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Colonizers, Cannibals, and the Horror of Good Intentions in Joseph Conrad's Heart of Darkness by Carola M. Kaplan

This article discusses the Other and Self; the Other being the undiscovered territory in the self and how the colonizer attempts to contain it. There is a lot about imperialism with a mention at how colonialist texts take two forms with imaginary and symbolic. The article highlights a lot about the differences of male and females, and how Marlow denigrates and overestimates the power of women. The text moves then into how the imagery recalls the sinister aspects of colonialism and the cannibalism of the people. from Anna B

"Are we being historical yet?": Colonial Interpretations of Shakespeare's Tempest by Schneider Jr and Ben Ross

Reviews how travel, colonialism, and early exploration affected Shaekspeare's writing and the Renaissance.This critic goes into detail on how Shakespeare may be to blame for certain ideals portrayed in this play. Early European colonialism had just begun horrific cultural demising practices on an industrial scale. Jr. and Ross argue that The Tempest wrongfully justifies colonial oppression by the British. Characters in the play like Prospero and Caliban contradict themselves in their prologue as they vaguely resemble colonists that have oppressed colonised peoples whom they have come across in their travels and find them inferior to themselves. Critics also portray Shakespeare as a universal man and compare his ideals to those seen in Karl Marx's Communist Manifesto. from Georgia P

"Turning Heart of Darkness into a Racist Text: A Comparison of Two Polish Translations" by Ewa Kujawska-Lis

This article talked about how translations can be either a conscious decision or a simple misunderstanding. Sometimes the original thoughts can be lost or altered as time progresses. It also talked about how translations are ideological. The author of Heart of Darkness, Joseph Conrad, was a strong nationalist, and that belief outweighed his racial prejudice. But throughout the story, it can also be observed that he has issues with those of African descent. The words he uses in the story are specific and convey his thoughts. from Geny M

"Boredom, Insignificance, and Death in Voltaire's Candide" by LuElla Putnam

In this article, boredom is depicted as a main theme. The author describes it as "the worst possible mode of human experience". For a time in the book, pessimism is a theme. It is not the characters' problems or setbacks that cause negativity but the boredom that follows. When they talk with the Turkish man at the end of the book, he explains that idleness is not an option because it prevents one's fulfillment. Candide subsequently finds a reason to live through this interaction and the characters living with him also find their purpose. This is all due to the overcoming of boredom. from Audrey G

Empires of Enlightenment: On Illumination and the Politics of Buddhism in Heart of Darkness by Avram Alpert: Rutgers University

In this text, Avram Alpert discusses the way Marlow is referred to Buddha more than once in this book; and connecting this idea to colonialism, modernism, European Buddhism, and on “absolute and ‘spectral’ illumination.” In the first Buddha comparison early on, Marlow is described as sitting “cross-legged right aft...he had sunken cheeks, a yellow complexion, a straight back...the palm of hands outwards resembled an idol,” (7). Then at the end of the book, Marlow is described sitting in a Buddha-like position as before. In order to interpret the meaning behind the Buddha reference, Alpert dives into the idea of spectral illumination. The idea behind it is that “meaning is neither hidden in the depths of things, nor merely on their surface, but rather is found in some vague space outside them.” He further explains this in how “a kernel cannot be missed when we bite into it, we may walk through a haze (of mist) completely unaware. Our only hope to see it is that a bit of moonlight might suddenly shine on that haze and give us “spectral illumination”—partial enlightenment.” Alpert argues “that the Heart of Darkness challenges the value of Marlow’s European Buddhism as a response to the horrors of colonialism that we find in the kernel of the story.” He mentions this briefly but we were talking earlier about how Kurtz and Marlow wanted to exterminate all the “native brutes.” Alpert claims that what Joesph Conrad was really trying to say is “that we are all brutes underneath the surface, that we all need extermination.” from Cliona P

Time in Candide — In this work of criticism the author discusses the use of time and time passing in relation to the past, present, and future throughout the book. the writer points out that at different points of the characters journey the sense of time seems to shift from fast passed to turtle slow and everywhere in between. The use of time not only leads the characters but allows the reader to become enraptured with the passing of time. At one point it will help to illuminate the absurdities of mans actions and at other points it will blur the line between what is right and logical with what is dark and dooming. By the end when the caravan all reaches the garden and Constantinople and realize that throughout the book they each individually were either stuck with their heads in the past or future but now have come to the state of awareness that allows them to forget the world and enjoy the simple life in the garden. from EVIE ....... Candide goes through this journey thinking about finding Cunegonde and looking forward to the future. He doesn't seem to notice the time going by as he expects the future to be just like the past and the old Cunegonde he enjoys. When he finally gets to that long awaited destination, Cunegonde has aged badly and the others, Pangloss specifically, degenerates not only from being hung and then cut into, but also from his syphilis. The future is usually thought of as a path of progressing through life, but for Candide who focuses on the best world in the future, as described by Pangloss, everything has gone downhill. As soon as he sees these effects, he begins to cultivate a garden and the Earth with his friends. This new work has a different effect than the rest of his journey. In the last scene, Pangloss and Candide are seen sitting and enjoying some food, living in the moment. - from Torria

The Music of The Tempest by COHEN, JOSHUA

The article discusses the music that is portrayed in the book. It talks about who really Ariel is. It also talks about how the relationship between the music and the words is a debate, and how they used the words to express what they were feeling.... from Kacie

"So little more than voices": Conrad, Modernism, and Resistance. — This text is about how Conrad is able to talk about politics in the story without downplaying them to fit into the aesthetic. It talks about the politics of the Congo, along with the politics that were brought over with the company that Marlow worked with. from MARIAH

"The horror! The horror!": Joseph Conrad's Heart of Darkness as a Gothic Novel. — This criticism takes a different approach to The Heart of Darkness than most critics. It explains how the book can also be seen as a horror story and not just its literary importance and approaches. Joseph Conrad didn't like explaining what his book were about because it could close some new ideas about the book and he could be criticized for it. That is why this critic was able to find how The Heart of Darkness can be looked at as a horror story. He believes that the book can have a better story if it can be looked at through Gothic elements rather than traditional examination. from SCOUT. The two main things I've been able to get out of this are comments on racism, and comments in regard to the evil nature of all men. In the discussion of the latter it is made clear that everyone has the instinct to put their own preservation and gain above that of anything or anyone else. In regards to racism it addressees accusations that the novel is racist, but refutes them saying that while it depicts the Africans as Evil brutes this is done to parallel them to the Europeans and show the true nature of all humans. On top of this it discusses a comment of Kurtz's regarding gaining control of African societies. He mentions that a crucial thing to do is to "Kill all the brutes" this is really to say that the brutes are the most human humans. They will put themselves first and it is harder to convince them that what they are doing is benefiting them instead of hurting them. This is something that makes every individual a risk to the whole, their drive for themselves, as such the most human humans must have a closer eye. Honestly, in my personal opinion it would be hard to find any criticism that guides my view of this text as being anything other than racist. This being said Heart of Darkness is definitely an incredible read.from RY.

A Black Athena in the Heart of Darkness: Conrad's Baffling Oxymorons — The criticism focuses on the African woman that is seen in the end of the novel. Most critics view Conrad's writing as inherently sexist and feel that the woman is explained in both a racist and sexist way. The author of this criticism feels that the African woman is actually closer to the Greek goddess Athena. This reading makes the picture of the woman makes the image less about race. The fact that the woman is never actually identified in words as a mistress of Kurtz is also justified by the author as less sexist. from Nate.

Acknowledging Things of Darkness — This piece of criticism talks about colonization in the drama. The idea of cultural arrogance, torture, and unjust imprisonment (Ariel) are all mentioned. "And it is the European Prospero who redresses colonial evil, freeing Ariel, abandoning the island, and unconditionally renouncing all claims over its inhabitants. Of course, such an extended reading strategy is unappealing to our postcolonial critics, whose ideological imperatives inhibit them from exploring colonialism outside Western culture." From Megan.

An Already Alienated Animality — In this essay I argue that Frankenstein's monster, as a being constructed, in part, from nonhuman animal remains obtained from slaughterhouses, is literally a bizarre by-product of meat-eating. Frankenstein's monster is a 'monster' because he is meat that was not consumed and brought back to life. What was intended for the human table comes to life and threatens the social order. The fact that the monster is a vegetarian thus becomes essential for an understanding of Shelley's novel. The Gothic narrative of Frankenstein is not one of a supernatural nature; rather the Gothic narrative within the text is the one that confronts the seemingly natural system of carnivorism. [ABSTRACT FROM AUTHOR] from Sarah.

An Ashy Halo: Woman as Symbol in Heart of Darkness — In this piece of criticism the author takes the different symbolism in the Heart of Darkness and presents the underlying topic of women and the characters view of women. The writer starts by comparing the more obvious connections that the characters such as Marlow and Kurtz view women as an object being somewhere between beautiful, fragile, and naive, while still being the controlling factor with a foot hold in almost every part of the world. The characters seem caught between a patronizing stance and an idealization of women. But then the author takes the analysis a step further by commenting at how even when the male character present themselves as superior they still seem to have a secret fear of a women's knowledge and secrecy. By then end of the novel though, the male character have once again put women into the box of being too delicate to be able to handle the societal awareness the Marlow now himself holds from his experiences on the journey. --Evie

Boredom, insignificance, and Death — When the critic is talking about Candide, she makes it clear that the story is far from boring. This article revolves around the idea of boredom and death. Boredom has always been linked to the ideas surrounding death as well and it is considered the worst possible feeling for all of human experience. Candide is far from boring, it is an exciting, jam packed book. from Jordan. Unsurprisingly the biggest thing I pulled from this were the comments on insignificance. It discusses the playful nature in which the characters Voltaire constructs are all running pointless agendas. Even though a lot happens to all of them, few have changed personalities at the end. The greatest examples of this are Pangloss and the son of the barren. The article also explains how the ending of the novel is simply a somewhat beating around the bush way of saying they all realized that what they did would be pointless regardless of what it ended up being. So it may as well be something that is mellow and easy to complete without effecting the others with their large egos. This could result in parties challenging one another unintentionally. from RY.

Caliban's literacy — This article analyzes Miranda and Prospero’s way of imposing their language upon Caliban. The author says that Caliban already had developed language and ideas of meaning to him, and Miranda and Prospero saw this as unintelligence. The ability to meet Prospero’s standards of literacy determine a character's success in the play. From Hunter.

Candide as Carnivale — Carnivalesque is a term used in the English translations of works written by the Russian critic Mikhail Bakhtin, which refers to a literary mode that subverts and liberates the assumptions of the dominant style or atmosphere through humor and chaos. This criticism looks at the framework of Candide, how it is both rationalist and chaotic at once. From Eva.

Colonizers, Cannibals, and the Horror of Good Intentions — This criticism focuses on the distinctions between lying and the truth, men and women, civilization and savagery. Most importantly, this critic discusses the differences between Self and Other. It shows how this relates to colonialism. from Jordan.

Cosmopolitans, Slaves, and the Global Market — So! This one takes the event of Candide meeting the slave and with it explores Voltaire's perspective on the slave trade. It also contrasts Candide and the slave and where their lives led at different places in the same system. from Alexandria. This is a crazy essay about cosmopolitans and slavery in Candide. The author of this argues that Candide was a cosmopolitan and because of that he was able to be more positive about his life. The ability to set aside rules of certain societies enables Candide to be able to always look on the bright side. The author also makes the argument that because of Candide being a cosmopolitan, he was able to see himself equal to the slave in the book, instead of looking down on him. The author concludes that cosmopolitanism would enable people to have a better outlook on the world, causing the world to be a better place. from MARIAH

Critique of Rationalism — Focuses on the critical relevance of the critique of rationalism. Link between Voltaire's critique of rationalism and the ecofeminist critique of rationalism; Characterization of the Enlightenment; Reference on the book 'Candide.' From Meg.

Desire in Heart of Darkness — Analyzes the relationship between psychological and ideological perspectives in modernity found in the short story "Heart of Darkness," by Joseph Conrad. Role of capitalism in modern society; Relationship between signification and reality; Implications of libidinal and economic desire on the gratification of the main character's desire. from Meg.

Dominoes and the Grand Piano — A literary critique is offered for the late 19th-century English novel "Heart of Darkness," by Joseph Conrad, focusing on its references to dominoes and a grand piano at the beginning and ending of its story line. Topics addressed include the significance of the two items as metaphoric pointers to imperialist dominance, the symbolic meaning of the black and white colors of piano keys and dominoes, and their use of ivory. (abstract by author) from Sarah.

Education as Pharmakon — This criticism discusses the idea of the monsters education being a "Pharmakon" in other words a cure/poison. It also briefly touches on the romanticism of the book. from Ravi.

Frankenstein: A Child's Tale — This article talks about how Mary Shelley wrote Frankenstein in a very gothic way. The author of this article tells that because Mary had a hard childhood, she was able to write so darkly, and he seems to almost be criticizing Shelley for that. The author also tells that Mary paints a dark picture of the children in the story, relating it back to her own childhood. from MARIAH

Frankenstein: Myths of Scientific and Medical Knowledge and Stories of Human Relations — This piece of criticism compares the relation between Victor and his monster with that of a mother and her newborn. With the mother and her newborn guilty feelings of postpartum depression tend to present themselves. In the case of Victor and his monster, Victor does not possess the same feelings as the mother in that, this creature is your child that you have had a deep creating connection to that you have now released into the world, your child is no longer protected by you on all sides. Victor lacks this connection because he did not create life in the same visceral way that mothers do. Yes he created life, but he did now grow and create another human in the same way. In contrast, it almost seems like the monster is the orphan that has newly tracked down their family. Frankenstein's monster in the rejected child who is still not wanted or protected after tracking down his father. The monster craves Victors pride and acknowledgment and love but no matter what he does to draw attention to himself can not achieve the things he wants from Victor. from EVIE This criticism talks about how Frankenstein represents the creation on new technology. The criticism explains how Mary Shelly was follow the turn of new experiments in electricity and chemistry. The article also compares the use of other peoples limbs for prosthetics to how Frankenstein was made out of dug up limbs. It shows the progress and the idea of Frankenstein. The it seems to run on a super battery or generator and as soon as it turned on everything stretched out and it became hideous. From SCOUT

Frankenstein and the Fate of Modern Scientific Psychology — Focuses mostly the fact Mary Shelley wrote this to comment on man and technologies relationship. The author spends a lot of time comparing this story to the story of Prometheus. from Mackenzie.

Frustrated Listening: The Aural Landscape of Heart of Darkness. — Mellissa Free looks at Heart of Darkness auditorily, looks at the descriptions that Conrad uses for different areas and peoples. By referencing the three main auditory types, which are the Silence of the wilderness, the noise of the Africans, and Kurtz's voice. Using these three sounds she goes into the depths of Conrads writing. from KEEGAN

Home is Where Mamma Is: Reframing the Science Question in Frankenstein. — This criticism of frankenstein is looking at the way that Victor Frankenstein is using his edical ways in an attempt to replace women. Banerjee looks at the way that Victor treats women, and the way that, in that time period, women were solely breeding machines. The way that Frankenstein's goal is to create life is merely and attempt on completely replacing women within society, with monsters. From KEEGAN.

Jews in Voltaire's Candide — The article discusses the role of Jews in philosopher Voltaire's satire "Candide." The author states that many scholars have labeled Voltaire and anti-Semite due to various statements made in his body of work, including "Candide." The author contends that those defending Voltaire against charges of antisemitism have not paid attention to how Jews are depicted in "Candide." The author claims that the Jews fair better than most other groups the book's satire. from Nate.

Kurtz' Sketch in Oils — This criticism describes the meaning of Kurtz's painting and the things it represents in the book. From Hunter.

Magic and Self-Discovery in the Tempest — Examines William Shakespeare's "The Tempest," a play which takes the dream state for its subject and explores the poles of sleeping and waking, vision and reality, art and the human condition. Character in the play who actually dreams; How the play must be understood; Description of the last scene of the play. from Jordan.

Magic and the Early Schoolroom of Humanist Learning — The author thinks Shakespeare used the characters to express his frustration at the school systems at the time. The author talks about how many of the dynamics in the Tempest are teacher student relations. The whole island is set up like a classroom. Also Shakespeare talks about a the humanist movement and expresses his liberal ideas through the characters in the play. From Mackenzie.

Metaphysical Intersections — This article describes how Shelley offers a discussion as to why Frankenstein is incapable to become a divine creator. It also says that Shelley provides a philosophical position using a precise theological philosophy between God as the creator and as a human being. from Eva.

Metaphysical Intersections: Scientific Materialism, Transgressive Authority — This article describes how Shelley offers a discussion as to why Frankenstein is incapable to become a divine creator. It also says that Shelley provides a philosophical position using a precise theological philosophy between God as the creator and as a human being. from Eva.

On the Beginning and Ending of Candide — A structuralist approach to the novel, looking at the ways in which looking at parallels and oppositions yields meaning. From Sarah. This criticism explains how there is several points in the book that show parallelism or binary opposition. There are times when the same exact thing will happen to two characters or there will be times when a character appears in the book only in certain times. Such as when cunegonde appears in passages from the first and last chapters and her presence is identical in both. The criticism shows how Voltaire was able to use literary devices to make the reader feel a certain way. from SCOUT

On the Margin: the Peripheral Characters in Heart of Darkness — It is about how Kurtz is sort of a hollow character by himself and how it is really through all of the smaller characters talking about him that he is revealed and alive through. From Dylan.

Pangloss: Voltaire's tragicomic hero — The author argues that Pangloss is not the evil guy that other critics have painted him as. He doesn't think he is evil or simple minded like many do. Scherr thinks that Pangloss is should actually be pitied and reviewed as hero. This is basically a paper saying Pangloss is a caring fool. From Mackenzie This review of Pangloss gives the reader a better look at what Pangloss really was within Candide, by referring to the different interactions that Pangloss has with the people around him. Arthur Scherr makes the claim that Pangloss may not be evil, but that his stupidity is ourely a menace to the people around him, and compares this to the event where Pangloss begins lecturing Candide while Jaques was drowing. But Scherr makes the claim that Pangloss still grows as a character, by referencing to the end of the story, when Pangloss begins to realize the contempt that society has for philosphers. from KEEGAN

Robert Walton As Reanimator — This article talks about similarities between Walton and Frankenstein and embodies why each represents an ideal Romantic hero. It also talks about the dangers of their shared ambitions bringing out Shelly's warnings for those too willing to sacrifice in order to gain more knowledge and unlock the unknown secretes of nature. The article talks about what drives both men and how this is their greatest similarity. From Ry

Seduction and Service — The article focuses on the effects Miranda has on the male characters of the Tempest. As a woman, the criticism looks at how Miranda is treated and viewed in the text: as a commodity. It focuses on her wedding negotiations which were greatly void of any input from her. This criticism really exposes how normal it was for women to be treated as a resource during the time of Shakespeare. from Nate.

Shelters and Enclosures — This article takes about the different forms of shelter in Heart of Darkness. It talks a lot about how the decaying shelters represent moral decay apart. It also compares that state of the central station to the inner station. From Mackenzie.

Technology and Impotence — The criticism focuses on the power of technology to suppress those who lack similar technology. The author connects this historical trend to Frankenstein with a focus on the actions of Victor Frankenstein who brings the dead back to life. This advancement that Frankenstein has is also pointed out to be a problem for him and is compared with similarity to other cases of technological advances in history. from Nate.

The Devaluing of Life — This critic discusses how Victor's quest and journey for social standing leads to his downfall while causing the suffering and death of those around him. The act of creating the monster showed his devalued view of life and the rest of the criticism discusses this and Victor's characteristics. from Jordan

The Divine Comedy of The Tempest — The Divine Comedy of the Tempest is basically making an argument of how the plot is comedic. It argues this by looking at what a comedy is formed by and shows how that is fulfilled in the text. How as expected everyone getting what they deserve. Good guys vs. bad guys. From Alexandria

The Endgame in The Tempest — This literary criticism talks about how the play is actually similar to playing chess. At the end of the play is where it really plays the role of how it is a chess game. It mainly has to do with Miranda and Ferdinand with their love by the end. The author says that there is a self-absorbed state in which both of them fall under which ends the game in checkmate, the death of the king, or stalemate. From Sarah.

The Ghost of a Self: Female Identity in Frankenstein — This article is about the role women play in Frankenstein, and how it seems to be nearly irrelevant and non existent. from Hunter.

The Lesser Nightmare: Marlow's Lie — This criticism dives into the lie at the end of the book and the paradox's that the lie resolves. To go deep into this lie Bruffee talks of the occurrences as a "Faustian experience". from Ravi.

This Thing of Darkness: Racial Discourse in Frankenstein — This article examines the effects of early anthropological accounts of other races in producing tropes for monstrosity in the Gothic, such as we see in Frankenstein where the monster, although not of any known race since he is hybridly created from parts of dead bodies, shares features with popular accounts of the racially other, echoes Haitian slave rebellion violence in his responses to ill treatment, and achieves his literacy and independence in the manner of popular slave narratives. Gothic tropes were sometimes employed in anti-slavery narratives such as Uncle Tom's Cabin , and many of the descriptions of brutality and terror in realist slave narratives are properly to be considered Gothic (and may in fact borrow from gothic fictional techniques). Slavery itself could be argued to outdo the Gothic in its actuality, as well as serving as a source for gothic fantasy. This provokes a rethinking of the now conventional assumption that Frankenstein's acknowledgement of responsibility for his creature implies that it does his unconscious bidding; on the contrary, Frankenstein admits his responsibility as a slaveholder might for the actions of his slave, but without in any way endorsing them. [ABSTRACT FROM AUTHOR] from Megan.

Two Black Hens — The article analyzes the book "Heart of Darkness" by Joseph Conrad. It examines the death of the character Fresleven over a dispute regarding two black hens, which the authors states is similar to a story of a Danish captain named Freisleben who died in a dispute with an African tribe. They examine how Conrad's alteration to the captain's name creates a homonym for "free slave" as well as the connection between the black hens and the later appearance of two women knitting, as well as themes of fate. (abstract by author) from Eva and Jordan.

Virtue rather than Vengeance — A literary criticism of the play “The Tempest,” by William Shakespeare is presented that juxtaposes it against the Bible's Book of Genesis. The author is concerned that the ending of the play seems incomplete in that several characters are unrepentant for their past misdeeds and that the future of all the characters may be a poor one. The author argues that Shakespeare's character Prospero mimics Joseph from the Bible in that both men get the better of those who have betrayed them. From Eva

What made the monster monstrous? — This is discussing how the monster is representative of Mary Shelley herself. How she felt like she was a monster after her mother died giving birth to her and after losses of her children. from Alexandria.

Working in Candide's Garden — This article analyzes the meaning of the said 'garden' in Candide, and the importance that the garden and work experience have on humanity. from Hunter