Andrea White - Conrad and Imperialism [The Cambridge Companion to JC]

*Andrea White - Conrad and Imperialism [The Cambridge Companion to JC]

이 논문은 콘래드가 당대의 한계를 지니기는 하지만, 전체적으로 그의 작품을 볼 때, 당시 제국주의가 표면적으로는 이상을 내세우면서도 그 이면에서는 소수의 경제적 이익에 몰두하고 있었던 것을 잘 드러내고 있다고 주장한다(197 페이지 특히 중요하게 볼 필요가 있음). 콘래드의 애매성에 더욱 방점을 둔 Benita Parry의 논문과는 반대 위치에 있다고 봐야 할 것이다.

(179)Mphahlele - outstanding white novelists who portray competently characters belonging to cultural groups outside their own.

[콘래드의 반제국주의를 옹호하는 인물들 중의 한 명. 콘래드 작품에 대한 시각이 나뉘어져 있음.]

(180) imperialism was never the stable monolith that it might appear to be from a distance.

[논문의 주제를 꼭 이것으로 한다는 생각 없이, 만약 이 문제를 놓고 쓴다면 어떻게 쓸 것인가, 하고 시험 삼아서 글을 써볼 수 있을 것이다. 갑자기 왜 이렇게 조급해 하는가? 너무 여유를 부려서도 안 되지만 지금 이렇게 조급해 할 필요는 없는 노릇이다.]

(181) Peter Nazareth - while he went to Africa expecting to find the darkness there, and in Africans, he had to admit, in spite of himself, that the darkness is in us.

(181) 콘래드와 그의 가족들이 러시아 제국주의의 희생자. (szlachta)

(182) new imperialism/ the Berlin-Congo Conference of 1884-5/

(183) new imperialism - this almost total partition of the world into territories under the formal rule or informal political domination of a few countries seemed a new phase in the general pattern of national and international development, 'notably different from the free-trading and freely competing liberal world of the mid-century' (Hobsbawm, The Age of Empire 59)

(183) 주재원들은 알기 힘들었겠지만 콘래드와 같이 독특한 위치에 있던 사람들은 'the burgeoning rhetoric of the empire's civilizing mission that accompanied and legitimated the endeavor and to notice disparity between the discourse and the actuality of grabbing 'for the sake of what could be got'(HD 140)

(184) 홉슨의 지적처럼 경제적 이윤이 동기.

(184) Instead of the efficient, benevolent bearers of civilization's torch, he saw men cut off from and nostalgic for Europe, and drunk on power, their presumed racial superiority,, and alcohol (Najder, Joseph Conrad 99)

(185) 다윈적 모델, Edward Tylor, Herbert Spencer, Benjamin Kidd.

humanity developed from 'barbarism' to 'civilization', and progress was inevitable and universal.

(187) 콘래드가 보르네오에 관심을 가진 것에 대한 이야기

II,

(Almayer's Folly and An Outcast of the Islands)

(187) No one group is idealized. rather our sense is of a succession of displacements and power struggles, internally and externally fuelled by a common human greed. [이 다음에 이어지는 부분도 잘 볼 것. 당시의 일반적인 대중 소설들의 묘사와는 차이점.]

(188) Greater Britain . . . furnishes a convenient limbo for damaged characters and careers. (Hobson 52) rather than emissaries of light going forth on the civilizing mission.

(189) Conrad's first two novels question one of the central profession of imperialism, that European civilization was superior and could illuminate the earth's dark places.

(189) Hunt Hawkins - Conrad's fiction challenges one of the dominant theories of the day that worked to justify imperial intrusions, that natives thought of the European as a god, a superbeing upon whom they became dependent.

(The African fictions)

(190) 'An Outpost' as well as 'Heart of D' also refute then currents attitudes about race that naturalized native inferiority and justified European domination.

(190) ivory-trading degenerates into slave-trading.

(191) 케이어츠와 칼리어가 불행해지는 것과 마찬가지로 열 명의 일꾼들도 불행한 상태에 놓여 있음. (miserable and unhealthy, far from friends, family, familiar food, and comforting beliefs. 캐이어츠와 칼리어는 이들을 이해하지 못하고 아프리카인들이 비효율적이고 게으르다고 말함.)

(191) Edward Garnett - the necessity for 'pretty fictions' to conceal imperialism's actual business.)

(--) Makola understands the necessity of covering up the truth, and that imperialism depends upon concealment. (Hawthorn. Narrative Technique) [Makola - the Accountant 비교]

- But Kayerts and Carlier - those two 'pioneers of trade and progress' as they think of themselves - more Conradian protagonists who cannot or will not distinguish facet from fiction - prefer the fiction Makola provides to the truth, that they aare, in fact, slave dealers and that imperialism necessitates such barbarism. That the ends so brutally justify the means had not been part of this discourse before and constitutes a serious critique of empire and its propagandizing rhetoric.

(192) if "An Outpost" seemed to some a critique of specifically Belgian imperialism, then HD clearly aimed its scepticism at a much wider, more international target: no imperial power escapes blame. (All Europe contributed to the making of Kurtz)

(192) Hobson : imperialism benefitted the few at the expense of the many

(Inheritors)

(194) imperialism was enabled not by fine words but by investors and that the new imperialism was international.

(195) Like Almayer's gold and Kurtz's ivory, Gould's silver corrupts. .. .

(196) Progress is the novel's watchword.

III.

(196) Aime Cesaire - culture as 'something complex and hybrid, salvaged from a lost origin, constructed out of a squalid present, articulated within and against a colonial tongue.'

(197) [이 부분이 아주 중요. 결론에 해당한다고 할 수 있음. 콘래드의 작가로서의 감수성과 한계]

As an early modern, he sensed the current of a world-wide disruption of peoples and ideas, of exiles and rootlessness, but while his writing acknowledges and even participates in the decentering of monolithic unities and traditional hierachies, it also expresses his sense of loss and anxiety in response to the perceived disorder.

'unsettling anxiety' distinguishes Conrad's fiction from the 'optimism, affirmation, and serene confidence' of contemporry novels.

[Said Culture 187쪽 볼 필요. 당대 일반 소설들이 당대 제국주의에 의문을 던지지 않고 그것의 성공을 확언하고 축하]

(197) Nazareth : Conrad was the first to provide some criticism of imperialism.

(198) Benita Parry - Conrad's ambivalence. muffled political protest.