness is an aspect critics leave untouched, yet I think it deserves further pondering besides "the self-quest journey” or “the double” discussions in psychoanalytic criticism. On the other hand, putting it under the colonialistic paradigm, we find that in the 1960s and 70s, critics had chosen to develop arguments roughly based on a debate judging whether the novel is imperialistically biased or not. Inferring from this critical phenomenon, there is an uncanny effect practicing in criticism, too. Could these two phenomena be related--the uncanny ignored in Heart of Darkness by psychoanalytic criticism and the uncanny produced by colonialistic paradigm? In fact, I propose here that in the novella the protagonist escaped an uncanny from/in Europe, which is exactly performed in later literary criticisms represented by psychoanalytic and colonialistic methods, and yet he was still to be terrified with his most familiar countrymen in a foreign territory. It is not an easy job to depict completely what that uncanny is, though I tried to, and may even be a mission impossible. A never successful grasp is that depiction, which aptly explains why Conrad in this novel entangled between inferring darkness of Europeans and the Africans, darkness between the civil agents and the wilds. The uncanny is what makes it difficult to identify an object to represent the darkness inherited from a kind of authoritative/orthodox discipline which, we can name it as "European" or "philanthropic". Previous critiques in this novel do not satisfy me because they seem to be developed from an existed, well-constructed methodology. That, I propose, will miss the uncanny part in the novel. And I propose also that for the critique of the novel, the uncanny is a very important part. You cannot just utilize some existed, convenient and standard critical tools to interpret the novel. Because the darkness in the novel Heart of Darkness is exactly something like that finally everything is funneled back to the mainstream (in the novella it is the protection, the principle, or the life in the sepulchral city; in the criticism it is grandiose discourse such as colonialism, romantic self-quest theme, "the double" or Oedipus complex in psychology); however, that "something more" rustling under the stream is ignored-- because it is "not obvious enough" or it is not compliant to any existed, standard paradigm in criticism which we are accustomed to apply. Yet at the same time, do you think that in Heart of Darkness standard procedure is praised, romantic idea is recommended, or that the narrator's personal pursuing toward self-understanding is the point? Do you agree that is all the story? I started a series of dialectical processes from Freud's contemplation on heimlich/unheimlich, which he derived from the two-in-one aspect of the uncanny (1919) to humanist philosophers' questions on related fields, in order to expect not to be "disavowed" (or misguided) by the un-canny. Basically, I always wish it could be an intriguing fascination to stare at the negative in the, heart of . . .darkness. This thesis is a re-consideration of the uncanny derived originally from Freud’s definition (“The Unheimlich”, 1919) and an extension of it, partly leading to the whole study portfolio on the connection from The Uncanny to Beyond the Pleasure Principle (Freud, 1920) in my future studying plan. It is going to unravel the problem, the uncanny, in two levels: first, the uncanny in the text and second, the uncanny in the criticism on Heart of Darkness in order to represent the dialectic between Heimlich and Unheimlich, giving the dialectic another parenthesis in literature reading, since the uncanny never appears in form of panorama.
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Rossouw, Leon Armand. "The motif of the water journey as a metaphor for philosophical enquiry in selected novels of Herman Melville and Joseph Conrad." Thesis, 2007. http://hdl.handle.net/10539/2174.
Full textAbstract:
Student Number : 7639580 -
MA research report -
Faculty of HumanitiesThis research report explores the motif of the water journey as a metaphor for philosophical enquiry in Melville and Conrad by comparing Moby-Dick with Heart of Darkness, and Billy Budd, Sailor with Lord Jim. It takes as its starting-point M.H. Abrams’s essay, “Spiritual Travelers in Western Literature”, and adapts the typology which he introduces by identifying four different kinds of fictional journey, namely, the physical, the experiential, the narrative and the hermeneutic. By concentrating on a broadly-based semiotic approach to interpretation (while also allowing for other critical possibilities), it examines Melville and Conrad’s treatment of certain pivotal issues in metaphysics, epistemology and ethics. It compares the narrative strategies of the two authors and, by offering close readings of the four texts under discussion, it highlights the similarities and differences in the authors’ responses to a universe of teasing complexity, as well as exploring the reader’s engagement with such texts.
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Hooper, Myrtle Jane. "The silence at the interface : culture and narrative in selected twentieth-century Southern African novels in English." Thesis, 1992. http://hdl.handle.net/10413/8569.
Full textAbstract:
The primary intention of this study is to establish the theoretical
significance of silence within the sphere of the twentieth-century
Southern African novel in English. Clearly a feature of recent writing,
silence is less overtly thematised in earlier work. Since relatively
little critical and theoretical attention has been paid to silence as a
positive phenomenon, however, modes of reading it are sought within the
broader sphere of the social sciences, and specifically its tradition of
social constructionism. Care is taken to address the pressures of the
local context, identified in terms of the postcolonial paradigm as
relating to language and to culture. A deliberate theoretical innovation
is the renunciation of the trope of penetration in favour of the notion
of an interface between intact language-culture systems, given an
understanding of culture as existing between subjects in relations of
power. Fictional narrative which addresses cross-culturality is thus
read as a process of cultural translation, and the volitional deployment
of silence as an act of resistance to its power. The significance of
language is registered in the use of speech-act theory, in the
insistence on meaning as generated in spatially and temporally situated
conversation, and in the exploration of the influence of pronominal
relations on identity. Emerging from my investigation is a recognition
of the measure offered by silence of the autonomy of character as
subject, and a corresponding recognition of the constitutive capacity of
the reader to site the power of narration amongst the polyphonic voices
within the culture of the text. The postcolonial paradigm indicates the
need for a regional rather than a national perspective; thus the
interfaces considered in the case studies include, in Plaatje's Mhudi,
orality and literacy, tribal membership and non-sectarianism, Tswana and
English; in Paton's Too Late the Phalarope the private domain and
apartheid as public hegemonic discourse, narration as possession, and
the tragic as structuring textual relations; and in Head's Maru the
constitution of a postcolonial identity that resists and transcends the
discursive hostility of racism, and the dislocation, displacement and
alienation of exilic refuge from apartheid.Thesis (Ph.D.)-University of Natal, Durban, 1992.
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Li, Richard, and 李延熹. "From Discovery to Self-Discovery: A Study of Four Adventure Stories: Herman Melville's Moby-Dick, Conrad' Heart of Darkness, Jack London's The Sea-Wolf, and Saul Bellow's Henderson the Rain King." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/01258229559159358081.
Full textAbstract:
碩士國立中正大學
外國語文學系
84
In this thesis, I shall attempt to illustrate the common features of four first-person sea and African adventure stories that mark them as belonging to what I propose to call the novel of self-discovery, as a subgenre of the novel of adventure. Their plots feature a journey into the unknown, the protagonists' confrontation with violence, and their ultimate return. If we accept the four narrators as the fictional authors, these four texts operate on two levels; each of them tells two stories: the story of disaster, and the story of the narrator's recovering health by composing his own adventure story. Part One will focus on the survivor-narrator's motivations for going to sea or to Africa. I will then interpret the narrators' experiences in the unknown world and how the narrators are affected by the heroes, in Part Two of my thesis. Part Three will concentrate on the question whether the narrators' experiences reshape their original selves. After these discussions, I will assess the results of my attempt to describe my four chosen texts as novels of self- discovery, with specific reference to the idea of the novel as a bourgeois adaptation of the epic.