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Journal articles on the topic 'Heart of darkness (Conrad, Joseph)'

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Published: 4 June 2021

Last updated: 3 March 2023

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1

Lobo, Suely Maria De Paula e. Silva. "Conrad: light in darkness." Estudos Germânicos 8, no. 1 (December 31, 1987): 15. http://dx.doi.org/10.17851/0101-837x.8.1.15-19.

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This essay presents an analysis of the several stages Marlow, the main character in Joseph Conrad's Heart of darkness passes by in his search for truth and self-understanding. It also questions the nature and extent of his achievement and success. Este ensaio apresenta uma análise dos diversos estágios por que passa Marlow, o narrador principal em Heart of darkness de Joseph Conrad, na sua busca de verdade e auto-conhecimento. Também questiona a natureza e o sucesso dos resultados dessa busca.

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Haryadi, Rafi, and Yusmalinda Yusmalinda. "AN ANALYSIS OF HYPERBOLE USED IN HEART OF DARKNESS BY JOSEPH CONRAD." LINGUA LITERA : journal of english linguistics and literature 7, no. 2 (September 12, 2022): 12–22. http://dx.doi.org/10.55345/stba1.v7i2.165.

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Abstract The purpose of this research was to identify the forms of hyperbole found in Heart of Darkness by Joseph Conrad. The research data were taken from the novel Heart of Darkness by Joseph Conrad. The writer applied Claridge’s theory to classify the forms of hyperbole. There are seven forms of hyperbole. They are single-word hyperbole, phrasal hyperbole, clausal hyperbole, numerical hyperbole, hyperbolic superlatives, hyperbolic comparison, and hyperbolic repetition. This study was qualitative research. This study reveals that seven forms of hyperbole according to Claridge (2011) were found in Heart of Darkness by Joseph Conrad. The forms are single-word hyperbole, phrasal hyperbole, clausal hyperbole, numerical hyperbole, the role of the superlative, comparison, and repetition. From the occurrence of all seven forms of hyperbole, it was found that the most form of hyperbole was clausalhyperbole. In conclusion, it can be said that Joseph Conrad used all forms of hyperbole in the novel Heart of Darkness.

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3

Brodsky, G. W. Stephen. "Critical Insights: Heart of Darkness by Joseph Conrad." Polish Review 67, no. 2 (July 1, 2022): 114–17. http://dx.doi.org/10.5406/23300841.67.2.16.

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Oliveira, Solange Ribeiro de. "Aspects of hybridism in Joseph Conrad's Almayer's Folly and Heart of Darkness Aspectos de hibridismo em Almayer´s Folly e Heart of Darkness de Joseph Conrad." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 15–28. http://dx.doi.org/10.5007/2175-8026.2019v72n1p15.

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In the light of concepts put forth by Cultural Criticism the essay discusses Joseph Conrad´s novels Almayer´s Folly and Heart of Darkness as stagings of the conflicts inherent in the syncretic nature of all culture. In the first novel, Nina, the offspring of an interracial marriage, is analyzed as a projection of the problems of hybridism. The theme recurs in Heart of Darkness, in the figure of the “harlequin”, whose mixed ancestry makes him the butt of continuous abuse. A fictional anticipation of Michel Serres´ allegorical harlequin , the half-caste proves close to three Conradian characters: Nina, in Almayer´s Folly, and, in Heart of Darkness, Kurtz and Marlow, the narrator. Conrad´s two novels thus nod to each other as mutually illuminating references, fictional premonitions of the key postcolonial category of hybridity.

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Ena, Ouda Teda, and Made Frida Yulia. "Foreshadows and Symbols in The Brussels Company�s Main Office in Joseph Conrad�s Heart of Darkness." LLT Journal: A Journal on Language and Language Teaching 15, no. 2 (January 10, 2017): 9–14. http://dx.doi.org/10.24071/llt.v15i2.318.

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Joseph Conrads Heart of Darkness unveils a story about a journey to the inner selfto find the mysteries of human mind. The way the writer presents his story is veryintriguing in that he makes of use of many foreshadows and symbols. This paperattempts to examine the foreshadows and symbols which Conrad uses in this novella;however, the discussion is limited to the ones that appear in The Brussels CompanysMain Office.DOI: https://doi.org/10.24071/llt.2012.150202

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Mahzuna Shavkatovna, Shoyimqulova. "Setting in Joseph Conrad’s “Heart of Darkness”." International Journal on Integrated Education 2, no. 6 (December 9, 2019): 28–30. http://dx.doi.org/10.31149/ijie.v2i6.192.

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“Heart of Darkness” is a crucial work in the development of modem literature, as it establishes the main theme of twentieth-century writing: fear and disillusion about the western man’s place in the world and the values by which he lives. Joseph Conrad witnessed the violence and hypocrisy of colonizing culture travelling up the Congo and revealed his experience in his novel what he calls the “Heart of Darkness”, the book is an authentic material. The setting of Conrad's “Heart of Darkness” is extremely essential to the story. The setting affects the mood, the characterization and the plot development. The setting allows for more realistic plot development, and as a result, more credible characters.

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Gupta, Nikita. "Racism Reflected in Heart of Darkness by Joseph Conrad." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 17, 2021): 66–71. http://dx.doi.org/10.24113/ijellh.v9i5.11039.

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This paper deals with the concept of racism, which is considered as a dark topic in the history of the world .Throughout history, racist ideology widespread throughout the world especially between black people and white people. In addition, many European countries started to expand their empire and to get more territories in other countries. Joseph Conrad’s Heart of Darkness which is his experience in the Congo River during the 19th century dealt with the concept of racism, which was clear in this novel because of the conflicts that were between black and white people and it explained the real aims of colonialism in Africa, which were for wealth and power.

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8

Guillaume, Isabelle. "Les prophéties dans Heart of Darkness de Joseph Conrad." Babel, no. 4 (March 1, 2000): 165–87. http://dx.doi.org/10.4000/babel.2890.

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Vasconcelos, Sandra Guardini. "Catástrofe e sobrevivência em Heart of Darkness." Literatura e Sociedade 24, no. 30 (December 6, 2019): 127–39. http://dx.doi.org/10.11606/issn.2237-1184.v0i30p127-139.

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O artigo discute a leitura que Antonio Candido propõe para “The Secret Sharer” e Lord Jim, de Joseph Conrad, a partir do que o crítico argumenta serem seus temas mais reveladores (“o isolamento, a ocasião, o homem surpreendido”) e do modo como a figuração do “ser em crise” se projeta na forma do conto e do romance. Sua análise e interpretação fornecem pistas produtivas para ler Heart of Darkness, outra obra central do autor britânico de origem polonesa.

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HAMEED MANA DAIKH. "Narrator’s Reliability in Joseph Conrad’s Heart of Darkness." journal of the college of basic education 2, SI (May 15, 2022): 75–86. http://dx.doi.org/10.35950/cbej.v2isi.5720.

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Most of the time, the major characters in a literary work especially the protagonist is assumed to be, at least, another image of the author. So, the leading character in the novella is another replica of Conrad. He, both in reality and in fiction, plays the main role in the journey to the dark continent and enriches the novella with his rational observations. The journey of 1890 Conrad participated in Congo has transformed him into a distorted, full of wounds, emotionally defeated, and sick. Marlowe was very enthusiastic and attempted to polish the ugly picture of imperialism. Therefore, before the journey, he had clashing views that turned the readers skeptical about Marlow’s story, especially in the first part of the novella. He has come through violence, the danger of nature, the inability to sense reality, and ethical obscurity. Marlow’s unreliability came from his views which are told several times by different characters. He supports the imperialistic and racial views when he called conges primitives. Even some characters in his journey are unnamed during the trip. This will make readers observe that some incidents, tendencies, feelings, and reactions are not authentic and unreliable because of the narrator’s unreliability. Throughout the novella, Marlow’s attitudes stand, and views fluctuate and do not meet the readers’ expectations. This kind of fluctuation creates a sense of uneasiness, which pervades the whole novella and make readers judge that Marlow is an unreliable narrator, who attempts to polish certain ugly images in novellas like Kurtz, Europe, company, and imperialism. Marlow was inconsistent in his narrative and there is no doubt that this inconsistency turns him to be unreliable especially when readers find this discrepancy because it destabilizes readers.

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Gadekar, Sachin. "The Women Characters in Joseph Conrad’s Heart of Darkness." Feminist Research 2, no. 1 (July 7, 2018): 16–18. http://dx.doi.org/10.21523/gcj2.18020102.

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The present research paper is an attempt to provide a comprehensive account of the female characters in Joseph Conrad’s well-known novella Heart of Darkness. The real interest of this study lies in what Conrad has to say about female characters, conduct and also the way in which he projects them. Thus, I have here attempted to examine the female characters in Conrad’s Heart of Darkness, to set these characters against their male counterparts, and so, to allow an increased awareness of the depiction of female characters as submissive, dominated by men, often deceived by others and with lack of their own identity. Clearly, it would be little short of a marathon task to do the study of all Conrad’s major fictions with feministic perspective, and so, this study limits its concern to his masterpiece novella such as Heart of Darkness

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12

West, Russell. "Christa Wolf Reads Joseph Conrad: Storfall and Heart of Darkness." German Life and Letters 50, no. 2 (April 1997): 254–65. http://dx.doi.org/10.1111/1468-0483.00055.

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13

Fakhimi Anbaran, Farough. "Multiple Perspectives Toward Women in Joseph Conrad’s Heart of Darkness: A Feministic Overview." International Letters of Social and Humanistic Sciences 66 (February 2016): 129–34. http://dx.doi.org/10.18052/www.scipress.com/ilshs.66.129.

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Undoubtedly, in spite of all those efforts done during the years, the mentality towards the superiority of male over female is still being reflected in the works of art written by men. Joseph Conrad, the Polish author, who wrote great masterpieces in English, is not an exception. His great work of art,Heart of Darkness, reflects multiple perspectives towards women. By applying a Feminist approach towards this novel, this article tends to present an analytical overview of the mentality of men towards women in the written work of art,Heart of Darkness.

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Azam, Nushrat. "Prejudice in Joseph Conrad’s Post-Colonial Novel Heart of Darkness." International Journal of Applied Linguistics and English Literature 8, no. 5 (September 30, 2019): 116. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.5p.116.

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The paper analyses the underlying racism present in Joseph Conrad’s Heart of Darkness. Although Heart of Darkness has been considered one of the greatest works of art ever since it was first published, one aspect of the novel has been a constant source of criticism and debate among scholars and readers: racism. Whether this novel is racist is a question of utmost importance because this question puts the greatness of the novel in doubt. The purpose of this study is to answer this very question of racism through the analysis of the author’s point of view, characterization, visual description, use of symbols and language used in the novel with regards to racism. Through the analysis it has been concluded that through Conrad’s method of narration, style and literary skill, Conrad expertly masks racist viewpoints and hides the fact that at its core, Heart of Darkness is in fact a racist novel.

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Abu Fares, Ashraf. "A Bakhtinian Reading of Joseph Conrad’s Heart of Darkness." International Journal of Literature Studies 1, no. 1 (July 14, 2021): 05–09. http://dx.doi.org/10.32996/ijts.2021.1.1.2.

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The purpose of this paper is to analyze Joseph Conrad’s novel Heart of Darkness in line with Mikhail Bakhtin’s theory of dialogism. Heart of Darkness is Conrad’s novel written in 1899, in which Marlow narrates the story of the voyage he took part in up the Congo River into the Congo State in Africa. This paper analyses Conrad’s text in relation to Bakhtin’s concept of polyphony to show how Conrad represents the various voices and discourses in the narrative through a dialogic pattern that serves to illustrate the thematic concern of the novel. The paper highlights how the voices and discourses that exist both within Marlow’s discourse as well in the other characters’ discourses work together to formulate Conrad’s stance on imperialism and his critique of its ideological manifestations.

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Min, HUANG. "An Analysis of Orientalism in Heart of Darkness." Review of European Studies 14, no. 3 (August 8, 2022): 65. http://dx.doi.org/10.5539/res.v14n3p65.

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The world is commonly divided into the West and the East, two parts that are inherently not alike in many aspects but are tied in one way or another. However, the clash between the two led to the superiority of European powers and hence created a point of view from which Western imperialists understood the Orient and the relation they had with it. Edward Said gave the term “Orientalism” to refer to this mode of representation of the Orient from Western imperial powers’ imagination, while Joseph Conrad’s Heart of Darkness is a novella that is exactly centered around the interplay between colonialist and natives from the colonial viewpoint, or in other words, their Orientalist prism. In Heart of Darkness, Conrad shows much sympathy for Africans’ suffering and harsh condemnation of the imperialism. However, at the same time he unwittingly assumes sort of Western White’s superiority and commits the myth of imperialistic ideology by distorting the images of African land as wild, dark, barbarous, mysterious and backward, African people as barbaric, savagery, greedy and primitive while African culture as wicked and horrible.

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Janikowska, Agata. "O trudności ekranizacji. Andrzej Wajda i „Jądro ciemności”." Prace Kulturoznawcze 22, no. 3 (May 7, 2019): 93–100. http://dx.doi.org/10.19195/0860-6668.22.3.8.

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The difficulty of film adaptation. Andrzej Wajda and Heart of DarknessThe purpose of the article is to characterize and analyze the possible shape of a film adaptation of Heart of Darkness by Joseph Conrad, which Andrzej Wajda never accomplished. Through using archival materials, notes, letters, scripts and screenplays the author of the article reconstructs the creative work of the director on the idea of the movie and the issues which eventually prevented a finalization of this project. The article refers not only to Wajda’s unrealized film, but also to Conrad themes present in the director’s creations.

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Guillaume, Isabelle. "Aspects de la polyphonie dans Heart ok Darkness de Joseph Conrad." Cahiers de Narratologie, no. 10.2 (January 1, 2001): 53–68. http://dx.doi.org/10.4000/narratologie.10176.

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19

Xiaoling, Yao. "Matt Kish’s Illustration: A Nuanced Remapping of Joseph Conrad’s Heart of Darkness." Transcultural Studies 13, no. 2 (February 1, 2017): 217–38. http://dx.doi.org/10.1163/23751606-01302007.

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This paper is to conduct a cross-medium study by introducing a newly published illustrated Heart of Darkness. I argue that the reciprocal cross-medium fertilization between Matt Kish’s visualized project and Conrad’s verbal story proffers an alternative nuanced way to investigate Conrad’s stance in the colonial exploitation. In Matt Kish’s illustrations, Conrad concedes that there exist differences between the blacks and the whites in physicality and cultures, but he never attempts to “dehumanize” and demonize the blacks. On the contrary, the blacks in the illustrated Heart of Darkness are capable to self-defend themselves and are endowed with the subversive power to return their gaze back to the viewers.

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20

Šavle, Majda. "Indirect narration : a case study of Conrad's Heart of darkness and Fitzgerald's The Great Gatsby." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 117–27. http://dx.doi.org/10.4312/an.40.1-2.117-127.

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Joseph Conrad's narrative style bas influenced many writers, including F. Scott Fitzgerald. The objective of my study on verbs used in discourse in Conrad's Heart of Darkness and Fitzgerald's The Great Gatsby was to confirm the speculation that besides Conrad's innovative technique of indirect narration there were other techniques (such as careful selection of imagistic detail) Fitzgerald learned from Conrad.

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Alwan, Asst Prof Huda Kadhim. "The Binary Oppositions in Joseph Conrad's Novel Heart of Darkness." Alustath Journal for Human and Social Sciences 60, no. 4 (December 24, 2021): 611–42. http://dx.doi.org/10.36473/ujhss.v60i4.1841.

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The novel Heart of Darkness is regarded as one of Joseph Conrad's highly skilled works and seen as an important tale written between the years of 1898 - 1899, and also viewed as an assault on imperialism and unethical behaviors of the European colonizers in Africa in the nineteenth century. The novel displays the author's humanity towards the crimes of the colonists and imperialists throughout the world. In Heart of Darkness, Conrad shows the cruelty of colonialism in Africa through his major character, Charlie Marlow, who realizes the cruel manners of Belgian colonialism during his journey to the Congo looking for the European ivory agent, Kurtz. This novel is a combination of two opposite things. It exposes the author's viewpoint regarding the ethics of the Europeans and the Africans. This research concentrates on the binary oppositions in Heart of Darkness through Marlow's journey to Africa and exposes Marlow's struggle between his human nature and his beliefs and replies whether his conflict will be effective and bring good results or negative.

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Lekesizalin, Ferma. "The Production of the Imperialist Subjectivities in Joseph Conrad’s “Heart of Darkness”." International Journal of Applied Linguistics and English Literature 6, no. 4 (May 2, 2017): 63. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.4p.63.

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In this paper, I argue that Joseph Conrad portrays the imperialist ideology as fundamentally flawed in “Heart of Darkness". The inconsistency of imperialism is blatantly evident in the contradiction between the perceptions of Kurtz as “an emissary of pity” (59) and his call for genocide, which he put as a postscript in his report to the Society for the Suppression of the Savage Customs. I thus claim that “Heart of Darkness” constructs the colonizer as a flawed subject who suffers from the same contradictions with the imperialist system as its product. I will use the Lacanian theory of the symbolic order and refer to Slavoj Žižek’s re-formulations of it in order to substantiate and clarify my points.

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Samsel, Karol. "Joseph Conrad a polska cisza romantyczna. Próba zbliżenia." Białostockie Studia Literaturoznawcze, no. 18 (2021): 81–102. http://dx.doi.org/10.15290/bsl.2021.18.05.

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The article attempts to extend the existing Polish-language research on the semantics of silence in Joseph Conrad’s works, and to interpret this semantics, in the view of the Polish literary tradition, to which Conrad indicated his debt subtly but quite unambiguously (e.g. in an interview with Marian Dąbrowski from 1914). The author highlights the perspective of the so-called Ukrainian school in the Polish Romantic Literature, suggesting that it was from this imagination (more than from Mickiewicz’s) that the author of Almayer’s Folly could adopt specific figures: “the cosmic night” and “the ontological silence”. It is visible both in the construction of events (Nostromo, Almayer’s Folly, The Shadow-Line) and in the narrative strategies (Heart of Darkness, Lord Jim, Chance).

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Im, Seo Hee. "The Ghost in the Account Book: Conrad, Faulkner, and Gothic Incalculability." Novel 52, no. 2 (August 1, 2019): 219–39. http://dx.doi.org/10.1215/00295132-7546745.

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Abstract “The Ghost in the Account Book” claims that the imperial fiction of Joseph Conrad and William Faulkner rejects accounting as a totalizing logic and, by extension, questions the English novel's complicity in propagating faith in that false logic. Accounting, which had remained unobtrusively immanent to realist novels of empire such as Mansfield Park and Great Expectations, surfaces to the diegetic level and becomes available for critical scrutiny in high modernist novels such as Heart of Darkness or Absalom, Absalom! Drawing from writings by Max Weber (on guarantees of calculability) and Mary Poovey (on the accuracy effect), this essay attends to the dandy accountant of Heart of Darkness, the accretive narrative structure of Nostromo, and Shreve's recasting of Sutpen's life as a debtor's farce in Absalom, Absalom! If Conrad bluntly equates accounting with lying, Faulkner reveals secrets elided in rows of debit and credit one by one as sensational truths; to those ends, both writers invoke Gothic conventions. By dispatching the totalizing technique that had been invented by early modern merchants and finessed by realist novelists to generate faith in a stable fiduciary community, Conrad and Faulkner impel the invention of newer forms and figures with which to express the new imperial (and later, postcolonial) world order.

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Šešlak, Mirko. "THE DOUBLE VISION OF JOSEPH CONRAD: „HEART OF DARKNESS“, A CONTRADICTION IN TERMS." Lipar XXI, no. 73 (2020): 113–31. http://dx.doi.org/10.46793/lipar73.113s.

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This article aims to explore the background of the dispute started by Chinua Achebe in his famous essay “An Image of Africa: Racism in Conrad’s Heart of Darkness”. The novel in ques- tion has become the subject of the dispute on whether it is deserving of being considered a great work of art. The reasons behind Achebe’s claim that it is not are the dehumanization of Africans found in various scenes throughout the novel, as well as the depiction of Africa itself as the barbaric and hostile other to civilized Europe. As in any such claim, while some support it, others find it faulty. There are those such as Achebe who would judge Conrad for the same reasons others, such as Bratlinger, Said, Mnthali, or Ngugi Wa Thiong’o, see him as the product of his time. This article will attempt to explore some of these claims and, if possible, determine the extent of their validity.

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Stubbs, Michael. "Conrad in the computer: examples of quantitative stylistic methods." Language and Literature: International Journal of Stylistics 14, no. 1 (February 2005): 5–24. http://dx.doi.org/10.1177/0963947005048873.

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A stylistic analysis of Joseph Conrad’s Heart of Darkness is used to illustrate the literary value of simple quantitative text and corpus data. Cultural and literary aspects of the book are briefly discussed. It is then shown that data on the frequencies and distributions of individual words and recurrent phraseology can not only provide a more detailed descriptive basis for widely accepted literary interpretations of the book, but also identify significant linguistic features which literary critics seem not to have noticed. The argument provides a response to scepticism of quantitative stylistics from both linguists and literary critics.

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Palazón Mayoral, María Rosa. "Corazón de la oscuridad." Interpretatio. Revista de Hermenéutica, no. 6-1 (March 9, 2021): 177–88. http://dx.doi.org/10.19130/iifl.it.2021.6.1.24871.

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“Corazón de la oscuridad” [Heart of Darkness] takes up a title by Joseph Conrad; here darkness equals evil. It admits the polysemy of the word evil, which bounces back on its opposite good. In ancient philosophy, God was the Highest good, Christian religion left an imprint of this faith even in individuals who do not consider themselves religious. Even if we are not aware of it, many of the imprints that we carry inside ourselves (in the other self) move the affects. We must discover the manifested motive; then we discover the twinning character of the sacred, explicit in the patron saint festivities. Ancient rituals, however terrible we may judge them, lead to sociability as a symbol, and can become a manifestation of good and justice.

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Blauth, Taís Paulilo. "A PAISAGEM INDESCRITÍVEL EM HEART OF DARKNESS E DUAS TRADUÇÕES BRASILEIRAS:." Belas Infiéis 3, no. 1 (October 8, 2014): 185–97. http://dx.doi.org/10.26512/belasinfieis.v3.n1.2014.11265.

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Este estudo exploratório e parcialmente guiado pelo corpus investiga traços de estilo no clássico de Joseph Conrad, Heart of Darkness (1902), e duas edições brasileiras, traduzidas por Hamilton Trevisan (1984) e José Roberto O’Shea (2008). A metodologia se apoia na etapa descritiva da “estilística tradutória” de Malmkjaer (2003, 2004) e conta com o auxílio do software WordSmith Tools© 6.0 para o levantamento das linhas de concordância. A investigação se concentra na temática da representação da paisagem como reflexo da perplexidade do observador, conforme apontada em estudos literários e estilísticos sobre o texto original. Em consonância com esses estudos, a análise parte do critério gramatical da negação e, em um segundo momento, observam-se os padrões revelados pelo corpus. Esses padrões apontam para algumas preferências estilísticas dos tradutores e para possíveis mudanças de significado, principalmente no texto de Trevisan, com a intensificação de determinados aspectos da paisagem representada.

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Cousineau, Thomas J. "“Always Symmetrize!: Forging Bonds in Heart of Darkness”." East-West Cultural Passage 21, no. 2 (December 1, 2021): 167–87. http://dx.doi.org/10.2478/ewcp-2021-0018.

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Abstract “Always Symmetrize!,” the title of this essay – which echoes Fredric Jameson’s better-known admonition to “always historicize” – alludes to a type of literary analysis, inspired by the Chilean psychoanalyst Ignacio Matte Blanco’s concept of “symmetric logic,” which I have been working on for several years. Briefly, it treats the makers of literary monuments as engaged – like the alchemists discussed by Mircea Eliade in The Forge and The Crucible – in the task of perfecting the work of nature, a project that they pursue under the guidance of what I call the “symmetrical imperative.” The “unsurpassable horizon” of this literary endeavor is Homer’s Iliad, whose perfectly achieved, albeit covert, bilateral symmetry (magisterially detailed by Cedric Whitman in his classic Homer and The Heroic Tradition) is made overt in the undisputed masterpiece of Greek geometrical pottery – Exekias’s amphora, “Achilles and Ajax Playing Dice,” which I discuss briefly at the outset of my essay. The greater part of this essay is devoted to an analysis of the similarly covert workings of the symmetrical imperative in Joseph Conrad’s modernist masterpiece Heart of Darkness. In the initial phases of this “alchemical process,” Conrad treats as symmetrical the two otherwise asymmetrical stages of Marlow’s journey (first to the Central Station and then to the Inner Station). In its second phase, he creates a container within which to contain this pairing of symmetrized episodes in the form of a narrative whose covert bilateral symmetry achieves, as Fernando Pessoa recommends in The Book of Disquiet, “a realization freed from the taint of reality” (30). Having completed my analysis of this twofold alchemical process in Heart of Darkness, I then devote a few concluding pages to its return in “The Secret Sharer,” a short-story which Conrad wrote several years after publishing Heart of Darkness, and in which he may well have “perfected the work of nature” even more impressively.

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Candreva, Debra. "Conrad and the American Empire." Perspectives on Politics 7, no. 2 (May 15, 2009): 317–33. http://dx.doi.org/10.1017/s1537592709090835.

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Joseph Conrad offers some of the most notoriously contested writing on imperialism in nineteenth-century literature. In this article, I use two of his stories (“An Outpost of Progress” and Heart of Darkness) to argue that his critique of imperialism is as relevant today as it was in his own time.Conrad's critique of imperialism is twofold. First and most simply, he condemns it as an economically exploitative endeavor. Second, and more importantly, he rejects the “idealistic” claim often invoked to justify imperialism as the bearer of progress, enlightenment, and other supposedly universal liberal values. This second critique causes Conrad the most difficulty, largely because his rejection of idealism is only partial. I argue that the most controversial aspects of his work are manifestations of a philosophical struggle between universalistic idealism on the one hand, and relativistic skepticism on the other. In this, Conrad contends with a problem that historically has challenged both liberalism and its conservative critics alike. Moreover, it continues to challenge both perspectives today, particularly in the debate over so-called American imperialism.

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Panas, Paweł. "Joseph Conrad's Legacy in Postwar Polish Émigré Literature." Polish Review 67, no. 3 (October 1, 2022): 68–78. http://dx.doi.org/10.5406/23300841.67.3.07.

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Abstract Joseph Conrad, his life and oeuvre, had been of major influence in Polish literature almost from the very start of his literary career. This was due to the artistic innovativeness of the author of Heart of Darkness, his Polish origin and unique expatriate biography. It is therefore unsurprising, that Conrad would be of particular interest for writers and intellectuals who found themselves in exile after the Second World War. In that diverse community, he was the subject of critical literary discourse and a source of inspiration. And in such context distinct attention should be paid to Andrzej Bobkowski's stories written in Guatemala, as they often refer to the Conradian tradition. One of the stories in which the reader can easily locate motifs from Conrad's work is “Spotkanie” [An Encounter]. The text reveals the depth and breadth of the influence of the great predecessor on Bobkowski's work, e.g., in terms of the subject matter, the construction of characters, and the choice of narrative strategies. Yet as a detailed analysis of the story reveals, Conrad's model is recast here in a manner that addresses the issues prominent in the more recent exile literature, i.e., transformation of subjective identity and the opposition between the local community and the self-conscious outsider.

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Wicher, Andrzej. "Echoes of Rituals of Initiation and Blood Sacrifice in Heart of Darkness by Joseph Conrad." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 397–419. http://dx.doi.org/10.18778/2083-2931.12.24.

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In Heart of Darkness, the protagonist Kurtz, of whom we do not, in fact, see much, is shown as connected with a native “sorcerer,” a “witch-man,” who had “antelope horns” on his head. Antelopes, or goats, are typical sacrificial animals, and the protagonist of this novella is a European who perishes in the midst of tropical forests, in spite of the high hopes that accompany his decision to try his luck in an exotic environment. Kurtz has promising beginnings, but later he gradually degenerates, carrying out what may be called a reversal of the ritual of initiation, comparable to the inverted ritual, to use V. Propp’s term, in folklore. In this sense, he may be regarded as a counterpoint to Conrad himself whose life can easily be described as a modern and uncommonly successful enactment of the same ritual. Meanwhile, Kurtz’s, and to a lesser extent also Marlow’s, failure as initiates is inscribed in the failure of the European civilization to construct a European empire in Africa.

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Kaur, Gurnoor. "Clash of Ideas and Sensibility in the writings of Joseph Conrad and Chinua Achebe." International Journal of Linguistics, Literature and Culture 3, no. 1 (January 16, 2017): 20. http://dx.doi.org/10.21744/ijllc.v3i1.349.

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The topic of this case study is Clash of ideas and sensibility in writings of Joseph Conrad and Chinua Achebe. I have portrayed how both the authors have represented Africa in their writings. Joseph Conrad is a European whereas Chinua Achebe is an African. Both of them have contrary views about the people of Africa and Africa as a country. Both show some of the effects that the white colonists had on the area, and the influence they had on the natives. In Heart of Darkness, we see the influence of Kurtz over the natives at the Inner Station, where they revered him almost as a god. At the other stations, we also see the natives being affected by the white colonists, changing their ways of living around the station, and following what the white men's command, for the most part. In Things Fall Apart, we see this in Okonkwo’s home village, where the white colonists set up a District Commissioner (D.C), and the natives bend to the laws he sets, even helping him enforce them. This completely changes their previous way of life.

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Bumatay, Michelle. "Postcolonial Interjections: Jean-Philippe Stassen Illustrates Heart of Darkness and We Killed Mangy Dog." ALTERNATIVE FRANCOPHONE 1, no. 8 (January 26, 2015): 18–36. http://dx.doi.org/10.29173/af24018.

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En 2006, le bédéiste belge Jean-Philippe Stassen publia de nouvelles éditions de deux livres de l’ère du colonialisme européen—Cœur des ténèbres de Joseph Conrad et Nous avons tué le Chien Tiegneux de Luìs Bernardo Honwana—pour lesquels il fournit des illustrations et, dans le cas de Cœur des ténèbres, d’autres matériaux qui contextualisent le roman. Faisant partie d’une tendance plus large dans laquelle les artistes illustrent la littérature classique, ces deux nouvelles publications invitent les lecteurs à retourner aux originaux pour explorer la notion de silence et la facon dont elle fonctionne différemment chez les deux auteurs différents. Cet article considère les pratiques variées du paratexte de Stassen afin d’examiner comment, grâce aux interjections à travers le temps et l’espace, Stassen interrompt, augmente, conteste et accompagne les textes originaux. Pour Cœur des ténèbres, le cadrage devient une stratégie polyvalente qui montre les écarts et les défauts dans l’écriture de Conrad. Par contre, Stassen adapte les stratégies littéraires de Honwana et les transpose au domaine visuel, ainsi il souligne les silences et le pouvoir subtile de l’œil perçant dans l’allégorie politique Nous avons tué le Chien Teigneux. Le choix de ces deux textes suggère tout un remaniement du discours colonial. En fin de compte, la gamme des pratiques du paratexte de Stassen et les caractéristiques formelles de ses illustrations, destinées à faire repenser comment les lecteurs abordent les originaux, cherche à faire aussi repenser le colonialisme européen, l’impérialisme et leurs modalites de representation.

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Blanc, Paul Le. "Rosa Luxemburg and the Heart of Darkness." New Formations 94, no. 94 (March 1, 2018): 122–41. http://dx.doi.org/10.3898/newf:94.08.2018.

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'Imperialism', Rosa Luxemburg tells us, 'is the political expression of the process of the accumulation of capital in its competitive struggle over the unspoiled remainder of the noncapitalist world environment'. The realities analysed by this outstanding socialist revolutionary have also found significant reflection in classic writings of such literary icons as Herman Melville, Joseph Conrad, Mark Twain, Rudyard Kipling and George Orwell. Conrad's racist conceptualisation in The Heart of Darkness shows us an idealistic imperialist, Kurtz, whose last words - 'the horror' - can be understood in opposite ways: as an idealism grotesquely corrupted when a 'civilising' white 'goes native' or, more persuasively, as a grotesque violence emanating from 'progressive' capitalist civilisation itself. Dark horrors visited upon innumerable victims in Africa, Asia, Latin America and among indigenous peoples of Australia and North America have been generated, as Luxemburg demonstrates in The Accumulation of Capital, from the very heart of European civilisation, permeated and animated as it is by the capital accumulation process. The eloquent justifications of Kurtz can be found in the glowing prose of - for example Winston Churchill: 'Let it be granted that nations exist and peoples labour to produce armies with which to conquer other nations, and the nation best qualified to do this is of course the most highly civilised and the most deserving of honour.' Yet the actual impacts have been summarised by W. E. B. Du Bois: 'There was no Nazi atrocity - concentration camps, wholesale maiming and murder, defilement of women or ghastly blasphemy of childhood - which the Christian civilization of Europe had not long been practicing against colored folk in all parts of the world in the name of and for the defense of a Superior Race born to rule the world.' Such horrors have afflicted not only vast 'peripheries' but have also defined modern and contemporary history in the civilised 'metropolis'.

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Jedlica, Ian. "The Use of a Stereotype to Involve the Reader: Marlow in the Heart of Darkness." Freeside Europe Online Academic Journal, no. 12 (2021): 1–13. http://dx.doi.org/10.51313/freeside-2021-4.

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Joseph Conrad’s work Heart of Darkness is seen as racist by many, most notably Chinua Achebe, and is either under the threat of or actually banned from some schools and libraries. This paper would like to demonstrate, with the help of the transactional reader-response theory, that rather than being racist, Conrad, with this unique travelogue into the depths of the Congo at the turn of the 20th century, uses a stereotype, a cliché of the era, in particular the main character Charles Marlow, to capture the reader of the time through their own communal schemata and knowledge. In so doing, he offers an opportunity for the readers to connect and follow the character and educate themselves in the evils and wrongdoings of their own norms and those of the society they lived in.

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Reddick, Yvonne. "Tchibamba, Stanley and Conrad: postcolonial intertextuality in Central African fiction." Tydskrif vir Letterkunde 56, no. 2 (October 18, 2019): 54–66. http://dx.doi.org/10.17159/2309-9070/tvl.v.56i2.5639.

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Paul Lomami Tchibamba (1914–85) is often described as the Congo’s first novelist. Previous research in French and English has depicted Tchibamba’s work as a straightforward example of ‘writing back’ to the colonial canon. However, this article advances scholarship on Tchibamba’s work by demonstrating that his later writing responds not only to Henry Morton Stanley’s account of the imperial subjugation of the Congo, but to Joseph Conrad’s questioning of colonialist narratives of ‘progress’. Drawing on recent theoretical work that examines intertextuality in postcolonial fiction, this article demonstrates that while Tchibamba is highly critical of Stanley, he enters into dialogue with Conrad’s exposure of colonial brutality. Bringing together comparative research insights from Congolese and European literatures, this article also employs literary translation. This is the first time that excerpts from two of Tchibamba’s most important responses to colonial authors have been translated into English. Also for the first time, Tchibamba’s novella Ngemena is shown to be a crucial postcolonial Congolese response to Heart of Darkness. Through close textual analysis of Tchibamba’s use of irony and imagery, this article’s key findings are that, while Tchibamba nuances Conrad’s disparaging portrait of a chief, he develops the ironic mode of Conrad’s An Outpost of Progress, and updates the journey upriver into the interior in Heart of Darkness. This article illustrates the complex and nuanced way in which Tchibamba interacts with his European intertexts, deploying close analyses of his responses to Conradian imagery.

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Nganshi, Amungwa Veronica, and John Nkemngong Nkengasong. "Religious Consciousness in Joseph Conrad’s Heart of Darkness and James Joyce’s A Portrait of the Artist as a Young Man." Journal of Humanities and Social Sciences Studies 2, no. 6 (November 30, 2020): 151–62. http://dx.doi.org/10.32996/jhsss.2020.2.6.17.

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The paper examines religious consciousness in the modernist novels of Joseph Conrad’s 1902 Heart of Darkness and James Joyce’s 1916 A Portrait of the Artist as a Young Man with the objective of illustrating that though these writers apparently rejected the Catholic faith, they were still spiritually conscious and were thus able to detect and question religious values that were repressive. This consciousness is enriched by autobiographical elements prompted by the nihilism of the early twentieth century. Although Heart of Darkness is a colonial novel and A Portrait of the Artist as a Young Man traces the development of a potential artist, both converge on the critique of religious hypocrisy and injustice. Using the concepts of psychobiography, the conscious and unconscious of the Psychoanalytic theory as well as the concept of nihilism of the Modernist theory, the paper demonstrates that both Conrad and Joyce effectively make a critique of religion by the inclusion of various aspects of their real life experiences in their novels. They do this not to reject religion per se but for its reformation. In other words, the religious views of the protagonists in both works reflect those of their authors. Both authors portray not what is dominantly fictional but what they were a part of. This paper’s significance is its projection of the notion that it is the exploration of religious consciousness from an autobiographical perspective that gives the British modernist novel its strength and major difference. Conrad and Joyce demonstrate that without sincerity, justice, restraint, controlled freedom and mutual respect, the individual and society degenerate. Literature serves as a fabric of culture with the writer as the voice of conscience.

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Halperin, John. "Darkness at Heart: Fathers and Sons in Conrad, and: Joseph Conrad: Narrative Technique and Ideological Commitment (review)." MFS Modern Fiction Studies 37, no. 2 (1991): 295–96. http://dx.doi.org/10.1353/mfs.0.0244.

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Esty, Jed. "After the West: Conrad and Nabokov in Long-Wave Literary History." PMLA/Publications of the Modern Language Association of America 137, no. 5 (October 2022): 779–94. http://dx.doi.org/10.1632/s0030812922000529.

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AbstractThe Secret Agent and Lolita are among the most influential novels of the last century. Both describe European lodgers who insinuate themselves into nuclear families that serve as symbolic cocoons inside the most powerful nation-states on earth in 1907 and 1955, respectively. These two upmarket infiltration novels track an uneasy movement into the heart of Anglo-American darkness. Taken together, they also describe the arc of cultural capital traveling across the Atlantic. They orbit a myth of the stable West that can be neither disavowed nor dismantled. What can we learn now from the historical relation between these novels, set within the dilapidated metanarratives of Pax Britannica and the American Century? Is there a post-Western future for anglophone literary studies? To address those questions, this essay combines close formal analysis of Joseph Conrad and Vladimir Nabokov with a test run of current world systems and longue durée reading methods.

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Halperin, John. "The Collected Letters of Joseph Conrad, Vol. 3, 1903-1907 and; Joseph Conrad, "Heart of Darkness": A Case Study in Contemporary Criticism (review)." MFS Modern Fiction Studies 35, no. 4 (1989): 786–88. http://dx.doi.org/10.1353/mfs.0.1459.

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Arnds, Peter. "Into the Heart of Darkness: Switzerland, Hitler, Mobutu, and Joseph Conrad in Urs Widmer's Novel Im Kongo." German Quarterly 71, no. 4 (1998): 329. http://dx.doi.org/10.2307/407730.

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Kuchta, Todd. "Envisioning Africa: Racism and Imperialism in Conrad's Heart of Darkness, and: Joseph Conrad and the Imperial Romance (review)." Victorian Studies 44, no. 1 (2001): 159–62. http://dx.doi.org/10.1353/vic.2001.0142.

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Dudek, Jolanta. "Miłosz Wobec Conrada w Traktacie Moralnym / Miłosz and Conrad in the Treatise on Morality." Ruch Literacki 53, no. 4-5 (July 1, 2012): 489–512. http://dx.doi.org/10.2478/v10273-012-0031-1.

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Summary It would appear that Czesław Miłosz’s Treatise on Morality - one of whose aims was to “stave off despair” - was largely inspired by the writings of Joseph Conrad. That Miłosz had no wish to draw his readers’ attention to this is perfectly understandable, given Conrad’s particularly low standing in the eyes of communist State censors. This long poem, which extols human freedom and pours scorn on socialist realism (together with its ideological premises), is one of Miłosz’s best known works in his native Poland, where it was published in 1948. The Treatise on Morality may well have been inspired by three of Conrad’s essays that were banned in communist Poland: ‘Autocracy and War’ (1905), ‘A Note on the Polish Problem’ (1916) and ‘The Crime of Partition’ (1919). After the Second World War, translations of these three essays were not available to the general Polish reader until … 1996! Conrad’s writings helped Miłosz to diagnose Poland’s political predicament from a historical perspective and to look for a way out of it without losing all hope. An analysis of the Treatise on Morality shows that only by reconstructing the Conradian atmosphere and context - alluded to in the text - can we fully grasp all the levels of the poet’s irony, which culminates in a final “punchline”. Apart from allusions to The Heart of Darkness and the brutal colonization of the Congo, the fate of post-war Poland is also seen through the optic of those of Conrad’s novels that deal with the subject of depraved revolutionaries: Nostromo (1904), TheSecret Agent (1907) and Under Western Eyes (1911). Conrad’s ideas for ways to fight against bad fortune and despair are suggested not only by his stories Youth (1902) and Typhoon (1903) - and by his novels The Nigger of the “Narcissus” and Lord Jim - but also and above all by his volume of memoirs entitled A Personal Record (1912), in which he relates his yearning for freedom as the young, tragic victim of a foreign empire. In an article entitled ‘Joseph Conrad in Polish Eyes’ and published in 1957 - on the hundredth anniversary of Conrad’s birth - Miłosz writes that, through his writings, Conrad fulfilled the hopes of his father (who gave him the name “Konrad”) and that although “the son did not want to assume a burden that had crushed his father, he had nevertheless become the defender of freedom against the blights of autocracy”

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Ruano Sansegundo, Pablo, and Paloma Pizarro Seijas. "Grammatical words denoting vagueness in Joseph Conrad’s Heart of Darkness and their translations into Spanish: A corpus approach." Anuario de Estudios Filológicos 41 (2018): 157–74. http://dx.doi.org/10.17398/2660-7301.41.157.

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Magalhães, Célia M., Mayelli C. de Castro, and Marina S. Montenegro. "Estilística Tradutória: Um estudo de corpus paralelo de uma tradução brasileira e uma tradução portuguesa de Heart of Darkness." Tradterm 21 (August 4, 2013): 11. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2013.59354.

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Este artigo baseia-se na estilística tradutória. O foco é o estilo do texto traduzido em duas traduções para o português da obra <em>Heart of Darkness</em>, de Joseph Conrad. Toma-se por base Stubbs (2003, 2005), que apresenta dados referentes à frequência de palavras e relativos à proeminência motivada e acredita que eles podem gerar uma base descritiva mais detalhada. A investigação incide sobre a forma como os principais temas da obra foram traduzidos nos textos do português brasileiro e europeu. Cyrino (2011) cria novos contrastes, com frequência elevada, como <em>“Deus”</em> e <em>“Diabo”</em>. Os lemas equivalentes a <em>dark*,</em> em português brasileiro, aparecem menos se comparados ao original. Em Brito e Cunha (2008) o lema<em> light*</em> foi constantemente traduzido como “luz”, enquanto o lema <em>dark*</em> aparece de diferentes formas. O artigo mostra que existem mudanças estilísticas significativas nos textos traduzidos.

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Zarandona, Juan Miguel. "The Nun’s Story / Historia de una monja: el Congo de Kathryn Hulme, Fred Zinnemann y Audrey Hepburn y sus traductores al español." Futhark. Revista de Investigación y Cultura, no. 14 (2019): 245–69. http://dx.doi.org/10.12795/futhark.2019.i14.16.

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n 1956 se publicaba una novela muy especial, The Nun's Story, de Kathryn Hulme, que alcanzó el número uno de la lista de best-sellers del New York Times y que Hollywood adaptó al cine en 1959 con un director y una actriz principal excepcionales: Fred Zinnemann y Audrey Hepburn. Desde el demoledor análisis de Joseph Conrad, con su Heart of Darkness (1899, 1903) de los desmanes coloniales bajo la tutela del rey de los belgas Leopoldo II, sucedidos en torno a las orillas del río Congo, ninguna otra creación, inspirada en dicho río africano, había llegado a ser tan popular como la que nos ocupa. La España de finales de los años cincuenta no permaneció ajena a este fenómeno de sorprendente popularidad. La novela se tradujo en 1957 y en tan solo cuatro años conoció dieciséis ediciones. La película posterior se dobló y exhibió en las salas españolas de inmediato; traducción, recepción, novela popular, cine, Congo colonial.

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Kimmich, Dorothee. "Im Fluss. Joseph Conrads Heart of Darkness und die ›entsetzliche‹ Ähnlichkeit der ›Wilden‹." Zeitschrift für Kulturwissenschaften 9, no. 2 (February 1, 2015): 187–94. http://dx.doi.org/10.14361/zfk-2015-0224.

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Bell, Michael. "Hearts of darkness: Psychic maps of Europe in D. H. Lawrence, Thomas Mann, and Joseph Conrad." European Legacy 1, no. 4 (July 1996): 1539–44. http://dx.doi.org/10.1080/10848779608579607.

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Martínez Navajas, Jesús. "La influencia de la narrativa de Joseph Conrad en el cine y el rock’n’roll: análisis de tres canciones inspiradas en Heart of darkness." Epos : Revista de filología, no. 31 (January 1, 2015): 453. http://dx.doi.org/10.5944/epos.31.2015.17355.

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