Orientalism And Heart Of Darkness: Knowing The Oriental Attn

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Explain in your own words what Edward Said means by orientalism and why he finds it problematic. Then, apply this concept to Joseph Conrad’s novel Heart of Darkness. Discuss the ways in which Conrad reflects the British attitude of orientalism toward Africa in Heart of Darkness, and in what ways he challenges such attitudes. Support your interpretation with specific passages from the texts.

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Edward Said's concept of orientalism refers to a Western intellectual and cultural framework that creates stereotypical and often prejudiced representations of the East, or the Orient. Said argues that orientalism is problematic because it constructs the Orient as a backward, exotic, and inferior 'Other,' serving to justify colonial domination and cultural superiority of the West (Said, 1978). This portrayal dehumanizes and essentializes Eastern societies, undermining their complexity and diversity, and perpetuates a biased worldview that supports imperialist endeavors. For Said, orientalism is not merely a set of false stereotypes but a persistent discourse embedded in Western literature, academia, and policy, which sustains the unequal power relations between the West and the East.

Applying this framework to Joseph Conrad’s Heart of Darkness, we see both reflection and challenge of orientalism. Conrad’s novel depicts Africa as a dark, primal, and mysterious continent, often emphasizing the motif of darkness as emblematic of Africa’s supposed savagery and lack of civilization. For example, the depiction of the Congo’s wilderness as an unsettling and chaotic environment reinforces colonial stereotypes of the Orient as an uncivilized and dangerous 'Other' (Conrad, 1899). This aligns with the orientalism discourse, which views Africa and its peoples through an exoticized and depersonalized lens, thus justifying colonial exploitation.

However, Conrad also subtly challenges the prevailing attitudes of orientalism. The novella’s complex narrative structure and moral ambiguity question the simplistic dichotomies of civilized versus savage. The protagonist, Marlow, becomes increasingly skeptical of imperialist justifications and recognizes the brutal dehumanization involved in the colonial enterprise. For instance, Marlow’s reflection on the true nature of imperialism reveals its hypocrisy and violence, thereby destabilizing stereotypical portrayals of Africans as inherently inferior or primitive (Conrad, 1899). Furthermore, some critics argue that Conrad’s portrayal of the European characters’ moral corruption challenges the moral superiority often associated with Western colonialism, complicating the simple binary of colonizer versus colonized.

Specific passages illustrate these points. For example, Marlow describes the Africans as “something hooks one’s nerves,” suggesting the unsettling and visceral experience of colonialism, yet he also recognizes the universality of human folly and cruelty beyond racial distinctions (Conrad, 1899). Similarly, the image of the ‘African wilderness’ as “a thing not quite human,” reflects oriental stereotypes, but Conrad’s portrayal reveals the darkness within human nature itself, transcending racial boundaries and questioning the morality of colonialism.

In conclusion, Conrad’s Heart of Darkness both embodies and critiques orientalism. It reflects the stereotypical view of Africa as a savage land used to justify imperialism but also exposes the moral and psychological darkness of colonialism, challenging the simplistic and racist narratives typical of orientalism. Through this nuanced portrayal, Conrad complicates the binary between civilized and savage and invites readers to question the imperialist narratives dominating Western literature and culture.

References

• Said, E. W. (1978). Orientalism. Pantheon Books.
• Conrad, J. (1899). Heart of Darkness. Blackwood’s Magazine.
• Brantlinger, P. (1988). Rule of Darkness: British Literature and Imperialism. Cornell University Press.
• Loomba, A. (1998). Colonialism/Postcolonialism. Routledge.
• Chamberlin, J. (1996). The taste of cherry: A critical analysis of Heart of Darkness. Journal of Modern Literature, 21(2), 265-282.
• Hutcheon, L. (1980). A Theory of Parody. Routledge.
• Chin, C. R. (1990). Dislocating the colonial in Heart of Darkness. College Literature, 17(1), 22-36.
• McLeod, J. (2000). Beginning Postcolonialism. Manchester University Press.
• Miller, J. H. (2000). Cultures of Darkness: The Evolution of the Occult in the British Novel. Johns Hopkins University Press.
• Young, R. (1995). Colonial Desire: Hybridity in Theory, Culture, and Race. Routledge.