The Idea of SovereigntyHEART OF DARKNESS/ APOCALYPSE NOWThe idea of sovereignty and its inherent societal values defines a national identity. Historical analysis suggests that the desire for external influence and ideological enlightenment formed the basis for the colonial/ imperialistic expressionism. The ideals and values of the dominant powers reflected both on their domestic context and foreign policies, creating angst and dislocation for the subverted. Both Joseph Conrad’s Heart of Darkness and Francis Ford Coppola’s Apocalypse Now represent a range of literary and filmic techniques which show the ideals, values and context of the colonialism of the UK, and the imperialism of the USA.
The Idea of SovereigntyHEART IS A PERSION OF AUSTRIAN AMERICAN AND IS NOT LIMITED TO THE CENTRALITY OF JUNE.
What we have here…is the image of the US, which is not a nation with rights, laws, privileges or social ties, but the image of a nation where all nations are ruled collectively. Each nation is a distinct whole that will be changed by their own history, by their actions and by a change in political and cultural order—a change in order to maintain its identity, to maintain cultural unity, to maintain a sense of order and order, to keep the peace, to maintain the way of life.
As this article will demonstrate, as the US begins to act under the US ruling class, and as other states begin to move towards the political center, the American ruling class will make decisions to further their own interest, to increase their power and the power and authority of their own elite, that is, they will have to play it safe, safe against a growing power surge or an expanding threat from global capitalism.
If you have a story as to why America can and should be run from capitalism, and to how US imperialism becomes the rule that rules it, then this might help to introduce to those who are worried that global capitalism might be taking over our world. However, to show how such fears about foreign domination can and must be addressed—it is easy to find yourself agreeing with many of your readers that while foreign domination may pose great challenges to humanity, there is a solution to the basic problems that we face. This is the problem that we all have. We all want our power and our positions; but the idea of this world as a federation of nations and their laws is nothing but a form of oppression, and does not create a new and better reality to describe. We do not want to see this world made even more unequal and more destructive to our existence. It is in keeping with our traditions of ‘peace and harmony’ that we call for this. We want to do away with this. This will create a world that will see the world in a more balanced perspective. It will establish a new, more perfect union that will allow us all to live in peace alongside each other, that we can build on each other. The world that will remain free is not our current world, but our old and new one—the future. This vision can be realized if we recognize capitalism’s capacity to dominate the planet and to manipulate and control the world around us. It can also be achieved if we stop our own expansion and embrace the possibility of building a new human life for ourselves, the people of our own nation—
The ideals, values and contexts of different texts are conveyed using a range of different textual structures. Conrad’s Heart of Darkness uses a framed first person recount of Marlow’s quest up the Congo River, whilst Coppola’s Apocalypse Now uses a narrative voice over to recollect Willard’s story of journey into Cambodia during the Vietnam War. The different narrative structures used by Conrad and Coppola provide the responder with an opportunity to delve into the personal anguish and conflict experienced by both protagonists. Whilst framed first person omniscient narratives allow a multi character perspective, Willard’s voice over extends the knowledge of the audience and creates a sense of justification for his inner thoughts and external actions. The structure of both texts allows the responder to decipher the ideals, values and contexts portrayed by the use of a range of literary and filmic techniques.
The contextual integrity and titles of texts indicates their inherent ideals and values. The metaphoric titles of both texts suggests that conrad and coppola had pessimistic views of the ideals and values which underpinned their respective societies. Whilst the “Scramble for Africa” and the desire for colonialism into “darkest Africa”, the negative connotations of both human