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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.2
- 수록면
- 205 - 223 (19page)
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The purpose of postcolonial reading is to expose the colonialism, imperialism and ethnocentrism hidden in literary works, in which perspective Edward W. Said and Chinua Achebe are not satisfied with Conrad's efforts in Heart of Darkness. However, the task of postcolonialism should not only concentrate its efforts on the outspoken criticism of ethnocentrism but on the deliberate search for a realistic alternative to the problematic situations of colonialism and imperialism. Conrad thinks that mankind has no chance to find a realistic alternative to the cruel ideology of colonialism and imperialism, because not only the reform of colonial and imperial institutions but also the change of coward and silly human nature, such as that of Marlow, the General Manager and all the others except Kurtz, is required. Conrad says that "before the Congo episode he was a mere animal" like all the others. Conrad's confession is the evidence that his journey to/from Congo is an ethical awakening of the fallacy of phallocentrism and ethnocentrism, which cannot be simply exposed but should be delicately studied. Therefore, it is important for the appreciation and evaluation of Heart of Darkness to "reconstruct how the ethical structure in the story is explained by reference to the discursive conditions of the text's production."
The presence of the frame narrator, I, is drawing the reader's attention to the fact "that they must not concentrate on Marlow's account of the events in which he is protagonist, but on the distortion which the re-creation of his subjective experience produces on the narrative." Marlow's 'Image of Africa,' whatever its limitations, is scrupulously contextualised by the frame narrative. However, the frame narrative is "presented as the speech of an imaginary character" like Marlow, so all the frame narrative cannot be said to be fully presented by the frame narrator, I. Richard Ambrosini points out that "Conrad is clearly having Marlow question the frame narrator's generalization about how they all 'look at the venerable stream'." Thus the frame narrator cannot be defined as "an ideal reader aware of the mechanism of Marlow's storytelling" even though it may be agreed that the juxtaposed narrations of both Marlow and the frame narrator are "Conrad's attempt to overcome the communication gap between himself and his audience by creating asuggestive language." The frame narrative is not only enunciated by the frame narrator, I, but also latently suggested by Joseph Conrad, who is not the omniscient author but the imperfect writer for it cannot be denied that he himself had been involved in the imperialist enterprise. Thus the frame narrative is written not only by the frame narrator, I, but also by the implicit writer, I, who can be said to represent both the frame narrator and the latent imperfect writer regardless of the conditions of enunciation.
Heart of Darkness has been regarded as a modern meta-fiction for it is not only the writing of story of the hero, Kurtz, but also the story of writing of the narrator, Marlow. However, the meaning of Marlow's yarn does not lie "within the shell of a cracked nut" but, sometimes, is made visible by the implicit writer like "misty halos" "by the spectral illumination of moonshine." Kurtz's episode, 'a glow,' is enveloped by Marlow's tale, 'a haze' circumscribed by the implicit writer in the "chinese-box structures." The implicit writer is needed as a choral voice to induce the readers to the misty halo-like meaning of story, pushed a little beyond the actual facts and delivered directly and secretly to the imagination of readers. Straus also indicates that "the contextuality of Conrad's tale, the delicate use of a frame to include readers as hearers, suggests the secret nature of what is being told, a secrecy in which Conrad seems to join Marlow." The implicit writer does not participate in the process of telling Kurtz's episode but makes Marlow a voice of channel to the real meaning of story; "I listened, I listened on the watch for the sentence, for the word that would give me the clue to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips in the heavy night-air of the river."
Ian Watt explains that "Heart of Darkness is no more a direct representation of conditions in the Congo in 1890 than it is of Conrad's actual experiences there; but it is an expression of the essence of the social and historical reality of the Congo Free State as his imagination recreated it." And the essence of the social and historical reality is represented neither by Kurtz's first-hand episode nor by Marlow's yarn, a direct simple tale, but by the story of the implicit writer. The implicit writer is needed for criticizing 'the civilizing work in Africa' just as Marlow confesses that "after all, I also was a part of the great cause of these high and just proceedngs." Heart of Darkness may be read as a meta-fiction with the intention of defamiliarization to subvert the logic of conventional ideology via parody, i.e. repetition with difference. Heart of Darkness is a postmodern meta-fiction because parody is employed self-consciously in order to defamilialize the stuctures of "nineteenth-century realism and of historical romance or of fairy-tales" "by setting up various counter-techniques to undermine the authority of the omniscient author, of the closure of the 'final' ending, of the definitive interpretation."
The presence of the frame narrator, I, is drawing the reader's attention to the fact "that they must not concentrate on Marlow's account of the events in which he is protagonist, but on the distortion which the re-creation of his subjective experience produces on the narrative." Marlow's 'Image of Africa,' whatever its limitations, is scrupulously contextualised by the frame narrative. However, the frame narrative is "presented as the speech of an imaginary character" like Marlow, so all the frame narrative cannot be said to be fully presented by the frame narrator, I. Richard Ambrosini points out that "Conrad is clearly having Marlow question the frame narrator's generalization about how they all 'look at the venerable stream'." Thus the frame narrator cannot be defined as "an ideal reader aware of the mechanism of Marlow's storytelling" even though it may be agreed that the juxtaposed narrations of both Marlow and the frame narrator are "Conrad's attempt to overcome the communication gap between himself and his audience by creating asuggestive language." The frame narrative is not only enunciated by the frame narrator, I, but also latently suggested by Joseph Conrad, who is not the omniscient author but the imperfect writer for it cannot be denied that he himself had been involved in the imperialist enterprise. Thus the frame narrative is written not only by the frame narrator, I, but also by the implicit writer, I, who can be said to represent both the frame narrator and the latent imperfect writer regardless of the conditions of enunciation.
Heart of Darkness has been regarded as a modern meta-fiction for it is not only the writing of story of the hero, Kurtz, but also the story of writing of the narrator, Marlow. However, the meaning of Marlow's yarn does not lie "within the shell of a cracked nut" but, sometimes, is made visible by the implicit writer like "misty halos" "by the spectral illumination of moonshine." Kurtz's episode, 'a glow,' is enveloped by Marlow's tale, 'a haze' circumscribed by the implicit writer in the "chinese-box structures." The implicit writer is needed as a choral voice to induce the readers to the misty halo-like meaning of story, pushed a little beyond the actual facts and delivered directly and secretly to the imagination of readers. Straus also indicates that "the contextuality of Conrad's tale, the delicate use of a frame to include readers as hearers, suggests the secret nature of what is being told, a secrecy in which Conrad seems to join Marlow." The implicit writer does not participate in the process of telling Kurtz's episode but makes Marlow a voice of channel to the real meaning of story; "I listened, I listened on the watch for the sentence, for the word that would give me the clue to the faint uneasiness inspired by this narrative that seemed to shape itself without human lips in the heavy night-air of the river."
Ian Watt explains that "Heart of Darkness is no more a direct representation of conditions in the Congo in 1890 than it is of Conrad's actual experiences there; but it is an expression of the essence of the social and historical reality of the Congo Free State as his imagination recreated it." And the essence of the social and historical reality is represented neither by Kurtz's first-hand episode nor by Marlow's yarn, a direct simple tale, but by the story of the implicit writer. The implicit writer is needed for criticizing 'the civilizing work in Africa' just as Marlow confesses that "after all, I also was a part of the great cause of these high and just proceedngs." Heart of Darkness may be read as a meta-fiction with the intention of defamiliarization to subvert the logic of conventional ideology via parody, i.e. repetition with difference. Heart of Darkness is a postmodern meta-fiction because parody is employed self-consciously in order to defamilialize the stuctures of "nineteenth-century realism and of historical romance or of fairy-tales" "by setting up various counter-techniques to undermine the authority of the omniscient author, of the closure of the 'final' ending, of the definitive interpretation."
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참고문헌 (24)
참고문헌 신청
[단행본] - Ambrosini, Richard / 1991 / Conrads Fiction as Critical Discourse / Cambridge: Cambridge UP
[단행본] - Baines, Jocelyn / 1960 / Joseph Conrad: A Critical Biography / London:Weidenfeld
[단행본] - Bullock, Alan / 1991 / The Double Image (Modernism) / London: Penguin Books : 58 ~ 70
[단행본] - Conrad, Joseph / 1988 / Heart of Darkness / New York: W. W. Norton & Company
[단행본] - Eliot, T. S / 1932 / Selected Essays / London: Faber & Faber
[단행본] - Baines, Jocelyn / 1960 / Joseph Conrad: A Critical Biography / London:Weidenfeld
[단행본] - Bullock, Alan / 1991 / The Double Image (Modernism) / London: Penguin Books : 58 ~ 70
[단행본] - Conrad, Joseph / 1988 / Heart of Darkness / New York: W. W. Norton & Company
[단행본] - Eliot, T. S / 1932 / Selected Essays / London: Faber & Faber
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