In Joseph Conrads novella Heart of Darkness there are no less than eight wowork force: the Belgian aunt of Marlow; the two grim women at the social club take awayices; that Marlow regards as the guardians of the door of Darkness ; the wife of high dignitary whom Marlows aunt recommends him for employment in Africa; the African laundress for the Companys chief accountant; Kurtzs Intended; Kurtzs mother who died before long after Marlow returns to Belgium and finally the African woman at the intimate Station. In my essay tackling this novella, I will try to dissertate this feminine presence from two perspectives; as persons and as symbols.
In this novella Conrad allows women as persons scarcely any narratological or thematic attention, they appear to function primarily as ancillary enlarge to Marlows narration about Kurtz and his adventure to the heart of Africa, and this is probably the modestness why Heart of Darkness has always been attacked by critics as misogynistic; and these are some justification for this point of view:The commandment women of the text ? Marlows aunt, Kurtzs Intended, the African woman, and the two knitting women in the Company offices ? are always positioned in transitional spaces in every the colony or the metropole.
Mostly they are sedentary, stationary and intent to their own territories; unable to wander between cultural, ideological, and national boundaries.
For Marlow women seemingly possess only conceptual knowledge of either Africa or Europe; unlike the male protagonists who possess both observational and abstract conceptual knowledge of both Africa and Europe. For instance, Marlows aunt sits in her upper-middle-class domestic parlor in Belgium as she sends him off to his adventure in Africa; the two knitting women sit in the outer room of the Company offices and glance at the men en route to the Congo; and, at...
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