『어둠의 속』과 『지옥의 묵시록』에 나타난 모더니즘과 포스트모더니즘 비교: 서술구조를 중심으로

Abstract

This paper is to compare the narrative structure of Joseph Conrad’s Heart of Darkness and Francis Ford Coppola’s Apocalypse Now, a film parody of Heart of Darkness. This paper will explore how their different narrative structures influence our perception of Heart of Darkness as a modernist novel and Apocalypse Now as a postmodernist film, in spite of their similarities in the disclosure of Darkness hidden everywhere and the criticism of rapaciously insanity. Here, the term ‘modernism’ is understood as the pursuit of the possibility of recovery from disorder and insanity, while ‘postmodernism’ refers to the impossibility of such a recovery. The structure of Heart of Darkness is composed as ‘Kurtz- Marlow-frame narrator-readers.’ The meaning of Kurtz’s last word “the horror! horror!,” as “an affirmation, a moral victory paid for by innumerable defeats,” is transmitted to Marlow, who identifies himself with Kurtz and experiences the inner journey to Darkness. Later, as he confronts Kurtz’s Intended, he reaches a deeper understanding of the meaning of Kurtz’s last word “the horror” interpreting it as Kurtz’s feelings of horror not only at his insane behaviour but also at greedy imperialism. The function of the frame narrator who listens to Marlow’s tale along with four men on board cannot be ignored. It is important because he is the only person who comprehends the real meaning of ‘horror’ and delivers its essence to readers. With this layered structure, Conrad makes readers recognize Darkness hidden everywhere and explores the possibility of dealing with it, making it possible for Heart of Darkness to be read as a representative modernist novel. On the other hand, the narrative structure of Apocalypse Now is framed as ‘Kurtz-Willard-audiences.’ After witnessing Kurtz’s surrender to Darkness, Willard executes him following the orders of the U. S. Headquarters and Kurtz himself. Then, rejecting to be the new leader of Kurtz’s kingdom, he “leaves” for “nowhere,” unlike Marlow who “returns” to Europe to reveal the reality of Darkness. The fact that in the film there are no characters who would listen to Willard’s interpretation of Kurtz’s last word makes a big difference between Heart of Darkness and Apocalypse Now. Even though Coppola borrows quite a lot from the novel, he foregoes a frame narrator and any other listeners. The reason for this exclusion is that Coppola sees irresistible Darkness and insanity in the current world. In this respect, Apocalypse Now can be regarded as the most representative postmodernist film.