닐 게이먼의 『스타 더스트』와 빅토리안 판타지
Neil Gaiman's Stardust and the Victorian Fantasy
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This paper aims to investigate the meaning of the Mid-Victorian setting in Neil Gaiman’s Stardust. Gaiman sets the beginning of his story in the year of 1838 when Queen Victoria was still young, and, 18 years later, lets the hero Tristran start his journey into the Faerie in the year of 1856. Those 18 years are significant in the development of Victorian fairy tales, when the fairy tales are softened and institutionalized as ‘children’s literature’ while many innovative writers started to reanimate the genre into ‘literary fairy tales’ for adult readers. In Stardust, Niel Gaiman shows his deep-rooted interests in the Victorian fairy tales and in Charles Dickens, who by adopting basic structures and narrative techniques of fairy tales and mixing them with more realistic elements, developed them into unique form of fiction. With the Victorian literary fairy tales and the achievements of Dickens in mind, Gaiman makes the romantic quest of Tristran Thorn into the Faerie parallel with the typical Victorian fairy tale heroes’ journey into the wonderland. He also tried to make it differ from its Victorian archetypes for its more eco-feministic, anti-racial, and anti-colonialistic view throughout its plot line and its major characters. What Gaiman does in Stardust is to recuperate the unique vitality of the Victorian literary fairy tales. He elevates the form of fairy tale from didactic stories just for children to more sophisticated form of prose fiction for adult readers, following in the wake of J. R. R. Tolkien who made fairy tale into a more serious artistic form.
Abstract
This paper aims to investigate the meaning of the Mid-Victorian setting in Neil Gaiman’s Stardust. Gaiman sets the beginning of his story in the year of 1838 when Queen Victoria was still young, and, 18 years later, lets the hero Tristran start his journey into the Faerie in the year of 1856. Those 18 years are significant in the development of Victorian fairy tales, when the fairy tales are softened and institutionalized as ‘children’s literature’ while many innovative writers started to reanimate the genre into ‘literary fairy tales’ for adult readers. In Stardust, Niel Gaiman shows his deep-rooted interests in the Victorian fairy tales and in Charles Dickens, who by adopting basic structures and narrative techniques of fairy tales and mixing them with more realistic elements, developed them into unique form of fiction. With the Victorian literary fairy tales and the achievements of Dickens in mind, Gaiman makes the romantic quest of Tristran Thorn into the Faerie parallel with the typical Victorian fairy tale heroes’ journey into the wonderland. He also tried to make it differ from its Victorian archetypes for its more eco-feministic, anti-racial, and anti-colonialistic view throughout its plot line and its major characters. What Gaiman does in Stardust is to recuperate the unique vitality of the Victorian literary fairy tales. He elevates the form of fairy tale from didactic stories just for children to more sophisticated form of prose fiction for adult readers, following in the wake of J. R. R. Tolkien who made fairy tale into a more serious artistic form.
참고문헌 (28)
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