scholarly journals Gaming the Heart of Darkness

Arts ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 46 ◽  
Author(s):  
Fruzsina Pittner ◽  
Iain Donald
Keyword(s):  
Computer Games ◽  
War Crimes ◽  
Original Fiction ◽  
Chinua Achebe ◽  
Post Colonial ◽  
Francis Ford Coppola ◽  
Heart Of Darkness ◽  
History Of ◽  
Historical Fact ◽  
Original Story

The history of Joseph Conrad’s Heart of Darkness has been one of adaptation and change. The enduring story is based upon Conrad’s experiences in the Congo in the 1890s and was published as a novella in 1902. Since then, the story has been criticised for racism by Nigerian writer Chinua Achebe and relocated to Vietnam by Francis Ford Coppola as Apocalypse Now, influencing computer games such as Far Cry 2 and Spec Ops: The Line. In examining the adaptations of Heart of Darkness, we can consider how the story evolves from the passive reading of post-colonial narratives through to the active participation in morally ambiguous decisions and virtual war crimes through digital games: examining Conrad’s story as it has been adapted for other mediums provides a unique lens in which to view storytelling and retelling within the context of how we interpret the world. This paper compares the source material to its adaptations, considering the blending of historical fact and original fiction, the distortion of the original story for the purpose of creating new meaning, and reflects on whether interactivity impacts upon the feeling of immersion and sense of responsibility in audiences of different narratives.

A Sinister Resonance: On the Extraction of Sound and Language in Heart of Darkness

2020 ◽  
pp. 149-210
Author(s):  
Julie Beth Napolin
Keyword(s):  
Chinua Achebe ◽  
Heart Of Darkness ◽  
Linguistic Sign ◽  
History Of ◽  
Critical Form ◽  
Single Night

Chapter Three is a study of Conrad’s Heart of Darkness, a novel narrated in single night aboard a ship when a man remembers his journey to the Congo. The chapter seeks a critical form for this novel that Chinua Achebe argues should no longer be read. Searching for a way to describe it, Conrad wrote that it was like “a sinister resonance” and “continued vibration.” These sound figures, based in his memories of music, issue a profound challenge to the transcendental signifier that supports narrative levels: “voice.” At the same time, the chapter seeks out linguistics in the material substratum of vibration. It argues that the linguistic sign and the history of telecommunications—sharing in a dream of lossless and perfect communication—cannot be thought outside of the colonial extraction of sound in its ongoing violence.

scholarly journals Literatura, Linguagem e Descolonização em Ngũgĩ wa Thiong’o (Quênia) e Chinua Achebe (Nigéria)

2021 ◽  
Vol 5 (9) ◽  
pp. 81
Author(s):  
Bruno Ribeiro Oliveira
Keyword(s):  
Contemporary Literature ◽  
African Literature ◽  
Ngugi Wa Thiong'o ◽  
Chinua Achebe ◽  
Post Colonial ◽  
African Languages ◽  
African People ◽  
History Of ◽  
African Writers ◽  
The Many

A história de literatura africana contemporânea está repleta de debates que tratam de sua utilidade frente aos povos de África e a natureza dessa literatura. Através das ideias de dois escritores africanos, Chinua Achebe e Ngũgĩ wa Thiong’o, este artigo revisita a história das ideias desses autores em respeito à literatura africana e sua linguagem de escrita. Tratamos de perceber como dois autores da mesma geração, porém de locais diferentes, Nigéria e Quênia, respectivamente, pensaram a produção literária e sua função em África no período pós-colonial.Palavras-chave: Chinua Achebe (1930-2013), Ngũgĩ wa Thiong’o (1938-), Literatura Africana, Línguas Africanas AbstractThe history of African contemporary literature is full of debates that deal with its utility to the many African people and the nature of this literature. Through the ideas of two African writers, Chinua Achebe and Ngũgĩ wa Thiong’o, we revisit the history of the ideas of these authors in relation to African literature and the language in which this literature is written. We try to perceive how authors from the same generation, but from different locals, Nigeria and Kenya, respectively, thought their literary production and its function in Africa in the post-colonial period.Keywords: Chinua Achebe (1930-2013), Ngũgĩ wa Thiong’o (1938-), African Literatures, African Languages

scholarly journals Apocalypse Now, Vietnam, and the Rhetoric of Influence

2014 ◽  
Vol 1 (2) ◽  
pp. 11-24
Author(s):  
Jeffrey Childs
Keyword(s):  
Vietnam War ◽  
Francis Ford Coppola ◽  
Heart Of Darkness ◽  
History Of ◽  
The Vietnam War

Readings of Francis Ford Coppola's Apocalypse Now (1979) often confront the difficulty of having to privilege either its aesthetic context (considering, for instance, its relation to Conrad's Heart of Darkness [1899] or to the history of cinema) or its value as a representation of the Vietnam War. In this paper, I will argue that viewing the film as a meditation on the nature and rhetoric of influence allows us to bridge this gap and provides us with valuable insights into both the film's aesthetic precursors and the circumstances of its historical setting.ResumoAs leituras do filme Apocalypse Now (1979) de Francis Ford Coppola são muitas vezes marcadas pelo imperativo de escolher entre uma abordagem ao seu contexto estético (referindo, por exemplo, a relação do filme com a obra Heart of Darkness [1899], de Conrad, ou com a história do cinema) e uma análise do seu valor enquanto representação da Guerra do Vietname. Neste ensaio, irei defender que uma aproximação ao filme enquanto meditação sobre a natureza e a retórica da influência permite preencher esta lacuna e realçar aspectos fundamentais quer acerca dos precursores estéticos da obra, quer sobre as circunstâncias específicas do seu contexto histórico. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_1

scholarly journals Reclaiming lost ground – the history play in Zulu

Literator ◽  
2004 ◽  
Vol 25 (1) ◽  
pp. 159-178
Author(s):  
H.C. Groenewald
Keyword(s):  
British Empire ◽  
History Plays ◽  
Educational Objective ◽  
African Language ◽  
Great Loss ◽  
Post Colonial ◽  
The Third ◽  
History Of ◽  
Historical Fact ◽  
History Play

This article briefly sketches the history of African-language literatures as initiated by missionaries and formed by Bantu education. Against this background the aim of this article is to establish what the objectives of Zulu dramatists were when they presented historical fact, flawed history, as well as ideological sentiment in their historical plays. Are history plays in Zulu simply the products of writers whose objective was to meet a publisher’s requirements, namely to extend the dramatic genre by writing history plays? Did authors perhaps only have an educational objective, that is, to provide learners with setwork material? If, on the other hand, the history play is the creation of a memory for a specific purpose, as post-colonial theorists suggest, the next objective of this article is to establish what kind of memory Zulu dramatists have created and for what purpose. The history plays will be discussed under the following topics: UNodumehlezi kaMenzi – He who is famous as he sits, son of Menzi (King Shaka). In exploring aspects of Shaka’s rule, it becomes clear that writers express their pain about the great loss the Zulu nation suffered when the Shakan era passed. The second topic treats Izwe lidungekile – The land is in turmoil. The dramas dealt with here vividly depict the pitiful state of the Zulu after their subjugation by the British empire, leading eventually to an inevitable option – armed resistance. The third and last topic, Izwe ngelethu – The land is ours – treats the issue of land.

JAK LUDOBÓJSTWO ZOSTAŁO UZNANE ZA ZBRODNIĘ – DZIEDZICTWO RAFAŁA LEMKINA

2016 ◽  
Vol 10 (2) ◽  
pp. 69-85 ◽  
Author(s):  
Sam MCFARLAND ◽  
Katarzyna HAMER
Keyword(s):  
International Law ◽  
War Crimes ◽  
Genocide Convention ◽  
Entire Life ◽  
War Crimes Trials ◽  
Criminal Charge ◽  
Short Biography ◽  
The World ◽  
Real Change ◽  
History Of

Raphael Lemkin is hardly known to a Polish audiences. One of the most honored Poles of theXX century, forever revered in the history of human rights, nominated six times for the Nobel PeacePrize, Lemkin sacrificed his entire life to make a real change in the world: the creation of the term“genocide” and making it a crime under international law. How long was his struggle to establishwhat we now take as obvious, what we now take for granted?This paper offers his short biography, showing his long road from realizing that the killing oneperson was considered a murder but that under international law in 1930s the killing a million wasnot. Through coining the term “genocide” in 1944, he helped make genocide a criminal charge atthe Nuremburg war crimes trials of Nazi leaders in late 1945, although there the crime of genocidedid not cover killing whole tribes when committed on inhabitants of the same country nor when notduring war. He next lobbied the new United Nations to adopt a resolution that genocide is a crimeunder international law, which it adopted on 11 December, 1946. Although not a U.N. delegate – hewas “Totally Unofficial,” the title of his autobiography – Lemkin then led the U.N. in creating theConvention for the Prevention and Punishment of the Crime of Genocide, adopted 9 December, 1948.Until his death in 1958, Lemkin lobbied tirelessly to get other U.N. states to ratify the Convention.His legacy is that, as of 2015, 147 U.N. states have done so, 46 still on hold. His tomb inscriptionreads simply, “Dr. Raphael Lemkin (1900–1959), Father of the Genocide Convention”. Without himthe world as we know it, would not be possible.

Jumbos and Jumping Devils

2020 ◽  
Author(s):  
Nisha P R
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
South Asia ◽  
Social History ◽  
Post Colonial ◽  
The Social ◽  
Wide Range ◽  
History Of

Jumbos and Jumping Devils is an original and pioneering exploration of not only the social history of the subcontinent but also of performance and popular culture. The domain of analysis is entirely novel and opens up a bolder approach of laying a new field of historical enquiry of South Asia. Trawling through an extraordinary set of sources such as colonial and post-colonial records, newspaper reports, unpublished autobiographies, private papers, photographs, and oral interviews, the author brings out a fascinating account of the transnational landscape of physical cultures, human and animal performers, and the circus industry. This book should be of interest to a wide range of readers from history, sociology, anthropology, and cultural studies to analysts of history of performance and sports in the subcontinent.

The Oxford History of the Novel in English

2018 ◽  
Keyword(s):  
World War Ii ◽  
English Language ◽  
Book History ◽  
World Order ◽  
The United States ◽  
The Novel ◽  
History Of The Novel ◽  
Post Colonial ◽  
The World ◽  
History Of

Volume Nine of this series traces the development of the ‘world novel’, that is, English-language novels written throughout the world, beyond Britain, Ireland, and the United States. Focusing on the period up to 1950, the volume contains survey chapters and chapters on major writers, as well as chapters on book history, publishing, and the critical contexts of the work discussed. The text covers periods from renaissance literary imaginings of exotic parts of the world like Oceania, through fiction embodying the ideology and conventions of empire, to the emergence of settler nationalist and Indigenous movements and, finally, the assimilations of modernism at the beginnings of the post-imperial world order. The book, then, contains chapters on the development of the non-metropolitan novel throughout the British world from the eighteenth to the mid twentieth centuries. This is the period of empire and resistance to empire, of settler confidence giving way to doubt, and of the rise of indigenous and post-colonial nationalisms that would shape the world after World War II.

scholarly journals Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan

2021 ◽  
pp. 1-31
Author(s):  
MIMI HADDON
Keyword(s):  
Final Section ◽  
Theoretical Work ◽  
First Century ◽  
Post Colonial ◽  
The Third ◽  
Bob Dylan ◽  
Colonial Theory ◽  
History Of ◽  
Asymmetrical Power ◽  
American Popular Music

Abstract This article uses Joan Baez's impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse converge. The article is organized in three parts. The first part addresses the musical details of Baez's acts of mimicry and their uncanny ability to summon Dylan's predecessors. The second considers mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism.

Colonial vindications. More on the history of South African prehistoric research

2003 ◽  
Vol 10 (1) ◽  
pp. 42-55
Author(s):  
Nathan Schlanger
Keyword(s):  
South African ◽  
Indigenous Populations ◽  
Substantial Part ◽  
Economic Potential ◽  
African Archaeology ◽  
Post Colonial ◽  
Colonial Archaeology ◽  
History Of ◽  
Power Games

Together with the welcome insights they have brought to the matters at hand, the archaeological dialogues here engaged have certainly made me appreciate where my claims could be modified and my arguments amplified. Since I have already been taxed with a questionable insistence on setting the record straight, and with a penchant for academically coup de poing-ing my way through the archaeological establishment and its established historiography, I may as well persevere and thank the commentators for helping me grasp the following key point: what has been motivating a substantial part of my investigations, I can now better specify, is a growing unease with the well-established paradigm of ‘colonial vindication’. This is not, let me hasten to add, a reference to the genuine injustice done to those indigenous populations whose pasts have been expropriated and denigrated by the colonizing powers (i.e. Trigger's sense of ‘colonial archaeology’). Likewise, there is obviously no denying that the globalization of archaeology in the colonial and post-colonial eras has entailed considerable intellectual and institutional struggles, alongside innumerable power games, financial calculations and scientific compromises – and here Shepherd is surely right to give as example the ‘cradle of humanity’, a shifting zone whose ideological, diplomatic and economic potential Smuts had already fully sized in the 1930s (cf. Schlanger 2002b, 205–6). Rather, what I wish here to open to scrutiny is this apparently long-standing notion that South African archaeology has been systematically ‘done down’, ‘passed over’ and ‘badly used’ (Shepherd's terms) by the metropole – making it quite evident that its history, if not its ethos, should be primarily geared towards securing due recognition and redress.

Sign in / Sign up

Export Citation Format

Share Document