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Некоторые тезисы из работы по теме J. Conrad’s “Heart of Darkness” from the perspective of postcolonial ecocriticism
Introduction
Neo-Romanticism emerged in England in the last quarter of the 19th century. It emerges as a reaction to realism and naturalism. To the oppressive atmosphere of naturalistic novels and the passivity and pampering of the decadent symbolists, the neo-romantics tried to contrast their ideal of a vividly courageous life. They gravitated towards the genre of adventure, adventure and exotic novels, the foundation of which was laid by M. Reed and F. Cooper.
Not sharing the ideas of naturalists, their predilection for the domestic sphere of life, for down-to-earth characters, "little people", the neo-romantics were always in search of colourful, extraordinary characters, unusual surroundings, stormy, exciting imagination of events. The imagination of the neo-romanticists had no limits: the reader could find himself on distant islands or witness past events. The authors did not necessarily depart from modernity, but presented it from a completely unexpected side, away from the ordinary, mundane life, the urban everyday life.
The literature of English neo-romanticism in its various aspects is represented by the works of R.L. Stevenson, J. Conrad, R. Haggard, R. Kipling, A. Conan Doyle.
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1.The main approaches to the study of postcolonial literature
1.1.The concept and origins of postcolonial literature
The starting point of postcolonial thought in recent years is generally considered to be various literary events from a century or more ago. While in the 2000s postcolonial criticism found the first postcolonial texts in the "interwar period" - between World Wars I and II, today"s postcolonialists find the roots of this movement at the turn of the 19th and 20th centuries. For example, Robert Clark considers 1899 to be the starting point of postcolonialism: it was the year Joseph Conrad created Heart of Darkness, a tale of a sailor telling of his journey to Central Africa.
Admittedly, Clarke"s choice of the first postcolonial voyage is quite apt, since Conrad"s text is a real travelogue (to use here Philip Gove"s terminology of separating the real travelogue and the imaginary travelogue, which condemns the cruelty and injustice of colonial administration. Such a genealogy, however, seems to us unnecessarily remote from the past.
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References
1. Lazarus, N. 2011. The Postcolonial Unconscious. Cambridge: Samridge University Press. 299 p.
2. Boehmer, E. 1989. Postcolonialism in Modern Literary theory. Ed. by Ph. Rice and P. Waugh. London: Bloomsbury Acadmic. P. 340—361.
3. Boehmer, E. 1994. Colonial and Post-colonial Literature. Migrant metaphors. Oxford: OUP.
4. Post-colonial Discourse in Post-Colonial Theory: A Reader (Ed. by Patrick Williams (Editor), Laura Chrisman (Editor) Columbia University Press, 1994. 570 p.
5. Ashcroft, B., Griffiths G., and Tiffin H. 1989. The Empire Writes Back: Theory and Practice in Post-colonial Literatures. London: Methuen.
6. Brennan, T. 1989. Salman Rushdie and the Third World. London: Macmillan.
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