London and Cloisterham as an Imperial ‘Heart of Darkness’ in Dickens’s The Mystery of Edwin Drood

2021 ◽  
Vol 69 (4) ◽  
pp. 349-370
Author(s):  
Magdalena Pypeć
Keyword(s):  
Nineteenth Century ◽  
The Novel ◽  
British Government ◽  
Close Collaboration ◽  
British Imperialism ◽  
Opium Trade ◽  
Colonial Expansion ◽  
Heart Of Darkness ◽  
The Face ◽  
At Home

Abstract The article examines Dickens’s last novel in the context of British imperialism, contraband opium trade in nineteenth-century China under the armed protection of the British government, and the Opium Wars (1839–1842 and 1856–1860). Although Dickens has often been discussed as one of the authors who approved of his country’s imperial domination, his last novel foregrounds a critique of colonial practices. The atavistic character of imperialism takes its moral and psychological toll not merely somewhere in the dominions, colonies, protectorates, and other territories but also ‘at home’ on the domestic ground. In The Mystery of Edwin Drood London has the face of a dingy and dark opium den or the ominous headquarters of the Heaven of Philanthropy with the professing philanthropists in suits of black. Moreover, the article seeks to discuss deep-rooted evil and darkness associated in the novel with an ecclesiastical town in connection with Protestant missionaries’ close collaboration with opium traders in the Celestial Empire. Portraying John Jasper’s moral degradation enhanced by the drug and the corruption of the ecclesiastical town, Dickens gothicises opium, and by implication, opium trade pointing to its double-edged sword effect: sullying and debasing both the addict and the trafficker. The symbolic darkness of the opium den and the churchly Cloisterham reflects the inherent evil latent in any unbridled colonial expansion and Dickens’s anti-colonial purpose.

Literary Experimentation in Rowland Hill's Village Dialogues: Transcending "Critical Attitudes" in the Face of Societal Ruination

2011 ◽  
Vol 66 (1) ◽  
pp. 1-36
Author(s):  
Adrian J. Wallbank
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
French Revolution ◽  
British Society ◽  
The Novel ◽  
Concerted Effort ◽  
Early Nineteenth Century ◽  
Class Culture ◽  
The Face ◽  
Literary Techniques

Adrian J. Wallbank, "Literary Experimentation in Rowland Hill's Village Dialogues: Transcending 'Critical Attitudes' in the Face of Societal Ruination" (pp. 1–36) In the aftermath of the French "Revolution Controversy," middle-class evangelical writers made a concerted effort to rehabilitate the moral fabric of British society. Hannah More's Cheap Repository Tracts (1795–98) are recognized as pivotal within this program, but in this essay I question whether they were really as influential as has been supposed. I argue that autobiographical evidence from the period demonstrates an increasing skepticism toward overt didacticism, and that despite their significant and undeniable penetration within working-class culture, the Cheap Repository Tracts, if not all "received ideologies," were increasingly being rejected by their readers. This essay examines the important contribution that Rowland Hill's Village Dialogues (1801) made to this arena. Hill, like many of his contemporaries, felt that British society was facing ruination, but he also recognized that overt moralizing and didacticism was no longer palatable or effective. I argue that Hill thus experimented with an array of literary techniques—many of which closely intersect with developments occurring within the novel and sometimes appear to contradict or undermine the avowed seriousness of evangelicalism—that not only attempt to circumvent what Jonathan Rose has described as the "critical attitudes" of early-nineteenth-century readers, but also effectively map the "transitional" nature of the shifting literary and social terrains of the period. In so doing, Hill contributed signally to the evolution of the dialogue form (which is often synonymous with mentoring and didacticism), since his use of conversational mimesis and satire predated the colloquialism of John Wilson's Noctes Ambrosianae (1822–35) and Walter Savage Landor's Imaginary Conversations (1824–29).

scholarly journals “It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot

2021 ◽  
pp. 65-88
Author(s):  
Katya Jordan
Keyword(s):  
Nineteenth Century ◽  
Theoretical Framework ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Final Word ◽  
Early Modernity ◽  
The Face ◽  
Late Nineteenth ◽  
Primary Focus ◽  
Russian Idea

The opposition between Europe and Russia runs through Dostoevsky’s novel The Idiot, culminating in Mme Epanchina’s declaration that both Europe and the Russians who travel to Europe are “one big fantasy” [Dostoevsky, 2002, p. 615]. In the novel, Dostoevsky uses the exile trope as a literary tool for expressing his Russian idea. Although the spiritual underpinnings of Dostoevsky’s nationalism have been well studied, the secular side of this concept bears further exploration. Peter Wagner argues that nationalism constitutes a response to the nostalgia that is developed in exile following one’s breaking away from tradition. Nineteenth-century nationalism specifically “was an attempt to recreate a sense of origins in the face of the disembedding effects of early modernity and capitalism” [Wagner, 2001, p. 103]. By applying Wagner’s theoretical framework to Dostoevsky’s narrative, the author demonstrates that in its secular essence, Dostoevsky’s nationalism is not a merely localized manifestation of a uniquely Russian sentiment, but a symptom of a larger phenomenon that was taking place in late nineteenth-century Europe. Because Mme Epanchina gets to say the final word in Dostoevsky’s novel, her role and the subtleties of her message will be the primary focus of the present analysis.

scholarly journals The Binary Oppositions in Joseph Conrad's Novel Heart of Darkness

2021 ◽  
Vol 60 (4) ◽  
pp. 611-642
Author(s):  
Asst. Prof. Huda Kadhim Alwan
Keyword(s):  
Nineteenth Century ◽  
Human Nature ◽  
The Novel ◽  
Heart Of Darkness ◽  
The World ◽  
Highly Skilled ◽  
Unethical Behaviors ◽  
Binary Oppositions

The novel Heart of Darkness is regarded as one of Joseph Conrad's highly skilled works and seen as an important tale written between the years of 1898 - 1899, and also viewed as an assault on imperialism and unethical behaviors of the European colonizers in Africa in the nineteenth century. The novel displays the author's humanity towards the crimes of the colonists and imperialists throughout the world. In Heart of Darkness, Conrad shows the cruelty of colonialism in Africa through his major character, Charlie Marlow, who realizes the cruel manners of Belgian colonialism during his journey to the Congo looking for the European ivory agent, Kurtz. This novel is a combination of two opposite things. It exposes the author's viewpoint regarding the ethics of the Europeans and the Africans.        This research concentrates on the binary oppositions in Heart of Darkness through Marlow's journey to Africa and exposes Marlow's struggle between his human nature and his beliefs and replies whether his conflict will be effective and bring good results or negative.

Faces of the Self

2019 ◽  
Vol 5 (2) ◽  
pp. 249-274
Author(s):  
Vanita Seth
Keyword(s):  
Nineteenth Century ◽  
Muslim Woman ◽  
The Self ◽  
The Novel ◽  
Human Face ◽  
The Face ◽  
Political Conditions ◽  
The Individual

AbstractThis paper traces the centrality of the human face in the construction of modern individuality. It argues that the face of individuality no less than that of typology, is mired in and born of historical and political conditions that are subsequently disavowed in order that the individual (and the face she bears) is rendered a product of nature, an instantiation of the universal. Attempting to denaturalize and defamiliarize the authority invested in the face, this paper maps out three interrelated arguments: that the human face is historically produced; that its history is closely tethered to the production of modern subjectivity, and that its status as a purveyor of meaning relies upon the reiteration of preexisting norms through which it can be “read.” And yet, while this paper turns to the nineteenth century to trace the novel privileging of the face as an extension of selfhood, interwoven through this history is the figure of the “effaced” Muslim woman and the Muslim terrorist type.

scholarly journals “It’s All One Big Fantasy”: The Critique of Modernity in Dostoevsky’s Novel The Idiot

2021 ◽  
pp. 65-88
Author(s):  
Katya Jordan
Keyword(s):  
Nineteenth Century ◽  
Theoretical Framework ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Final Word ◽  
Early Modernity ◽  
The Face ◽  
Late Nineteenth ◽  
Primary Focus ◽  
Russian Idea

The opposition between Europe and Russia runs through Dostoevsky’s novel The Idiot, culminating in Mme Epanchina’s declaration that both Europe and the Russians who travel to Europe are “one big fantasy” [Dostoevsky, 2002, p. 615]. In the novel, Dostoevsky uses the exile trope as a literary tool for expressing his Russian idea. Although the spiritual underpinnings of Dostoevsky’s nationalism have been well studied, the secular side of this concept bears further exploration. Peter Wagner argues that nationalism constitutes a response to the nostalgia that is developed in exile following one’s breaking away from tradition. Nineteenth-century nationalism specifically “was an attempt to recreate a sense of origins in the face of the disembedding effects of early modernity and capitalism” [Wagner, 2001, p. 103]. By applying Wagner’s theoretical framework to Dostoevsky’s narrative, the author demonstrates that in its secular essence, Dostoevsky’s nationalism is not a merely localized manifestation of a uniquely Russian sentiment, but a symptom of a larger phenomenon that was taking place in late nineteenth-century Europe. Because Mme Epanchina gets to say the final word in Dostoevsky’s novel, her role and the subtleties of her message will be the primary focus of the present analysis.

ARTFUL TALES OF ORIGINATION IN OLIVE SCHREINER'S THE STORY OF AN AFRICAN FARM

2004 ◽  
Vol 59 (1) ◽  
pp. 53-77 ◽  
Author(s):  
D. L. SHAPPLE
Keyword(s):  
Nineteenth Century ◽  
South African ◽  
The Novel ◽  
African Culture ◽  
Colonial Culture ◽  
The Uncanny ◽  
Colonial Art ◽  
At Home

Olive Schreiner's The Story of an African Farm (1883) has long been considered an anticolonial novel that nevertheless, because of its author's affiliation with a European colonial culture, neglects to investigate the problem of disenfranchised African labor in significant detail. In this essay I reassess Schreiner's anticolonialism by placing it in the context of her growing postcolonial aspirations. This rather paradoxical position of the colonist becoming a postcolonial manifests itself in the novel's central artist figure, Waldo, who, while descended from European colonists, manages to make himself at home in his South African environment. Employing nineteenth-century ethnological and aesthetic discourses in the construction of this curious figure (which I refer to as the colonial indigene), Schreiner establishes a connection among the novel, colonial art, and an indigenous South African culture. The novel's narrative present is set during a period of intense border struggle, and while indigenous artists like the San known to the colonists as the Bushmen) have disappeared from the novel's narrative present, Schreiner's colonial indigene takes their place. This imaginative displacement thus corresponds with a demographic one, while also manifesting itself in The Story of an African Farm through a fetishistic aesthetic and the uncanny return of a frequently overlooked African laborer.

Challenges, Concerns, and Perspectives for Poland's Energy Transition during Global COVID-19 Pandemic

2020 ◽  
Vol 1 (2) ◽  
pp. 169-173
Author(s):  
Andrzej Lorkowski ◽  
Robert Jeszke
Keyword(s):  
Internal Energy ◽  
Energy Transition ◽  
Energy Transformation ◽  
Modern Times ◽  
Current Discussion ◽  
The Face ◽  
National Governments ◽  
The Eu ◽  
At Home

The whole world is currently struggling with one of the most disastrous pandemics to hit in modern times – Covid-19. Individual national governments, the WHO and worldwide media organisations are appealing for humanity to universally stay at home, to limit contact and to stay safe in the ongoing fight against this unseen threat. Economists are concerned about the devastating effect this will have on the markets and possible outcomes. One of the countries suffering from potential destruction of this situation is Poland. In this article we will explain how difficult internal energy transformation is, considering the long-term crisis associated with the extraction and usage of coal, the European Green Deal and current discussion on increasing the EU 2030 climate ambitions. In the face of an ongoing pandemic, the situation becomes even more challenging with each passing day.

Beckett's Watt and Monastic Tradition

2016 ◽  
Vol 25 (1) ◽  
pp. 96-109
Author(s):  
Kristen Marangoni
Keyword(s):  
Boarding School ◽  
Illuminated Manuscripts ◽  
Concentration Camp ◽  
The Novel ◽  
Geometric Shapes ◽  
Art Form ◽  
Book Of Kells ◽  
The Face ◽  
Choral Arrangements ◽  
Medieval Illuminated Manuscripts

The enigmatic setting of Beckett's novel Watt has been compared to places as diverse as an insane asylum, a boarding school, a womb, and a concentration camp. Watt's experience at Knott's house does seem suggestive of all of these, and yet it may more readily conform to the setting of a monastery. The novel is filled with chants, meditations, choral arrangements, hierarchical classifications, and even silence, all highly evocative of a monastic lifestyle. Some of Watt's dialogue (such as his requests for forgiveness or reflections on the nature of mankind) further echoes various Catholic liturgies. Watt finds little solace in these activities, however. He feels that they are largely rote and purposeless as they are focused on Knott, a figure who in many ways defies linguistic description and physical know-ability. Watt's meditations and rituals become, then, empty catechisms without answers, something that is reflected in the extreme difficulty that Watt has communicating. In the face of linguistic and liturgical instability, the Watt notebooks present a counter reading that can be found in the thousand plus doodles that line its pages. The drawings reinforce as well as subvert their textual counterpart, and they function in many ways as the images in medieval illuminated manuscripts. The doodles in Watt often take the form of decorative letters, elaborate marginal drawings, and depictions of a variety of people and animals, and many of its doodles offer uncanny resemblances in form or theme to those in illuminated manuscripts like The Book of Kells. Doodles of saints, monks, crosses, and scribes even give an occasional pictorial nod to the monastic setting in which illuminated manuscripts were usually produced (and remind us of the monastic conditions in which Beckett found himself writing much of Watt). Beckett's doodles not only channel this medium of illuminated manuscripts, they also modernize its application. Instead of neat geometric shapes extending down the page, his geometric doodle sequences are often abstracted, fragmented, and nonlinear. Beckett also occasionally modernized the content of illuminated manuscripts: instead of the traditional sacramental communion table filled with candles, bread and wine, Beckett doodles a science lab table where Bunsen burners replaces candles and wine glasses function as beakers. It is through these modernized images that Watt attempts to draw contemporary relevance from a classic art form and to restore (at least partial) meaning to rote traditions.

Hurry Up and Wait: The Nigger of the ‘Narcissus’ and the Maritime in Modernism

2017 ◽  
Vol 12 (2) ◽  
pp. 173-197 ◽  
Author(s):  
Maxwell Uphaus
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Modernist Literature ◽  
Left Behind ◽  
Late Nineteenth ◽  
Cultural Role

The burgeoning subfield of literary oceanic studies has largely neglected modernist literature, maintaining that the end of the age of sail in the late nineteenth century also marks an end to maritime literature's substantive cultural role. This essay outlines a way of reading the maritime in modernism through an analysis of the engagement with history and temporality in Joseph Conrad's sea novel The Nigger of the ‘Narcissus’ (1897). The novel depicts the sea as variously an anachronistic sphere left behind by history, an integral foundation to history, an element that eclipses history, and an archive of history's repressed violence. This article traces the interactions of these various views of the sea's relationship to history, highlighting how they are shaped and inflected by the novel's treatment of race. Based on this analysis, it proposes an approach to the sea in modernist literature that focuses on its historiographical rather than social import.

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