<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>

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.

The ancient Chinese I Ching, the Book of Changes, and the philosophy of the German philosopher Friedrich Nietzsche (1844-1900) both assert that the universe exists in a state of change. The I Ching, originally a book of divination, illustrates the changing phenomena of the natural world in terms of sixty-four hexagrams, which are figures composed of six lines  yielding and firm lines, representing actual conditions and relationships existing in the world and caused by the interplay between two primordial forces, yin and yang. The I Ching shows that on the macro level the Tao works in the universe, in heaven and on earth, and on the micro level it applies to man. The I Ching teaches harmony with Tao and its power (natural law and moral law), so that its reader may take appropriate action in any given situation with reference to the hexagrams and their appended judgments as revealed by the oracle. Nietzsche, however, regards the world as the Will to Power, ‘a monster of energy’, like a storming and flooding ocean eternally changing, where harmony and order seems impossible. His mouthpiece, Zarathustra, who teaches the Übermensch, encourages a war-like attitude towards life. Zarathustra’s second metamorphosis of an evolving spirit, the warrior lion, marks the difference between the Nietzschean Übermensch and the Chinese sage who attains harmony and balance within and without, a mysterious union with heaven. Zarathustra’s third metamorphosis, a playing child, creates itself as its own ‘bridge’ through a process of self-overcoming, whereas the I Ching indicates order to be the ‘bridge’ over chaos, the order of the human world being expressed in the five cardinal relationships. Whereas the I Ching advises its reader to follow their own nature and fate in order to lead a harmonious moral life, Nietzsche’s Übermensch is ‘the annihilator of morality’ and paradoxically ‘the designation of a type of supreme achievement’ (EH Books 1). With his idea of the Übermensch, Nietzsche indicates that morality is a pose (BGE 216). He seeks to make us become aware that we should invent our own virtue and create our own way in order to become what we are. He criticizes Christian morality, calling himself ‘the first immoralist’. His shocking approach attempts to make us become aware of the possibility that a ‘noble morality’ and ‘higher moralities’ ought to be possible. His Übermensch represents such a higher mode of existence. Zarathustra also teaches the doctrine of eternal recurrence, implying that moment is eternity, changelessness within change. Multifarious manifestations are the expression of the Tao. Everything is interconnected and interdependent. Whereas ordinary men see the continuity of phenomena as real, enlightened beings are aware of the transitory and illusive nature of the self and all things. The Nietzschean Übermensch embodies the characteristics of an enlightened being, a Buddha or Bodhisattva in Buddhist terms, characteristics such as wisdom and compassion. Therefore, the practice of the Bodhisattva is explored as a feasible way for actualizing the Nietzschean hypothetical Übermensch. / Thesis (DPhil)--University of Pretoria, 2009. / Philosophy / unrestricted

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京都大学 / 新制・課程博士 / 博士(工学) / 甲第25248号 / 工博第5207号 / 新制||工||1994(附属図書館) / 京都大学大学院工学研究科社会基盤工学専攻 / (主査)教授 八木 知己, 教授 杉浦 邦征, 教授 高橋 良和 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DFAM

李智浩. / Thesis (doctoral)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (p. 230-248). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Li Zhihao.

Cette thèse étudie en détail un type particulier de représentation du Bouddha où il est représenté assis sur un trône prééminent, le bhadrapīṭha ou bhadrāsana, dans une posture majestueuse avec les deux jambes pendantes, c’est-à-dire assis en bhadrāsana ou dans l’attitude « de bon augure ». Cette iconographie, étroitement associée à l’imagerie du trône, se retrouve largement représentée dans l’art de l’Asie du Sud, de l’Est et du Sud-Est, et est, en règle générale, intimement liée aux modèles de la royauté, de la fertilité, et même du divin. Plusieurs implications notables ressortent de cet examen iconologique concernant les origines, la diffusion, et le développement de l’art bouddhique dans ces contrées, particulièrement au cours du premier millénaire de notre ère. / This dissertation provides a detailed study of a particular representation of the Buddha, in which he sits on a prominent throne, i.e. a bhadrapīṭha or bhadrāsana, in a majestic posture with two legs pendant, that is, in bhadrāsana or the “auspicious pose.” This pendant-legged imagery, generally associated with the throne, has been found widely depicted in South, East, and Southeast Asian art and is, as a rule, mostly associated with kingship, fertility, and even divinity. The results of this iconological examination have wide implications for understanding the origins, spread, and development of Buddhist art in those lands, particularly during the first millennium CE.

Le Traité qui montre la nature de bouddha, écrit par le 3e Karmapa Rangjoung Dorjé (1284-1339), est un texte important de la lignée Karma Kagyü du bouddhisme tibétain. En effet, il indique la nature véritable de chaque être, le véritable Soi, et la pratique méditative du mahāmudrā qui est propre à cette lignée se fonde sur cette vue. Notre thèse propose une traduction en français du Traité qui montre la nature de bouddha et d’un commentaire écrit par Jamgön Kongtrül Lodrö Tayé (1813-1899). Cette traduction est accompagnée d’une réflexion sur le sens de la présence en tous les êtres de la nature de bouddha et des raisons pour lesquelles la pratique méditative se base sur sa compréhension. Puisque la nature de bouddha désigne un état de conscience indicible, nous proposons de l’appréhender en suivant le chemin que la conscience ordinaire doit parcourir pour reconnaître ce qu’elle est véritablement, à savoir la vacuité-luminosité. / The Treatise which shows buddha nature, written by the 3rd Karmapa Rangjoung Dorjé (1284-1339), is an important text in the Karma Kagyü lineage of tibetan buddhism. It indicates indeed the true nature of every being, the true self, and the mahāmudrā meditative practice which is specific to this lineage is grounded on that understanding. This study proposes a french translation of the Treatise which shows buddha nature and of a commentary written by Jamgön Kongtrül Lodrö Tayé (1813-1899). We also try to understand the meaning of Buddha nature presence and the reasons why we should know it to practice mahāmudrā meditation. Since Buddha nature points out an inexpressible state of consciousness, we propose to apprehend it by following the path that the ordinary consciousness should go through, in order to recognize what is true, which is emptiness-luminosity.

圓教是中國佛學獨有的概念，圓主要指圓滿和圓融二義，圓教即圓滿究竟、圓融無礙地總攝一切法的教法。對天台宗來說，這圓教是如何可能的呢﹖智者大師透過教相門與觀心門來講圓教，教相門就是以判教理論，分判、判定有佛一代的說法，何者為權，何者為實，而最後必以天台圓教為實。觀心門就是通過智者大師自心所行法門，點出一念三千的教說，由此一念心即具三千法以明圓教之義。 　　另外，佛性是中土佛教思想的核心概念，主導著整個中國佛學的發展方向，然則在天台圓教浸潤下，會顯出何種形態的佛性理論﹖我們發現，在天台宗之思想中，佛性圓滿無盡地具足一切法，可以說和圓教義理是一致的，實則兩者之關係本來就密不可分。 　　總之，天台圓教和佛性思想表顯著中國佛教哲學的高峰，亦充份地開顯了大乘佛教的精神，實為人類思想文化的一大寶庫。