Racial Otherness and Fin-de-siècle Fears: Reading Stoker’s Dracula and Conrad’s Heart of Darkness
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The true moments of terror in Victorian Gothic novels are often linked to the moments when the protagonists face their own monstrosity. In fin de siècle Imperial Gothic novels such as Bram Stoker’s Dracula and Joseph Conrad’s Heart of Darkness, this is also the moment that racial alterity or otherness enters, is recognized within Western selves and dissolves the clear border between self and others. Stoker’s Dracula and Conrad’s Heart of Darkness are both great Imperial Gothic novels reverberating with the Gothic conventions such as doubles, the return of the repressed, protagonists’ uncanny experience, and moments of disillusionment. In this light, the present paper explores how the fundamental moments of dissolution between self and others are dealt with in Stoker’s Dracula and Conrad’s Heart of Darkness. By closely reading these two best-known imperial Gothic novels, written at the turn of the century, I investigate how the notion of Gothic otherness enters the heart of the British Empire and disturbs the protagonists’ notions of rationality, identity, and power. I also ask to what extent the racial difference is recognized and embraced by the protagonist in both works.
Abstract
The true moments of terror in Victorian Gothic novels are often linked to the moments when the protagonists face their own monstrosity. In fin de siècle Imperial Gothic novels such as Bram Stoker’s Dracula and Joseph Conrad’s Heart of Darkness, this is also the moment that racial alterity or otherness enters, is recognized within Western selves and dissolves the clear border between self and others. Stoker’s Dracula and Conrad’s Heart of Darkness are both great Imperial Gothic novels reverberating with the Gothic conventions such as doubles, the return of the repressed, protagonists’ uncanny experience, and moments of disillusionment. In this light, the present paper explores how the fundamental moments of dissolution between self and others are dealt with in Stoker’s Dracula and Conrad’s Heart of Darkness. By closely reading these two best-known imperial Gothic novels, written at the turn of the century, I investigate how the notion of Gothic otherness enters the heart of the British Empire and disturbs the protagonists’ notions of rationality, identity, and power. I also ask to what extent the racial difference is recognized and embraced by the protagonist in both works.
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