ellauri008.html on line 814: This book analyzes the representations of homosexuality in Conrad’s fiction, beginning with Conrad’s life and letters to show that Conrad himself was, at least imaginatively, bisexual. Conrad’s recurrent bouts of neurasthenia, his difficult courtships, late marriage, and frequent expressions of misogyny can all be attributed to the fact that Conrad was emotionally, temperamentally, and, perhaps, even erotically more comfortable with men than women.
xxx/ellauri124.html on line 222: Joseph Conrad’s Nostromo and Lord Jim and The Shadow-Line
xxx/ellauri379.html on line 119: Analyysi. On the most superficial level, Heart of Darkness can be understood through its semiautobiographical relationship to Conrad’s real life. Much like his protagonist Marlow, Conrad’s career as a merchant marine also took him up the Congo River. And much like Marlow, Conrad was profoundly affected by the human depravity he witnessed on his boat tour of European colonialism in Africa.
xxx/ellauri379.html on line 121: But it’s overly reductive to boil Heart of Darkness down to the commonalities it shares with Conrad’s own experiences. It would be useful to examine its elements crucial to the emergence of modernism: for example, Conrad’s use of multiple narrators; his couching of one narrative within another; the story’s achronological unfolding; and as would become increasingly clear as the 20th century progressed, his almost post-structuralist distrust in the stability of language. At the same time, his story pays homage to the Victorian tales he grew up on, evident in the popular heroism so central to his story’s narrative. In that sense, Heart of Darkness straddles the boundary between a waning Victorian sensibility and a waxing Modernist one.
xxx/ellauri379.html on line 123: One of the most resoundingly Modernist elements of Conrad’s work lies in this kind of early post-structuralist treatment of language—his insistence on the inherent inability of words to express the real, in all of its horrific truth. Marlow’s journey is full of encounters with things that are “unspeakable,” with words that are uninterpretable, and with a world that is eminently “inscrutable.” In this way, language fails time and time again to do what it is meant to do—to communicate. It’s a phenomenon best summed up when Marlow tells his audience that “it is impossible to convey the life-sensation of any given epoch of one’s existence—that which makes its truth, its meaning—its subtle and penetrating essence… We live, as we dream—alone.” Kurtz—as “eloquent” as he may be—can’t even adequately communicate the terrifying darkness he observed around him.“The horror! The horror!” is all he can say. Some critics have surmised that part of Heart of Darkness’s mass appeal comes from this ambiguity of language—from the free rein it gives its readers to interpret. Others posit this as a great weakness of the text, viewing Conrad’s inability to name things as an unseemly quality in a writer who’s supposed to be one of the greats. Perhaps this is itself a testament to the Heart of Darkness’s breadth of interpretability.
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