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Download (9Mb) University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/66997 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. ~iterature and The Value of Interpretation: The Cases of The Tempest and Heart of Darkness Ole Hartin Skille's Ph.D. ,(Philo'sophy) University QfWarwick Department of Philosophy Hay 1992 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk TEXT CLOSE TO EDGE OF PAGE IN ORIGINAL Table of Contents Acknowledgements 1 Abbreviations 3 Declaration 4 Summary 5 1. Introduction 6 Section I: The Tempest 2. The Tempest and Theatrical Interpretations 17 3. The Performance History of The Tempest 22 4. Colonial Appropriations and Interpretations 48 5. Theatrical and Readerly Interpretations 66 6. Anachronistic Themes and Literary Value: 101 The Tempest Section XI: Heart of Darkness 7. Restraint in the Darkness 129 8. Heart of Darkness, Themes, and 170 the Value of Unity Section XII: A Theoretical Framework 9. The Purpose of Literary Interpretation 232 10. Three Criteria of Literary Interpretation 252 11. Theatre: The Test of the Limit 281 12. Literary Interpretation as Reflective 300 Equilibrium Bibliography of Works Cited and Consulted 329 1 Acknowledgements My first gratitude should go to Rita Helgesen whose relentless no-nonsense questioning helped me to identify some substantial elements in the haze of ideas I presented to her over coffee at The University of Trondheim some time in late 1987, at a time when I still had not completed my first (Cand. Philol.) thesis, yet had to come up with some ideas for a doctoral project. I would like to thank, in particular, Martin Warner who supervised this study. He went out of his way to encourage, inspire and criticize my work at all points during its gestation, even during his sabbatical leave in 1990. His supervision has indeed given true content to the German term Doktorvater. I would also like to thank Professor Stein Haugom Olsen for encouraging me to go to The Centre for Research in Philo­ sophy and Literature at The University of Warwick, for his penetrating criticism of my work in progress, and not least for his tireless encouragement right from my days as a Post­ Graduate student in Norway to the end of the present study. Though this study contains criticism of his work, it also owes a debt to his example and the influence of his literary aesthetics. 2 Professor Jeremy Hawthorn of the University of Trondheim has been a constant support from the time he supervised my first thesis to the present. Both he and Dr. Jacob Lothe have kindly commented on drafts of this study, and provided useful advice at several stages of my work. Professor Bob Sharpe and Peter Lamarque both invited me to give papers at their respective Universities, and I am grateful to have benefited from their insights and learning over these past four years. Among several people who have commented on and encouraged my work, I would like to mention Dr. Michael Bell, Helge H¢ibraaten, Dr. Peter Pollner and Dr. John Rignall. I am deeply grateful to The British Council which funded my first year at The University of Warwick, and thus enabled me to undertake the present study. Also, I am grateful to my Local Authority in Norway, Overhalla Kommune, which gave me a grant towards books in my first year in Britain. That I could continue beyond the first year was thanks to an Overseas Research Student grant from The Committee of Vice­ Chancellors and Principals. Last but not least, my gratitude goes to The Norwegian Research Council for Science and The Humanities for their generous funding and over-all support of me as a Research Fellow. 3 Abbreviations 'UP' is used throughout for 'University Press'. The abbreviated title of periodicals is used when this is common usage, for example 'TLS' for 'The Times Literary Supplement'. The initial definite article has been omitted in the titles of periodicals and the name of publishers. Further, the shorter common usage of publishers' names has been used, for example 'Blackwell' for 'Basil Blackwell'. Throughout, 'p.' for 'page' and 'n.' for 'note' are used. 4 Declaration Chapter 6 of this study, 'Anachronistic Themes and Literary Value: The Tempest' was published, with minor differences, in The British Journal of Aesthetics, 31 (1991), 122-133. 5 Summary This study examines the value of literary interpretation. A case is argued on the basis of the possibility of literary works being understood as 'about' diverse 'themes'. The process of understanding literature, it is argued, inevi­ tably involves the concerns and the personal and historical situatedness of the interpreter. In the performance history of Shakespeare's The Tempest we see clearly how the thematic focus and the representation of the elements of the work changes, sometimes radically, over time. An interpretation of The Tempest with an emphasis on today's concerns is the basis for a discussion which shows the interdependence of the questions of why literary works have survived as valued objects of attention over time, and how literature can matter to the reader. Hans-Georg Gadamer's philosophical hermeneutics shows, in its emphasis on the historical situatedness of understanding, how the reader'S situation and concerns feeds into the process of making sense of literary works and thereby makes literary interpretation interact with the life of the interpreter. 'Themes', or what the work is seen to 'be about', is central to the process of literary interpretation. This, in particular, is where literature has its openness to accommodate application to diverse concerns and situations. To remedy the deficiency of Gadamer's hermeneutics on this point, the role of themes in literary interpretation is first illustrated by an interpretation of Conrad's Heart of Darkness and then analyzed. The study argues that while different literary interpreters may have different purposes, for their procedures to constitute interpretations three criteria need to be observed. In having to reach an equilibrium between the requirements of faithfulness to the literary work on the one hand, and the understanding of it through one's own situation and concerns on the other, the process of literary interpretation makes a valuable contribution to under­ standing. 6 Introduction Readers would hardly turn to literary works if they did not find it valuable to do so, but engaging with literature may be valued for different reasons. This study will mainly address an aspect of the question of why many readers have found that interpreting literature has, to use an imprecise formulation, changed and improved their understanding of themselves and their lives. Many would no doubt say that this comes about through 'what literary works tell us'. However, what the same work tells different people is often rather different. This would suggest that literary works are open to differing interpretations, which in its turn suggests that what the reader brings to the interpretation of the work affects what the work tells the reader. The main objective of this study is to analyze the nature of the process of literary interpretation and through this analysis find an answer, or answers, to how and why literary interpretation can 'change and improve' the readers' understanding of themselves and their lives. The claim that literary works are open to differing legitimate interpretations is, of course, familiar. In The Open Work l Umberto Eco writes of the addressee's comprehen­ sion of the original artefact as 'always modified by his 1. Umberto Eco, The Open Work, translated by Anna Cancogeni (London: Hutchinson Radius, 1989). 7 particular and individual perspective'Z and an openness of the work based on 'the theoretical, mental collaboration of the consumer'.3 The views and theories of Eco constitute just one of a number of modern theories of literary inter­ pretation, which it is not the role of this study to discuss. One should keep in mind, though, that inter­ pretation of texts is not a recently invented activity and that disputes about the nature of this activity have been with us from the beginning of Western thought, most forcefully, perhaps, over the task of establishing the meaning of the Word of God. The modern phase of this history dates from the biblical hermeneutics ot Schleiermacher. Hans-Georg Gadamer, in the second part of his Truth and Method,4 discusses the history of modern hermeneutics to 2. Eco, 1989, p. 3. 3. Eco, 1989, p. 11. 4. Hans-Georg Gadamer, Truth and Method, edited by John Cumming and Garrett Barden, translated by William Glen­ Doepel, from the second German edition (1965) of Wahrheit und Methode, second English edition (London: Sheed and Ward, 1979). References to Gadamer's work in this study will be to the English translation for reasons of linguistic consist­ ency, though the most recent German edition has been con­ sulted: Wahrheit und Methode: Grundzuge Einer Philosoph­ ischen Hermeneutik, Gesammelte Werke, Band 1, Sechste Auflage (Tubingen: J.C.B. Mohr [Paul Siebeck], 1990). References to the German edition will be made in notes on 8 Heidegger. 5 Gadamer's work is seen in this study as a fruitful philosophical perspective on the role of the reader's situation with regard to the interpretation of texts. There are, however, serious shortcomings in Gadamer's hermeneutics with respect to literary interpretation since he does not address the particularities of literary interpretation.
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