Discussion Questions for Heart of Darkness by Joseph Conrad

Total Page：16

File Type：pdf, Size：1020Kb

DISCUSSION QUESTIONS FOR HEART OF DARKNESS BY JOSEPH CONRAD 1. Why does Conrad have one of Marlow's listeners relate the story, rather than make Marlow the narrator of the novel who speaks directly to the reader? 2. Why does the narrator note Marlow's resemblance to a Buddha, at the beginning as well as the end of Marlow's story? 3. Why does Marlow want to travel up the Congo River? 4. What is Marlow's atude toward the African people he encounters on his trip up the Congo? In describing them, why does Marlow say that "what thrilled you was just the thought of their humanity—like yours—the thought of your remote kinship with this wild and passionate uproar" (p. 63)? 5. What does Marlow mean when he says that "there is a taint of death, a flavour of mortality in lies" (p. 49)? 6. Why does Marlow consider it lucky that "the inner truth is hidden" (p. 60)? 7. What does Kurtz mean when, as he's dying, he cries out, "The horror! The horror!" (p. 112)? 8. What is the significance of the report Kurtz has wrien for the Internaonal Society for the Suppression of Savage Customs? Why does Marlow tear off the postscriptum, which reads "Exterminate all the brutes!" (p. 84), before giving the report to the man from the Company? 9. Why does Marlow think that Kurtz was remarkable? 10. Why does Marlow tell the Intended that Kurtz's last words were her name? 11. What does Marlow mean when he says that Kurtz "was very lile more than a voice" (p. 80)? 12. What does the narrator mean when he says of Marlow's narrave that it "seemed to shape itself without human lips in the heavy night-air of the river" (p. 50)? 13. Is it possible to disnguish between civilized and uncivilized sociees? 14. Is complete self-knowledge desirable? Is it possible? Quesons issued by Penguin Group publishers . This discussion sheet is property of the Colorado State Library’s Book Club Resource. Please return this sheet along with all of the books in the book bag to the Colorado State Library – Courier Code C912. Contact [email protected] with quesons or concerns. .

Copy Link

Recommended publications

“He Was One of Us” – Joseph Conrad As a Home Army Author
Yearbook of Conrad Studies (Poland) Vol. 13 2018, pp. 17–29 doi: 0.4467/20843941YC.18.002.11237 “HE WAS ONE OF US” – JOSEPH CONRAD AS A HOME ARMY AUTHOR Stefan Zabierowski The University of Silesia, Katowice Abstract: The aim of this article is to show how Conrad’s fiction (and above all the novelLord Jim) influenced the formation of the ethical attitudes and standards of the members of the Polish Home Army, which was the largest underground army in Nazi-occupied Europe. The core of this army was largely made up of young people who had been born around the year 1920 (i.e. after Poland had regained her independence in 1918) and who had had the opportunity to become acquainted with Conrad’s books during the interwar years. During the wartime occupation, Conrad became the fa- vourite author of those who were actively engaged in fighting the Nazi regime, familiarizing young conspirators with the ethics of honour—the conviction that fighting in a just cause was a reward in itself, regardless of the outcome. The views of this generation of soldiers have been recorded by the writers who were among them: Jan Józef Szczepański, Andrzej Braun and Leszek Prorok. Keywords: Joseph Conrad, World War II, Poland, Polish Home Army, Home Army, Warsaw Uprising 1 In order to fully understand the extraordinary role that Joseph Conrad’s novels played in forming the ethical attitudes and standards of those Poles who fought in the Home Army—which was the largest underground resistance army in Nazi-occupied Europe—we must go back to the interwar years, during which most of the members of the generation that was to form the core of the Home Army were born, for it was then that their personalities were formed and—perhaps above all—it was then that they acquired the particular ethos that they had in common.
[Show full text]
6. Nostromo and the Mechanics of History
6. Nostromo and the Mechanics of History The process of history becomes Nostromo’s dominant theme through Conrad’s narrative strategies concerning time, place, and characters. Despite its title the focus of Nostromo is not on a particular figure but on a whole country, the fictional South American state Costaguana. Although the central action of the novel – the events leading up to the foundation of the Occidental Republic – spans just a few days in 1890 (cf. Watts, Nostromo 61-66), there are countless references to the past as far back as the Spanish Conquest in the sixteenth and seventeenth centuries and to about ten years to the future of the secession of Sulaco from Costaguana. Conrad’s use of such a large time-scale enables him to give the reader multiple perspectives of the main events. He can zoom in on the characters involved in the War of Separation but he can show at the same time that this upheaval is just one of many similar ones that have occurred in the past and will occur again in the future. Not only the treatment of time and place thus draws attention to the process of history but also the social panorama that is presented. In the course of the narrative we come across representatives of numerous classes and ethnic groups that constitute the society of the country. This enormous canvas facilitates the identification of the characters with a certain social class and/or ethnic group and allows for the action of the novel to be analysed in abstract political and historical terms.
[Show full text]
The Real Cinema of Malaysia
SHOWCASE CINEMA OF IDENTITY AND VIBRANCY: THE REAL CINEMA OF MALAYSIA a SHOWCASE CINEMA OF IDENTITY AND VIBRANCY: THE REAL CINEMA OF MALAYSIA CONTENTS IN-CONVERSATION WITH PHILIP CHEAH 4 WELCOME PROFESSOR HERMAN VAN EYKEN 6 OF IDENTITY AND VIBRANCY: THE REAL CINEMA OF MALAYSIA DR NICO MEISSNER 11 IT’S BEEN A LONG TIME COMING!! TEN QUESTIONS WED 28 SEPTEMBER, 4-6PM WITH U-WEI BIN HAJI SAARI… Philip Cheah & U-Wei Haji Saari on AND THEN SOME… Local Storytelling in Films PHILIP CHEAH 16 JOGHO 18 NOVA (TERBAIK DARI LANGIT) 20 JAGAT 22 THE SHORT FILMS OF EDMUND YEOH WED 5 OCTOBER, 12-1PM 24 BUNOHAN Nandita Solomon & Philip Cheah on Working Across Borders: multi-national 26 MEN WHO SAVE THE WORLD crews and international festival journeys (LELAKI HARAPAN DUNIA) THURS 6 OCTOBER, 1-4PM 28 MALAYSIAN NON-FICTION: Philip Cheah & Nandita Solomon on A SHORT PROGRAM Making Shorts/Features for Festivals (Philip) and Building Careers in the film 32 ACKNOWLEDGEMENTS business (Nandita) SHOWCASE CINEMA MALAYSIA JOGHO (1999) BUNOHAN (2011) U-WEI HAJI SAARI DAIN SAID 94 MINUTES 97 MINUTES SCREENING: SCREENING: 28 SEPTEMBER, 6–8PM 5 OCTOBER, 6–8PM NOVA (TERBAIK DARI MEN WHO SAVE THE LANGIT, 2014) WORLD (LELAKI NIK AMIR MUSTAPHA HARAPAN DUNIA, 2014) 109 MINUTES SENG TAT LIEW SCREENING: 97 MINUTES 30 SEPTEMBER, 4–6PM SCREENING: 6 OCTOBER, 6–8PM JAGAT (2015) SHANJHEY KUMAR PERUMAL MALAYSIAN NON- 90 MINUTES FICTION: A SHORT SCREENING: PROGRAM 4 OCTOBER, 6–8PM MULTIPLE DIRECTORS 85 MINUTES THE SHORT FILMS OF SCREENING: EDMUND YEOH 10 OCTOBER, 9–11AM EDMUND YEOH SCREENING: 5 OCTOBER, 10AM–12PM SELAMAT DATANG! “Cinema is all about Identity” Lord David Puttnam, Griffith Film School, Brisbane, Autumn 2015 Welcome to our last but not least effort between tradition and modernity, the current to understand yet another great Cinema training needs and other very substantial Showcase, our vehicle for Screen Culture: government incentives to bring Malaysia Of Identity and Vibrancy, the Real Cinema of up to speed with the other ‘rich’ and high Malaysia.
[Show full text]
Nostromo a Tale of the Seaboard
NOSTROMO A TALE OF THE SEABOARD By Joseph Conrad "So foul a sky clears not without a storm." —SHAKESPEARE TO JOHN GALSWORTHY Prepared and Published by: Ebd E-BooksDirectory.com AUTHOR'S NOTE "Nostromo" is the most anxiously meditated of the longer novels which belong to the period following upon the publication of the "Typhoon" volume of short stories. I don't mean to say that I became then conscious of any impending change in my mentality and in my attitude towards the tasks of my writing life. And perhaps there was never any change, except in that mysterious, extraneous thing which has nothing to do with the theories of art; a subtle change in the nature of the inspiration; a phenomenon for which I can not in any way be held responsible. What, however, did cause me some concern was that after finishing the last story of the "Typhoon" volume it seemed somehow that there was nothing more in the world to write about. This so strangely negative but disturbing mood lasted some little time; and then, as with many of my longer stories, the first hint for "Nostromo" came to me in the shape of a vagrant anecdote completely destitute of valuable details. As a matter of fact in 1875 or '6, when very young, in the West Indies or rather in the Gulf of Mexico, for my contacts with land were short, few, and fleeting, I heard the story of some man who was supposed to have stolen single-handed a whole lighter-full of silver, somewhere on the Tierra Firme seaboard during the troubles of a revolution.
[Show full text]
Conrad's Cracow
Yearbook of Conrad Studies (Poland) Vol. VII 2012, pp. 7–49 doi:10.4467/20843941YC.12.001.0690 CONRAD’S CRACOW Stefan Zabierowski The University of Silesia, Katowice Abstract: This article discusses Joseph Conrad’s links with Cracow, the historic capital of Poland and a major centre of Polish culture. Conrad fi rst came to Cracow in February 1869, accompanied by his father Apollo Korzeniowski, who — after several years of exile in northern Russia — had become gravely ill. Conrad visited the city a second time in the summer of 1914, having accepted an invitation from the young Polish politician Józef Hieronim Retinger, and (not without some dif- fi culty) eventually managed to get himself and his family safely back to Britain after the outbreak of World War I. Both of these sojourns in Cracow played an important role in Conrad’s life — and, one might say, in his creative work as a writer. One of the most vivid memories of his fi rst stay in Cracow was the hero’s funeral given to his father, who had been a victim of tsarist oppression. It was from Cracow that the young Conrad set out for France in order to take up a maritime career in Marseilles. During his second stay in Cracow (and Zakopane) Conrad made the acquaintance of many members of the Polish intellectual elite and took the decision to become actively involved in the cause of Polish independence. Keywords: Cracow, Joseph Conrad, Józef Hieronim Retinger, the Polish Question during WWI 1 If we were to ask ourselves which of the Polish towns in which he had occasion to stay — Warsaw, Lwów or Cracow — exerted a particularly strong infl uence on the shaping of the personality and views of a certain Józef Teodor Konrad Nałęcz- Korzeniowski (known all over the world by his literary pseudonym “Joseph Conrad”), then Cracow would have to come fi rst.
[Show full text]
Agnieszka Adamowicz-Pośpiech Intertextual Masks of Joseph Conrad’S Reminescences
Agnieszka Adamowicz-Pośpiech Intertextual Masks of Joseph Conrad’s Reminescences Annales Neophilologiarum nr 5, 75-89 2011 ANNALES NEOPHILOLOGIARUM 5 Rok 2011 AGNIESZKA ADAMOWICZ-POŚPIECH∗ Uniwersytet Śląski w Katowicach INTERTEXTUAL MASKS OF JOSEPH CONRAD’S REMINISCENCES Joseph Conrad began his autobiographical project in 1908 not knowing exactly its scope, audience or even title. He outlined generally its content and the probable title to his literary agent, James B. Pinker: These are to be intimate personal autobiographical things under the general title (for book form perhaps) of the Life and the Art. They will tell in a measure my own story and as it were the story of my books – they will be concerned with Polish life and life at sea, intimate thought and sensations. (emphasis added)1 Those personal sketches were subsequently serialised in the English Review, a magazine edited by Conrad’s friend, Ford Madox Ford under the title of Some Reminiscences. While composing his memories, Conrad was still unsure whether the general British public would be interested in them. Hence he tried to mini- mise the significance of his recollections and present them as familial stories for his relatives: Ford has persuaded me to give some personal stuff for the [English] R[eview]… But I was thinking of doing something of that kind for the boys [Conrad’s sons], yet fearing that I would never do it from mere ∗ Agnieszka Adamowicz-Pośpiech – adiunkt w Instytucie Kultury i Literatury Brytyjskiej i Amerykańskiej Uniwersytetu Śląskiego. Wykłada literaturę brytyjską i teorię przekładu. Opu- blikowała dwie książki Lord Jim Conrada. Interpretacje (Kraków 2007), Joseph Conrad: Spory o biografię (Katowice 2003) oraz artykuły na temat Roberta Browninga, T.S.
[Show full text]
JOSEPH CONRAD: THREE NOVELS Joseph Conrad in 1923, Aged About 65 (Estate of John Conrad/Photo T
JOSEPH CONRAD: THREE NOVELS Joseph Conrad in 1923, aged about 65 (Estate of John Conrad/photo T. and R. Annan and Sons) JOSEPH CONRAD: THREE NOVELS Heart of Darkness The Secret Agent The Shadow-Line Joseph Conrad Edited with an introduction and notes by NORMAN PAGE M MACMILLAN Introduction, notes, glossary and chronology © Norman Page 1995 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 9HE. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1995 by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world ISBN 978-0-333-61096-1 ISBN 978-1-349-23831-6 (eBook) DOI 10.1007/978-1-349-23831-6 A catalogue record for this book is available from the British Library Typeset by EXPO Holdings, Malaysia Contents A Note on the Text vi Introduction ix Heart of Darkness 1 The Secret Agent 93 The Shadow-Line 339 Notes 446 Glossary of Nautical Terms 451 A Conrad Chronology 453 v A Note on the Text Heart of Darkness was begun in mid-December 1898 and finished within about a month.
[Show full text]
Joseph Conrad's Heart of Darkness and Francis Ford
THE EVIL OF MODERNITY: JOSEPH CONRAD’S HEART OF DARKNESS AND FRANCIS FORD COPPOLA’S APOCALYPSE NOW Michel Maslowski Paris IV Sorbonne Cywilizator, oszalały Kurtz, One of the civilizers, a madman named Kurtz, Miał kość słoniową ze śladami krwi, A gatherer of ivory stained with blood, Na memoriale o światłach kultury Scribbed in the margin of his report Pisał “ohyda” a więc już wstępował On the Light of Culture “The horror.” And climbed W dwudziesty wiek. Into the twentieth century. Czesław Miłosz, A Poetical Treatise, 1956 After December 13, 1981 the front pages of world press showed a photograph of a tank in front of the Moskwa Cinema in gray wintertime Warsaw. A huge inscription on the building announced: “Apocalypse Now.” It was the beginning of martial law in Poland. Apocalypse Now by Francis Ford Coppola, is a ﬁ lm adaptation of Joseph Conrad’s 1899 novella Heart of Darkness, which has inspired many artists and still continues to do so. For Czesław Miłosz it presented a prophetic vision of the 20th c.: the time of world wars, genocides and totalitarianisms. The Zeitgeist from Miłosz’s A Poetical Treatise is wearing a necklace made of cut off heads resembling those stuck on the palisade in Kurtz’s camp. For T.S. Eliot, whose 1925 poem The Hollow Men appears in Coppola’s ﬁ lm, Conrad’s work portends a crisis of humankind by stigmatising the “fragility of the base on which modern people built their dilapidating ark, namely language.”1 The literary critic Juan Asensio points out another example of a work directly inspired by Conrad’s novella: The Portage to San Cristobal of A.H.
[Show full text]
Joseph Conrad
Joseph Conrad Joseph Conrad (born Józef Teodor Konrad Korzeniowski, Joseph Conrad Polish: [ˈjuzɛf tɛˈɔdɔr ˈkɔnrat kɔʐɛˈɲɔfskʲi] ( listen); 3 December 1857 – 3 August 1924) was a Polish-British writer[1][note 1] regarded as one of the greatest novelists to write in the English language.[2] Though he did not speak English fluently until his twenties, he was a master prose stylist who brought a non-English sensibility into English literature.[note 2] Conrad wrote stories and novels, many with a nautical setting, that depict trials of the human spirit in the midst of what he saw as an impassive, inscrutable universe.[note 3] Conrad is considered an early modernist,[note 4] though his works contain elements of 19th-century realism.[3] His narrative style and anti-heroic characters[4] have influenced numerous authors, and many films have been adapted from, or inspired by, his works. Numerous writers and critics have commented that Conrad's fictional works, written largely in the first two decades of the 20th century, seem to have anticipated later world events.[5][6] Conrad in 1904 Writing near the peak of the British Empire, Conrad drew, among by George Charles Beresford other things, on his native Poland's national Born Józef Teodor Konrad [7]:290, 352[note 5] experiences and on his own experiences in the Korzeniowski French and British merchant navies, to create short stories and 3 December 1857 novels that reflect aspects of a European-dominated world— Berdychiv, Russian including imperialism and colonialism—and that profoundly Empire explore
[Show full text]
The History of Film Adaptation in Malaysia: the Long Journey of Its Rise and Fall
THE HISTORY OF FILM ADAPTATION IN MALAYSIA: THE LONG JOURNEY OF ITS RISE AND FALL (Sejarah Filem Adaptasi di Malaysia: Sebuah Perjalanan Jatuh Bangun yang Panjang) Wan Hasmah Wan Teh [email protected] School of Humanities, Universiti Sains Malaysia. Published online: 3 December 2018 To cite: Wan Hasmah Wan Teh. (2018). The history of film adaptation in Malaysia: The long journey of its rise and fall. Malay Literature 31(2), 361 – 382. Abstract Morris Beja in his book Film and Literature: An Introduction, said that since the Academy Awards was introduced in 1927 – 1928, about three quarters of the award for best film was won by film adaptations. This is proof that film adaptation is a form of art that has gained the attention of the world community and was a well- known form of narrative in the 19th and 20th centuries in Europe. This paper takes the initiative to trace the history of film adaptations in general by focusing on such films in Malaysia. Findings of the study reveal that the history of film adaptation in Malaysia started in 1933 during the filming enterprise of Cathay Film and Malay Film in Singapore up to the setting up of Merdeka Studio in Kuala Lumpur in the 1970s and beyond. The film industry in Malaysia faced many problems including the influx of imported films from Indonesia and the commercialization factor that did not guarantee profits. However, around 2006, concerted efforts were reinforced to adapt literary works into films, through workshops and competitions organized by Malaysian government bodies such as Dewan Bahasa dan Pustaka (DBP), National Film Development Corporation (FINAS) and Radio and Television Malaysia (RTM).
[Show full text]
"Heart of Darkness" and Francis Ford Coppola's "Apocalypse Now" Author(S): Linda Costanzo Cahir Source: Literature/Film Quarterly, Vol
Narratological Parallels in Joseph Conrad's "Heart of Darkness" and Francis Ford Coppola's "Apocalypse Now" Author(s): Linda Costanzo Cahir Source: Literature/Film Quarterly, Vol. 20, No. 3 (1992), pp. 181-187 Published by: Salisbury University Stable URL: https://www.jstor.org/stable/43796548 Accessed: 09-10-2019 03:49 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Salisbury University is collaborating with JSTOR to digitize, preserve and extend access to Literature/Film Quarterly This content downloaded from 143.107.252.211 on Wed, 09 Oct 2019 03:49:42 UTC All use subject to https://about.jstor.org/terms Narratological Parallels in Joseph Conrad's Heart of Darkness and Francis Ford Coppola's Apocalypse Now The theme of Joseph Conrad's Heart of Darkness is, as his character Charles Marlow states, the "fascination of the abomination" (31). The novella is a frame-story, won- derfully entangled by a narrative within a narrative, a flashback within a flashback, a series of quotes within quotes. It is a bildungsroman , an initiation into darkness and chaos, calmly framed by a prologue and an epilogue. Heart of Darkness opens with an unnamed narrator's account of an evening spent aboard the yawl Nellie.
[Show full text]
A That Its Tone Is Provided by an Atmosphere of Sinister Darkness Which Is Penetrated Spasnlodically by the Blood-Red Glare of Gaslight
THE "ILLUMINATING QUALITY": IMAGERY AND THEME IN THE SECRET AGENT S ONE reads The Secret Agent he is aware of the fact A that its tone is provided by an atmosphere of sinister darkness which is penetrated spasnlodically by the blood-red glare of gaslight. The object of this study is to make a sys- tematic analysis of this imagery, indicating how it arose from Conrad's inspiration for the novel; how it aids in the presen- tation of character and theme; and how it serves as a device for furthering the author's artistic purp0se.l In the preface to this narrative, Conrad gives the baclc- ground of his inspiration for the subject and for its develop- ment. There were two distinct impressions, derived from two separate occasions, which gave him the idea of writing Winnie Verloc's story, The first of these occasions occurred as Conrad and a friend sat in desultory conversation, during which an attempted bombing of the Greenwich Observatory was mentioned. The friend remarked that the bombing was perpetrated by a man who was "half an idiot" and that his sister committed suicide later. Conrad was conscious that there was an "illuminating quality" about this story: "One felt like a man walking out of a forest on to a plain-there was not much to see but one had plenty of light. No, there was not much to see and, frankly, for a considerable time I didn't even attempt to perceive anything. It was only the illuminating impression that remained" (pp. x-xi)." The second impression was gathered from an obscure book, "the rather summary recollections of an Assistant Commissioner of Police," and the only distinct remembrance Conrad had of the book was of about ten lines of dialogue, The Rice Institute Pamphlet in which Sir William Harcourt, the Home Secretary, re- marked to the Assistant Commissioner that the latter's "idea of secrecy .
[Show full text]