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<p>The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included.</p><p>Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology.</p><p>The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.</p>

Esta dissertação estuda o papel do sujeito na literatura e sua relação com a cultura e alteridade através da análise de duas obras: Nove noites, de Bernardo de Carvalho e Coração das Trevas de Joseph Conrad. As obras estudadas mostram a crise que atinge os protagonistas dos dois livros depois do encontro com outras culturas. Em Nove noites o outro é representado pelo índio e em Coração das Trevas pelos africanos. Em Nove noites o antropólogo Buell Quain se suicida depois de uma estada entre os índios Krahô, e em Coração das Trevas vemos a deterioração do homem branco representada pelo personagem de Kurtz. Considerado um homem notável e um altruísta na Europa, Kurtz teria se corrompido no contato com a realidade do Congo e se torna, nas palavras do narrador Marlow, um dos demônios da terra. A dissolução da personalidade e código moral do homem branco, representada pelos dois personagens, será estudada analisando a relação entre personalidade e cultura e como a falta de apoio e controle grupal desarticula valores até então considerados estáveis, assim como o contato com o outro. Esta desarticulação do sujeito causada pelo choque cultural se soma à crise geral do sujeito moderno e ao mal-estar na civilização, como descrito por Freud. A posição paradoxal do antropólogo, que se situa entre duas culturas, faz parte desta análise, do mesmo modo questões pertinentes a posição dos índios e africanos no Congo. No caso específico de Coração das Trevas trabalha-se a interseção entre a análise do sujeito, e suas implicações, e a construção do personagem de Kurtz como símbolo da violência colonial. O trabalho analisa também as semelhanças entre as duas obras, tanto temáticas como em suas técnicas narrativas e a influência da obra de Conrad nos romances de Carvalho / This dissertation studies the role of subject in literature and its relation to culture and alterity through the analysis of two works: Nine Nights by Bernardo Carvalho and Heart of Darkness by Joseph Conrad. This work show the crisis that the protagonists of both books faces after the encounter with other cultures. In Nine nights the Indian and Heart of Darkness by Africans represents the other. Nine nights tells the story of the anthropologist Buell Quain who commits suicide after a stay between the Indians Krahô, and in Heart of Darkness we see the deterioration of the white man represented by the character of Kurtz. Considered a remarkable man and an unselfish in Europe, Kurtz would have been corrupted by contact with the reality of the Congo and becomes, in the words of the narrator Marlow, one of the demons of the land. The dissolution of the personality and moral code of the white man, represented by two characters, will be studied by analyzing the relationship between personality and culture and how the lack of support and control of the group disarticulates values until then considered stable, as well as the contact with other cultures. The disarticulation of the subject caused by culture shock adds to the general crisis of the modern subject and the discontents of civilization, as described by Freud. The paradoxical position of the anthropologist, which is situated between two cultures, is part of this analysis, even as questions regarding the position of Indians and Africans in the Congo. In the specific case of Heart of Darkness will be studied a intersection between the analysis of the subject, and their implications, and the construction of the character of Kurtz as a symbol of colonial violence. The paper also examines the similarities between the two works, both in thematic and in narrative techniques in their work and influence of Conrad's novels Carvalho

Esta dissertação estuda o papel do sujeito na literatura e sua relação com a cultura e alteridade através da análise de duas obras: Nove noites, de Bernardo de Carvalho e Coração das Trevas de Joseph Conrad. As obras estudadas mostram a crise que atinge os protagonistas dos dois livros depois do encontro com outras culturas. Em Nove noites o outro é representado pelo índio e em Coração das Trevas pelos africanos. Em Nove noites o antropólogo Buell Quain se suicida depois de uma estada entre os índios Krahô, e em Coração das Trevas vemos a deterioração do homem branco representada pelo personagem de Kurtz. Considerado um homem notável e um altruísta na Europa, Kurtz teria se corrompido no contato com a realidade do Congo e se torna, nas palavras do narrador Marlow, um dos demônios da terra. A dissolução da personalidade e código moral do homem branco, representada pelos dois personagens, será estudada analisando a relação entre personalidade e cultura e como a falta de apoio e controle grupal desarticula valores até então considerados estáveis, assim como o contato com o outro. Esta desarticulação do sujeito causada pelo choque cultural se soma à crise geral do sujeito moderno e ao mal-estar na civilização, como descrito por Freud. A posição paradoxal do antropólogo, que se situa entre duas culturas, faz parte desta análise, do mesmo modo questões pertinentes a posição dos índios e africanos no Congo. No caso específico de Coração das Trevas trabalha-se a interseção entre a análise do sujeito, e suas implicações, e a construção do personagem de Kurtz como símbolo da violência colonial. O trabalho analisa também as semelhanças entre as duas obras, tanto temáticas como em suas técnicas narrativas e a influência da obra de Conrad nos romances de Carvalho / This dissertation studies the role of subject in literature and its relation to culture and alterity through the analysis of two works: Nine Nights by Bernardo Carvalho and Heart of Darkness by Joseph Conrad. This work show the crisis that the protagonists of both books faces after the encounter with other cultures. In Nine nights the Indian and Heart of Darkness by Africans represents the other. Nine nights tells the story of the anthropologist Buell Quain who commits suicide after a stay between the Indians Krahô, and in Heart of Darkness we see the deterioration of the white man represented by the character of Kurtz. Considered a remarkable man and an unselfish in Europe, Kurtz would have been corrupted by contact with the reality of the Congo and becomes, in the words of the narrator Marlow, one of the demons of the land. The dissolution of the personality and moral code of the white man, represented by two characters, will be studied by analyzing the relationship between personality and culture and how the lack of support and control of the group disarticulates values until then considered stable, as well as the contact with other cultures. The disarticulation of the subject caused by culture shock adds to the general crisis of the modern subject and the discontents of civilization, as described by Freud. The paradoxical position of the anthropologist, which is situated between two cultures, is part of this analysis, even as questions regarding the position of Indians and Africans in the Congo. In the specific case of Heart of Darkness will be studied a intersection between the analysis of the subject, and their implications, and the construction of the character of Kurtz as a symbol of colonial violence. The paper also examines the similarities between the two works, both in thematic and in narrative techniques in their work and influence of Conrad's novels Carvalho

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-16T20:24:37Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:24:13Z (GMT) No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-17T21:24:19Z (GMT). No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação analisa a adaptação do romance Heart of Darkness, de Joseph Conrad (2007), para o formato de graphic novel, publicada por Catherine Anyango e David Zane Mairowitz (CONRAD, 2010). A análise consiste no estudo da transição do foco narrativo, da personagem e do espaço do modo “contar” na narrativa literária para o modo “mostrar” e “contar” das graphic novels. Este trabalho de pesquisa aborda a adaptação como uma obra independente, uma recriação, conforme sugere Hutcheon (2013). A fim de explorar as similaridades entre a narrativa literária e a narrativa em graphic novel e verificar as transformações ocorridas no processo de adaptação, foram levados em consideração os estudos de Groensteen (2013; 2015) e outros autores da teoria literária e da teoria das graphic novels. A análise mostra que o trabalho de Anyango e Mairowitz recria, por meio do uso de recursos visuais e verbais, os aspectos centrais da narrativa de Heart of Darkness, destacando a história do período colonial do Congo através do acréscimo de fragmentos do relato autobiográfico presente em The Congo Diary e de elementos cartográficos, como os mapas do Rio Congo e da Colônia Belga no Congo. / This thesis analyzes the work published by Catherine Anyango and David Zane Mairowitz in 2010, which adapts Joseph Conrad’s novel Heart of Darkness (2007) into a graphic novel. The analysis of the transition of the narrative focus, characters and space from the literary narrative’s “telling mode” to graphic novel’s “telling” and “showing” modes. This research project addresses adaptation as an independent work, a recreation, as suggested by Hutcheon (2013). In order to explore the similarities between the literary narrative and the graphic novel and to verify the transformations taking place in the adaptation process, Groensteen’s (2013/ 2015) and other authors’ contributions to both literary and graphic novel theories were taken into account. The analysis shows that the work by Anyango and Mairowitz recreates through the use of both verbal and non-verbal resources the core aspects of Conrad’s novel, emphasizing the history of Congo’s colonial period by adding fragments of the autobiographical account found in The Congo Diary as well as cartographic elements such as maps of the Congo River and Belgian Congo.

The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included. Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology. The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.

This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land. Specific Bakthinian concepts are employed to determine whether the films are "apt" adaptations of the literary texts; how the stylistically hybrid texts engage in conversation with different movements, genres and trends; how the polyphonic conversations between different texts and discourses, such as literature and film, or colonialism and postcolonialism, can provide insight into the variety of discourses, textual and ideological, of a postcolonial, post-apartheid South Africa; and how identity crises experienced by key characters can be explained using the notions of hybridity, "The Marginal Man" and liminality. All four texts have key characters that experience identity crises that spring from cultural hybridity; their cultural hybridity has the potential to either render them marginally stagnant or lead them to liminally active participation within their imagined communities. This dissertation argues that even though there are major differences between the films and the literary texts they are based upon, they are relevant to a specific target audience and therefore enrich the ur-texts. Salient characteristics of realism, symbolism, impressionism, modernism, postmodernism, postcolonialism and the apocalyptic dialogise one another within the four texts, thereby liberating the texts from one authorial reading. The dialogue between the discourses of literature and film supplement an understanding of the dialogue between war, imperialism, colonialism, postcolonialism and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006

Student Number : 7639580 - MA research report - Faculty of Humanities / This research report explores the motif of the water journey as a metaphor for philosophical enquiry in Melville and Conrad by comparing Moby-Dick with Heart of Darkness, and Billy Budd, Sailor with Lord Jim. It takes as its starting-point M.H. Abrams’s essay, “Spiritual Travelers in Western Literature”, and adapts the typology which he introduces by identifying four different kinds of fictional journey, namely, the physical, the experiential, the narrative and the hermeneutic. By concentrating on a broadly-based semiotic approach to interpretation (while also allowing for other critical possibilities), it examines Melville and Conrad’s treatment of certain pivotal issues in metaphysics, epistemology and ethics. It compares the narrative strategies of the two authors and, by offering close readings of the four texts under discussion, it highlights the similarities and differences in the authors’ responses to a universe of teasing complexity, as well as exploring the reader’s engagement with such texts.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-18T12:04:23Z No. of bitstreams: 1 Mirella de Lemos Giglio.pdf: 991335 bytes, checksum: 0551e143a1461507f2fc0bc43a1a8b91 (MD5) / Made available in DSpace on 2017-07-18T12:04:23Z (GMT). No. of bitstreams: 1 Mirella de Lemos Giglio.pdf: 991335 bytes, checksum: 0551e143a1461507f2fc0bc43a1a8b91 (MD5) Previous issue date: 2017-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / This project aims to analyze the symbols of Heart of Darkness, searching for elements of depression, using the theories developed by Carl G. Jung. Depression is a subject frequently heard, either presented in formal academic texts or chats among acquaintances. This theme is seen in the history of human kind since the first historical documents, however, its definition would suffer changes according to the point of view men had of themselves. The theory developed by Carl G. Jung depicted that depression might have a creative function for those who suffer from it, as long as the ego encounters the unconsciousness. Joseph Conrad, the author of Heart of Darkness, presented depressive symptoms in his life. He had a life in which he lost his parents at a young age and decided to live alone in the sea, as a sailor. These situations with different obstacles prevented his psychic to develop a strong structure as an adult. His traumas and his sea journeys inspired him to express his private contents and contemplate subjective themes about the human existence. Heart of Darkness presents a plethora of symbols. Some of them express the archetypal journey to Hades’ world, the inner darkness, as the depression process that may result in the transcendence of the consciousness / Esta pesquisa tem como objetivo analisar os símbolos da obra Coração das Trevas, em busca de elementos da depressão por meios da teoria junguiana. A depressão é um assunto tratado frequentemente, seja em formato formal de textos acadêmicos, ou batepapos entre conhecidos. A presença desse assunto está na humanidade desde os primeiros registros históricos, porém a sua definição era diferente de acordo com a visão de homem que as pessoas tinham em cada período. Atualmente, a depressão atinge 350 milhões de indivíduos. Mesmo assim, nos deparamos com uma diversidade de interpretações sobre o assunto e como tratá-lo. A teoria elaborada por Carl G. Jung revelou que a depressão pode ter uma função criativa e transformadora para quem passa por ela, contanto que exista um espaço para o encontro do Ego com o inconsciente. Joseph Conrad, o autor do livro Coração das Trevas, apresentou sintomas depressivos em sua vida. Ele teve uma vida com obstáculos, na qual perdeu os pais na infância e decidiu viver sozinho no mar, como marinheiro. Essas situações dificultaram o fortalecimento de uma estrutura psíquica de um ser adulto. Seus traumas e suas viagens marítimas foram inspirações para o autor expressar seus conteúdos íntimos e comtemplar assuntos subjetivos para toda a humanidade. Coração das Trevas apresenta diversos símbolos. Alguns deles expressam a jornada simbólica ao mundo de Hades, as trevas internas, como o processo da depressão que pode resultar na ampliação de consciência como forma de transcender

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