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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
신영어영문학회 신영어영문학 신영어영문학 제15집
발행연도
2000.2
수록면
157 - 177 (21page)

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In Poetry, Language, Thought, Heidegger gives us an insight for the explication of the space of possibilities in literary works in which the reality of human life is portrayed, arguing that through the work of art, the space for the truth of life and Being are opened up and realized.
In the Heiddegerian sense, Conrads Heart of Darkness also exhibits the moment of the openness of truth, or Being, which happens here and now, and is illuminated itself in front of us as we engage ourselves in the world. Supposing that in Heart of Darkness, the adventure in Africa, the voyage to the core of the darkness, ultimately leads to the journey to the truth of life, the narrative reality of the journey consists in setting up the linguistic space of possibilities for the truth of life.
As Marlow goes deeper and deeper into the center, he comes to encounter more and more new aspects of human desire and life unveiling layer after layer. In the course of doing so, Marlow is so obsessed by Kurtz, the first agent of the Central Station, and his quest for Kurtz is identified with the quest for himself because he realizes that they are in the same line in representing the interests of Western world and propagating the noble Western ideal into the primitive Africa. As the narrative of Marlow and the revelation of Kurtz gradually spins out the sublime instant of occurrence, the moment are set forth when the complete knowledge of Kurtzs life and the truth of human life as well are revealed.
Freud, Lyotard and Miller are cited from the same perspectives. Through psychoanalytic therapy Freud tries to construct the psychic space of possibilities from the unconscious despite the distortion and resistance of consciousness. Lyotards theory on the sublime is also focused on pinpointing the moment of creation of truth. With Lyotard, the instant makes possible the event in which truth is revealed as an occurrence here and now. In his deconstructive reading of Heart of Darkness, Miller puts an emphasis on the narrative act of unveiling for the truth of life, even though he still seems to make a reservation in acknowledging the possibility of the full Auflrung of truth itself.
This paper tries to show that the moment of truth in Heart of Darkness is built on the unfolding structure which opens up the narrative space of truth.

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