Will Conrad we considered a hero for writing such a compelling text, or will he be accused of racism? Works Cited Achebe, C. "An Image of Africa: Racism in Conrad's Heart of Darkness." Heart of Darkness. By Joseph Conrad. Ed.
Marlow’s like to Kurtz’s Intended is the example that Conrad needed to add to make the universality of his message clear: “The last words he pronounced was—your name”(164). Marlow despises lying more than any other form of darkness; “I hate, detest, and can’t bear a lie”(96). By having Marlow lie to Kurtz’s Intended, Conrad incorporates universality into the theme of the book. Lying is a form of evil, a form of darkness within Marlow, and even though Marlow restrains himself and steps back from the edge of giving into his d... ... middle of paper ... ...ality and omnipresence to the meaning and theme of evil inside everyone of the story. Works Cited and Consulted Conrad, Joseph.
Works Cited and Consulted Adelman, Gary. Heart of Darkness: Search for the Unconscious. Boston: Little & Brown, 1987. Bradley, Candice. "Africa and Africans in Conrad's Heart of Darkness."
Works Cited Adelman, Gary. Heart of Darkness: Search for the Unconscious. Boston: Little & Brown, 1987. Bradley, Candice. "Africa and Africans in Conrad's Heart of Darkness."
Journal “Patrick Brantlinger: Anti-Imperialism, Racism, or Impressionism?” Patrick Brantlinger, in his essay “Heart of Darkness: Anti-Imperialism, Racism, or Impressionism?,” cites the arguments and criticisms that have been given to Joseph Conrad’s novella. Brantlinger opens with a critique from Nigerian novelist Chinua Achebe who attacks Conrad’s novella as “racist” (Cultural Criticism 277). Brantlinger then comes to Conrad’s defense by citing a number of defenses that has been made in favor of Heart of Darkness. The defenses are strong and so are the criticisms stating that the book may be racist. I found Brantlinger’s argument that Heart of Darkness is both anti-imperialist and racist a strong and convincing one.
There, after criticizing Tempels and other ethnophilosophers, he admits that he himself "indulge(s) in some kind of anthropological-cum-philosophical research." He said projects like his own sage philosophy and Sumner's researches into historical texts of Ethiopian philosophy were necessary at that historical point, but would soon give way to nationalist-ideological and professional-technical philosophy, trends he saw as more central to the future of African philosophy. In "Sage Philosophy Revisited," he states that "sage philosophy started as a reaction to a position which Europeans had adopted about Africa that Africans are not capable of philosophy." So, does this imply that once Europeans change their perceptions of Africans, there will no longer be a need for professional philosophers to search out the ideas of wise rural sages? Even in this late essay, Odera Oruka continues to suggest that his work merely serves as a "base" for other forms of philosophy which will emerge in the future, but which he can't imagine right now.
The first example of the contrasting light and darkness in the novella is to be found in the main characters. Marlow is a philosophical English seaman who exemplifies the virtuous protagonist. He is an idealist, trying to bring European imperialism to Africa. Kurtz is also an English seaman who maintains an idealistic attitude towards the purity of European presence in Africa. Kurtz, however, works for an ivory company at the Inner Station on the Congo, and his actions are somewhat less virtuous than his beliefs.
ANTH V1130 – Africa & The Anthropologist Literature Review 3 Tyler Gibbons Literature Review 3 Karin Barber’s The Anthropology Of Texts, Persons And Publics and Stephen Belcher’s African Myths Of Origin each explains in great detail the significance of myths and oral texts as a way of weaving society and its people together. Barber makes a claim that oral history is a better representation of a culture, where as Belcher places a heavy importance on differentiating myths and folktales and how they can be interpreted. What both of these texts represent are a departure from literature-centric stance of African anthropology, and focuses on the importance of oral tradition as a means of communicating the history of African culture. I will discuss and evaluate the context of oral tradition and myths through each author respectively and evaluate their approaches and broader arguments. Belcher’s “African Myths of Origin” is focused on explaining the great significance of myths and traditions in African culture – myths serve to both create and explain the past, and inform individuals about religious, spiritual and social traditions within their society.
Joseph Conrad's novel Heart of Darkness uses character development and character analysis to really tell the story of European colonization. Within Conrad's characters one can find both racist and colonialist views, and it is the opinion, and the interpretation of the reader which decides what Conrad is really trying to say in his work. Chinua Achebe, a well known writer, once gave a lecture at the University of Massachusetts about Joseph Conrad's Heart of Darkness, entitled "An image of Africa: Racism in Conrad's Heart of Darkness." Throughout his essay, Achebe notes how Conrad used Africa as a background only, and how he "set Africa up as a foil to Europe," (Achebe, p.251) while he also "projects the image of Africa as the other world,' the antithesis of Europe and therefore of civilizations" (Achebe, p.252). By his own interpretations of the text, Achebe shows that Conrad eliminates "The African as a human factor," thereby "reducing Africa to the role of props" (Achebe, p.257).
Robert Kimbrough. New York: Norton Critical 1988. Singh, Frances B. [The Colonialistic Bias of Heart of Darkness.] Heart of Darkness.