Streetwalking Fin de Sicle London in The Adventures of Sherlock Holmes
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Detective fiction, as a quintessential urban genre, taps into the junctures of contemporary urban reality; and canonical texts in this field all evince a distinct urban orientation. The trend culminates in Conan Doyle's Sherlock Holmes series of the 1890s featuring an archetypal vision of the modern city. A majority of his cases take place in London and the spatial setting is crucial to making sense of the text. With this in mind, this paper seeks to reappraise the Holmes tales, considering the ways in which they configure turn-of-the-century London as a prime site of urban modernity and represent the fictional detective as the flâneur who appropriates the art of walking in the city in an attempt to unravels mysteries, to identify strangers and ultimately to bring under control the potentially disruptive forces of the modern world. In this context, the Holmes series, a supposedly low-brow art form within the framework of Victorian cultural hierarchies, is as seriously involved with a critical inquiry into contemporary existence as any high literature, restating, through a popular medium, essentially the same kinds of thematic concerns put forward by mainstream writers of the day.
Abstract
Detective fiction, as a quintessential urban genre, taps into the junctures of contemporary urban reality; and canonical texts in this field all evince a distinct urban orientation. The trend culminates in Conan Doyle's Sherlock Holmes series of the 1890s featuring an archetypal vision of the modern city. A majority of his cases take place in London and the spatial setting is crucial to making sense of the text. With this in mind, this paper seeks to reappraise the Holmes tales, considering the ways in which they configure turn-of-the-century London as a prime site of urban modernity and represent the fictional detective as the flâneur who appropriates the art of walking in the city in an attempt to unravels mysteries, to identify strangers and ultimately to bring under control the potentially disruptive forces of the modern world. In this context, the Holmes series, a supposedly low-brow art form within the framework of Victorian cultural hierarchies, is as seriously involved with a critical inquiry into contemporary existence as any high literature, restating, through a popular medium, essentially the same kinds of thematic concerns put forward by mainstream writers of the day.
참고문헌 (20)
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