Mountains of the Moon: A Re-inscription of the Colonial Master Narrative If Richard Burton and John Hanning Speke were alive in 1989 to see the release of Bob Rafelson’s Mountains of the Moon, what would their response to the film be? Would they agree with the way Rafelson’s film depicts their remarkable journey into Africa to find the source of the Nile River? Would they agree with the way the film dramatizes their relationship with each other? The answers to these questions would help a great deal in determining whether Rafelson’s film about Burton and Speke’s expedition was accurate, or whether his film was an attempt to sensationalize their story to increase its reception. Unfortunately, Burton and Speke are not around to answer these questions, which makes an analysis of these issues difficult. Therefore, rather than analyzing this film from a historical perspective, this critique is concerned with what story Rafelson’s film tells. How does Rafelson’s movie shape audience’s opinions about Burton and Speke as characters? Does his story, through visual rhetoric, retell or reinterpret Burton and Speke’s story? What role does Africa play in Rafelson’s film? The answers to these questions should help determine whether Rafelson’s film is a re-inscription of the colonial master narrative, or whether it is a post-colonial critique of European colonization. Mountains of the Moon sets out to recreate the adventures of Richard Burton (Patrick Bergin) and John Hanning Speke (Iain Glen). The plot of the film focuses on Burton and Speke’s relationship, and their journey to discover the source of the Nile River. One interesting characteristic that separates Rafelson’s Mountains of the Moon from previous attempts to describe Burton and Speke’s expedition is that Rafelson’s film introduces a human element into Burton and Speke’s relationship; an element that remains the focal point throughout the entire movie (Campbell, www.theparamount.org). As a result, Rafelson shifts the focus of the movie away from the business aspect of the story, and compels audiences to focus more on the friendship that develops between Burton and Speke. Sidney Pollack’s Out of Africa shifts in the same way. In Pollack’s 1985 film, audiences find themselves more concerned with the film’s love story, than with the Baroness’s coffee plantation in Africa. This shift occurs not by accident, but rather as a deliberate attempt by Pollack to tell a particular story. Therefore, Rafelson’s film deliberately shifts to allow him to tell his story: a story about “Two strangers made friends by a savage land.
Mazrui, Ali A. "The Re-Invention of Africa: Edward Said, V. Y. Mudimbe, and Beyond." Research in African Literatures 36, no. 3 (Autumn 2005): 68-82.
“Different but Equal” is a video in which Basil Davidson, the narrator, attempts to expand and heighten the understanding that Western civilization has about Africa. Often thought of as underdeveloped or uncivilized, Basil focuses mainly on the accomplishments of Africans throughout the years and uses them to contrast the surprisingly popular belief of African inferiority. Just a few of the main issues being brought up are how Europeans routinely discredited African accomplishments, the often disputed race of the Egyptians and their society, and why the thought that Africans are ‘uncivilized’ isn’t accurate. The video uses science, archaeology and history combined with the input of well-known researchers to give a more accurate depiction of
“Although Emily Dickinson is known as one of America’s best and most beloved poets, her extraordinary talent was not recognized until after her death” (Kort 1). Dickinson was born on December 10, 1830, in Amherst, Massachusetts, where she spent most of her life with her younger sister, older brother, semi-invalid mother, and domineering father in the house that her prominent family owned. As a child, she was curious and was considered a bright student and a voracious reader. She graduated from Amherst Academy in 1847, and attended a female seminary for a year, which she quitted as she considered that “’I [she] am [was] standing alone in rebellion [against becoming an ‘established Christian’].’” (Kort 1) and was homesick. Afterwards, she excluded herself from having a social life, as she took most of the house’s domestic responsibilities, and began writing; she only left Massachusetts once. During the rest of her life, she wrote prolifically by retreating to her room as soon as she could. Her works were influenced ...
In the present era of decolonization, Joseph Conrad’s Heart of Darkness presents one of fictions strongest accounts of British imperialism. Conrad’s attitude towards imperialism and race has been the subject of much literary and historical debate. Many literary critics view Conrad as accepting blindly the arrogant attitude of the white male European and condemn Conrad to be a racist and imperialists. The other side vehemently defends Conrad, perceiving the novel to be an attack on imperialism and the colonial experience. Understanding the two viewpoints side by side provides a unique understanding that leads to a commonality that both share; the novel simply presents a criticism of colonialists in Africa. The novel merely portrays a fictional account of British imperialism in the African jungle, where fiction offers maximum entertainment it lacks in focus. The novel is not a critique of European colonialism and imperialism, but rather a presentation of colonialism and the theme of darkness throughout the novel sheds a negative light on the selfishness of humanity and the system that was taking advantage of the native peoples. In Joseph Conrad’s novel, Heart of Darkness, Conrad presents a criticism of British imperial colonization not for the purpose of taking sides, but with aims of bettering the system that was in place during Conrad’s experience in the African Congo. Conrad uses the character of Marlow and his original justification of imperialism so long as it was efficient and unselfish that was later transformed when the reality of colonialism displayed the selfishness of man, to show that colonialism throughout history displaces the needs of the mother country over the colonized peoples and is thus always selfish.
The relevance of West African history exists and is important to the world. Davidson’s ability to communicate the role of kinship, of belief and idea systems, the expansion of art and culture as well as the diffusion of learning and language across West Africa in its elegance can not be duplicated. The growth of the slave trade is almost forgotten as Davidson’s illustrates the beauty and rich culture of West Africa before 1850. Davidson encourages the reader to ignore the modern boundaries perceived by Western beliefs and ideologies and embrace that Africa was created and nurtured by Africans, and for Africans. The book under review is well written and balanced and offers a wealth of information regarding African history before colonialism.
Bryant H. McGill once said “Education should prepare our minds to use its own powers of reason and conception rather than filling it with the accumulated misconceptions of the past” (McGill ). There are misconceptions all around us; people look at certain things in a particular manner but what each person sees comes from their background. I have recently come to the realization that there are many misconceptions held about the African continent; my current class has helped me see these misconceptions and understand why they are incorrect and how I formed them. With the help of our Western society, I developed beliefs that Africa was a continent full of poverty, civil unrest, and in desperate need of help. Much of the media coverage in Africa showed droughts, famine, the need for clean drinking water; everything that was exposed to the American population about Africa through these channels carried a negative connotation. I was never taught or informed about the complex culture and fascinating traditions that make up such a diverse continent. The ancient kingdoms of West Africa were complex, developed civilizations that had rich culture, traditions, values, norms and skills that exceeded those of societies of the rest of the world such as European ones. In this paper, I will first further explain some of the common misconceptions that I had about African in general and about their ancient kingdoms.
In the first segment of his film series, Different but Equal, Basil Davidson sets out to disprove the fictitious and degrading assumptions about African civilization made by various Western scholars and explorers. Whether it is the notion that Africans are “savage and crude in nature” or the presumed inability of Africans to advance technologically, these stereotypes are damaging to the image and history of Africa. Although European Renaissance art depicts the races of white and black in equal dignity, there was a drastic shift of European attitudes toward Africa that placed Africans in a much lower standing than people of any other culture. The continent of Africa quickly became ravished by the inhuman slave trade and any traditional civilization
Emily Dickinson is one of the most well known poets of her time. Though her life was outwardly uneventful, what went on inside her house behind closed doors is unbelievable. After her father died she met Reverend Charles Wadsworth. She soon came to regard him as one of her most trusted friends, and she created in his image the “lover'; whom she was never to know except in her imagination. It is also said that it was around 1812 when he was removed to San Fransico that she began her withdrawal from society. During this time she began to write many of her poems. She wrote mainly in private, guarding all of her poems from all but a few select friends. She did not write for fame, but instead as a way of expressing her feelings. In her lifetime only six of her poems were even printed; none of which had her consent. It was not until her death of Brights Disease in May of 1862, that many of her poems were even read (Chelsea House of Library Criticism 2837). Thus proving that the analysis on Emily Dickinson’s poetry is some of the most emotionally felt works of the nineteenth century.
Emily Dickinson is one of the great visionary poets of nineteenth century America. In her lifetime, she composed more poems than most modern Americans will even read in their lifetimes. Dickinson is still praised today, and she continues to be taught in schools, read for pleasure, and studied for research and criticism. Since she stayed inside her house for most of her life, and many of her poems were not discovered until after her death, Dickinson was uninvolved in the publication process of her poetry. This means that every Dickinson poem in print today is just a guess—an assumption of what the author wanted on the page. As a result, Dickinson maintains an aura of mystery as a writer. However, this mystery is often overshadowed by a more prevalent notion of Dickinson as an eccentric recluse or a madwoman. Of course, it is difficult to give one label to Dickinson and expect that label to summarize her entire life. Certainly she was a complex woman who could not accurately be described with one sentence or phrase. Her poems are unique and quite interestingly composed—just looking at them on the page is pleasurable—and it may very well prove useful to examine the author when reading her poems. Understanding Dickinson may lead to a better interpretation of the poems, a better appreciation of her life’s work. What is not useful, however, is reading her poems while looking back at the one sentence summary of Dickinson’s life.
Emily Dickinson was a different type of poet that has people thinking of things people would never think about in another author’s work. Dickinson was born and raised with the rich life with only two siblings. Her work was inspired by her much of her childhood and the people she interacted with. An example of Dickinson’s different type of style is, “ So I conclude that space and time are things of the body and have little or nothing to do with ourselves. My Country is Truth,”(Berry) Emily Dickinson did not share hardly any of her writing when she was alive. According to Berry,” With the exception of six poems that appeared in newspapers at various times, and another that appeared in a collection of stories and poems in 1878, Emily Dickinson never published her work,” (Berry) Even though Dickinson wrote differently, does not mean she had a different lifestyle compared to most people today. Dickinson was an outstanding American poet where her childhood, family and friends, religion, and education inspired most of her poetry.
History has been told in various forms for decades. In the past, history was more commonly expressed through word of mouth, but more recently in the past century, through written text. While textbooks and articles give formal information with little to no bias, novels give a completely new perspective on the people who experienced it themselves. The Novels, God’s Bits of Wood, written by Sembene Ousmane, and No Longer at Ease, by Chinua Achebe, give a more personal account of the effects of colonization. These two novels tackle the British and French method of colonization.
The world has changed in many ways throughout history. Industrialization has changed England in many ways. The Industrial Revolution was too hard on the men, women, and children in England.
"Emily Dickinson: The Writing Years (1865-1886)." Emily Dickinson Museum . N.p.. Web. 4 Apr 2014. .
“Major Characteristics of Dickinson’s Poetry.” Emily Dickinson Museum. Trustees of Amherst College, 2009. Web. 23 January 2014.
Adas, Michael. 1989. “Africa: Primitive Tools and the Savage Mind” In Machines as the Measure of Men: Science, Technology and Ideologies of Western Dominance, from Historical Problems of Imperial Africa. Edited by Robert O. Collins and James M. Burns, 30-39. Princeton: Markus Wiener Publishers.