Saturday, February 23, 2013
Connections, divisions, and other threads
It became clear very quickly that Heart of Darkness was a significant departure from the language, plot structure, and characterization of A Clockwork Orange, and, yet, Michele and I decided to pair these two texts to begin our course. What were we thinking? If it is easy to determine the ways the texts are in opposition, how are they similar? In what ways do they work as complements to our beginning understanding of literary modernism? Is Burgess a logical successor to Conrad? As we add in The Dead this week, feel free to consider what Joyce brings to this mix.
Monday, February 11, 2013
Through out heart of darkness we have discussed quite a few themes, but we mostly focused on light versus dark. It is strongly represented through out the entire book and frames many of the other themes such as civilized versus uncivilized. This theme even plays into the title of the book and why the novel may be named "Heart of Darkness".
The book that seemed to show the meaning of the book is where they are traveling back down the river, while Kurtz is dying. It seems to me that the heart of darkness is not necessarily a physical place, such as Africa but instead my be a state of mind. It may be the affect that Africa leaves you with, a dark heart. "It survived his strength to hide in the magnificent folds of eloquence the barren darkness of his heart" (128). This example may be a little too literal as it is saying he had a heart of darkness but it generally shows the point I'm trying to make.Another spot that shows this is the fact that Marlow becomes ill shortly after Kurtz dies. Do you think that the "Heart of Darkness" is more physical or more mental? Why?
After Kurtz has died, Marlow seemed astounded by the fact that he had something to say. Kurtz had a final statement to make before his death, and Marlow feels that he has nothing to leave the earth with after he passes. Which brings up the question, do you think that is really true? Or is Marlow's retelling of this whole journey his mark upon the world?
The book that seemed to show the meaning of the book is where they are traveling back down the river, while Kurtz is dying. It seems to me that the heart of darkness is not necessarily a physical place, such as Africa but instead my be a state of mind. It may be the affect that Africa leaves you with, a dark heart. "It survived his strength to hide in the magnificent folds of eloquence the barren darkness of his heart" (128). This example may be a little too literal as it is saying he had a heart of darkness but it generally shows the point I'm trying to make.Another spot that shows this is the fact that Marlow becomes ill shortly after Kurtz dies. Do you think that the "Heart of Darkness" is more physical or more mental? Why?
After Kurtz has died, Marlow seemed astounded by the fact that he had something to say. Kurtz had a final statement to make before his death, and Marlow feels that he has nothing to leave the earth with after he passes. Which brings up the question, do you think that is really true? Or is Marlow's retelling of this whole journey his mark upon the world?
Sunday, February 3, 2013
Heart of Darkness: Post 2
In a Clockwork Orange we discussed what a 'clockwork orange' is and how it relates to the novel. However, the title was not really understood until we dug a bit deeper into the book and discussed it more.
When I hear "Heart of Darkness" I do not automatically think about something positive and light, I more so connect it as having a murky, mysterious meaning. On page 63 Marlow says, "We penetrated deeper and deeper into the heart of darkness." Why do you guys think Marlow refers to the river as the 'heart of darkness' and why would he associate darkness with something he loves so much?
Also, going off of that, I question whether or not the word "dark" always has to have a negative connotation? We all know that a major motif in this novel is light vs. dark, but does that have to translate to good vs. bad like one would automatically expect it too? Maybe darkness is not suppose to be represented as negativity in this novel.
When I hear "Heart of Darkness" I do not automatically think about something positive and light, I more so connect it as having a murky, mysterious meaning. On page 63 Marlow says, "We penetrated deeper and deeper into the heart of darkness." Why do you guys think Marlow refers to the river as the 'heart of darkness' and why would he associate darkness with something he loves so much?
Also, going off of that, I question whether or not the word "dark" always has to have a negative connotation? We all know that a major motif in this novel is light vs. dark, but does that have to translate to good vs. bad like one would automatically expect it too? Maybe darkness is not suppose to be represented as negativity in this novel.
Heart of Darkness 2:
"We knew we were fated, before the ebb began to run, to hear about one of Marlow's inconclusive experiences"(9). Here, the narrator assumes that Marlow did not accomplish any philosophical augmentation during his time in Africa; do you agree with him, having read through part two? How do you think seeing the negative side of imperialism affected him, and his opinions of Western civilization, if at all?
Somewhat connected to that, the main theme of "restraint" is echoed by Marlow in both positive and negative reflections of his fellow travelers and acquaintances. For him, how might this concept relate to the imperialistic efforts of Kurtz and the manager, and in what light would he view it?
Also related to that, do you think Marlow's moral conscience about imperialism seems to give him any assumptions or predetermined feelings about the people he hears about? Does this change throughout his journey with his experiences? How is his perception of Kurtz altered after he meets him?
"The I noticed a small sketch in oils, on a panel, representing a woman, draped and blind-folded, carrying a lighted torch. The background was sombre -- almost black. The movement of the woman was stately, and the effect of the torchlight on the face was sinister"(43). How does the frequent use of "darkness" in descriptions like this change throughout the book, given that "darkness" for this novel can be defined as physical darkness, moral darkness, or, alternatively, a dearth of perception, like with this painting of a blind-folded woman?
Somewhat connected to that, the main theme of "restraint" is echoed by Marlow in both positive and negative reflections of his fellow travelers and acquaintances. For him, how might this concept relate to the imperialistic efforts of Kurtz and the manager, and in what light would he view it?
Also related to that, do you think Marlow's moral conscience about imperialism seems to give him any assumptions or predetermined feelings about the people he hears about? Does this change throughout his journey with his experiences? How is his perception of Kurtz altered after he meets him?
"The I noticed a small sketch in oils, on a panel, representing a woman, draped and blind-folded, carrying a lighted torch. The background was sombre -- almost black. The movement of the woman was stately, and the effect of the torchlight on the face was sinister"(43). How does the frequent use of "darkness" in descriptions like this change throughout the book, given that "darkness" for this novel can be defined as physical darkness, moral darkness, or, alternatively, a dearth of perception, like with this painting of a blind-folded woman?
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