At first sight, postcolonial theories and Gothic writing appear to have barely features in common. On the one hand, Gothic as a genre flourished with Horace Walpole's novel The Castle of Otranto in 1764, which celebrated irrationality and explored "feelings, desires and passions which compromised the Enlightenment project of rationally calibrating all forms of knowledge and behaviours" (Smith and Hughes 1).
In the succeeding decades, numerous writers trail Walpole by publishing their individual Gothic novels, e.g. Matthew Gregory Lewis' The Monk, Bram Stoker's Dracula, and Mary Shelley's Frankenstein; Or, the Modern Prometheus. On the other hand, studies in colonialist discourse contemplate colonialisation and its aftermath on individuals, communities and cultures, emerging in the late 1970s as essence of literary criticism. Although both genres appear to focus on antithetic research domains considering time references as well as contexts, they still share their enthusiasm in questioning conceptions of rationality. Therefore, both study areas challenge issues, of which humans are incapable to explain. Thereby, the creation of an 'Other' is crucial.
On the one hand, postcolonial and colonial domains challenge and attempt at standing reason for the clash of cultures with which colonisers and colonised people are confronted. On the other hand, emphasising the idea of transgression, Gothic fiction inhabits images of the Other as well, illustrating anew the impossibility for explanation.
Joseph Conrad published his short story "An Outpost of Progress" in 1897 and collected it to his work Tales of Unrest in 1898. "An Outpost of Progress" has become subject to crucial criticism of imperialism, colonialisation and civilisation, by describing the story of two white men, Kayerts and Carlier, who are in charge of a trading post in the Congo cabin. Consequently, the story represents the difficulties between two oppositional cultures and the effects of this encounter. Considering the dark ambience created throughout the story, this short story can be analysed in terms of a postcolonial gothic reading. This paper aims, therefore, to outline main reasons why this short story accords with characteristics of a postcolonial and colonial gothic reading.
Table of Contents
Introduction
Theoretical Approach: Postcolonial Gothic
(Post-) Colonialism
Gothic Fiction
Otherness / ‘Othering’
Joseph Conrad’s “An Outpost Of Progress”
Postcolonial Discourse
The Gothic in the Short Story
Conclusion – A Postcolonial Gothic Reading
Research Objectives and Themes
This paper aims to analyze Joseph Conrad’s short story "An Outpost of Progress" through the lens of a postcolonial Gothic reading. It examines how the narrative employs Gothic stylistic elements and atmosphere to critique the hypocrisy of European imperialism, the moral degradation of colonizers in isolation, and the construction of the "Other" in colonial discourse.
- The intersection of postcolonial theory and Gothic literary traditions.
- The concept of "Othering" and its application to colonial subjects and landscapes.
- Stylistic Gothic elements in Conrad's work, such as the sublime, claustrophobia, and symbolic imagery.
- Critique of European civilization and the moral failure of colonial administrators.
- The reversal of hierarchical power roles within the colonial trading post.
Excerpt from the Book
The Gothic in the Short Story
“An Outpost of Progress” evinces numerous stylistic elements for the invocation of an atmosphere of the mysteriousness, obscureness and sorrow, outlining the essence of Gothic stories. First, the reader experiences the overwhelming power of the symbolism of graves and crosses, as it encircles the story, being represented at the beginning and at the end of it. After illustrating rather monotonously the surroundings of the trading post, including the edifices where Makola and the two white men live, the narrator reveals the existence of “another dwelling place some distance away from the buildings” (Conrad Part I). Further, the narrator explains, “In it, under a tall cross much out of the perpendicular, slept the man who had seen the beginning of all this”, indicating the grave of the previous and first chief of this trading post (ibid.). Given the obliqueness of the cross, it clearly foreshadows the following decay not only of the station, but also, and foremost, of the two white men, having a too myopic view causing the inability to enjoy the magnificence of the African atmosphere, culture, and landscape. Given their gradual moral degeneration, even Carlier’s attempt at “replant[ing] the cross firmly” does not improve their prospects (ibid.). At the end of Conrad’s story, the narrator emphasises their decline by portraying Kayerts’ suicide as hanging from this precise and ominous cross. Further, as Candreva argues, sticking out his swollen tongue “dramatizes their failure to recognize any but the most superficial things about their actions” (323).
Chapter Summary
Introduction: This chapter establishes the theoretical connection between postcolonial theory and Gothic fiction, identifying their shared fascination with challenging rational order and the creation of an "Other."
Theoretical Approach: Postcolonial Gothic: This section provides foundational definitions of (Post-) Colonialism, the generic characteristics of Gothic fiction, and the process of "Othering" in colonial contexts.
Joseph Conrad’s “An Outpost Of Progress”: This chapter introduces Conrad’s short story, contextualizing it within his personal experience in the Congo and outlining the plot involving the moral decay of two trading post agents.
Postcolonial Discourse: This section analyzes the text through postcolonial theory, specifically focusing on the failure of European "civilizing" missions and the role of the African character Makola in subverting power hierarchies.
The Gothic in the Short Story: This chapter details the Gothic stylistic devices used by Conrad, including the symbolism of graves, the claustrophobic atmosphere of the wilderness, and the use of the sublime to convey moral and physical corruption.
Conclusion – A Postcolonial Gothic Reading: The final chapter synthesizes the findings, confirming that despite lacking traditional medieval Gothic settings, the story functions as a powerful critique of colonialism through its Gothic ambience.
Keywords
Postcolonialism, Gothic Fiction, Joseph Conrad, An Outpost of Progress, Othering, Colonialism, Imperialism, Sublime, Moral Degeneration, Claustrophobia, Symbolism, Cultural Clash, Narrative, Representation, Literary Criticism.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper explores Joseph Conrad’s short story "An Outpost of Progress" by applying a postcolonial Gothic analytical framework to critique European colonial activities.
What are the central themes of the work?
The central themes include the moral decay of colonizers, the construction of the "Other," the critique of the "civilizing mission," and the use of Gothic atmosphere to express colonial trauma.
What is the main research question or goal?
The goal is to determine how "An Outpost of Progress" aligns with the characteristics of a postcolonial Gothic text and how these elements serve to criticize European imperialism.
Which scientific method is utilized in this paper?
The author uses a qualitative literary analysis, synthesizing postcolonial theory and Gothic literary criticism to interpret the short story.
What is covered in the main body of the paper?
The main body separates the study into theoretical foundations (Postcolonialism and Gothic fiction), an analysis of the short story’s postcolonial discourse, and an investigation into the Gothic stylistic elements found within the text.
Which keywords best characterize the study?
Key terms include Postcolonialism, Gothic, Othering, Moral Degeneration, Imperialism, and Colonial Critique.
How does the paper redefine the role of the character Makola?
The paper argues that Makola subverts the traditional colonial power structure by proving himself to be the actual manager of the trading post, contrary to the assumed superiority of the white agents.
Why does the author classify this story as Gothic despite the absence of supernatural elements?
The author argues that the Gothic genre is defined by atmosphere, suspense, and the experience of the "Other"; thus, the story's claustrophobic setting and sense of impending doom fulfill these criteria without needing traditional ghosts.
What role does the "cross" symbol play in the story’s narrative?
The cross acts as a Gothic omen, foreshadowing the inevitable decay and death of the trading post agents and serving as the final location for Kayerts' suicide, highlighting his moral failure.
- Quote paper
- Janine Evangelista (Author), 2018, Joseph Conrad's short story "An outpost of progress". A (post-)colonial Gothic reading, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/415809
