Deepening Colonial Anxieties in British Adventure Fiction: from The Coral Island to Heart of Darkness to Lord of the Flies
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The British tradition of adventure fiction, from Defoe's Robinson Crusoe in the 18th century to Golding's Lord of the Flies in the 20th century, reflects the growth and decline of the British Empire. Particularly, Ballantyne's The Coral Island, the high adventure novel of the Victorian era, epitomizes a turning point for the ideology of imperial expansion. While, like Defoe's work that symbolizes the British colonial conquest in the previous century, Ballantyne's tale represents the triumph of colonial adventure in the South Pacific, it simultaneously reveals the white man's fleeting anxieties incurred on the colonial frontier. The incipient anxieties of colonial adventure, which may be reduced to the suspicion of the kinship between civilized and savage, and threatening the foundation of the Empire, are properly addressed in Conrad's Heart of Darkness, the modernist and fin-de-siècle adventure novel. As it costs the belief in the Empire, however, the turn-of-the-century exploration of the remote colony is transformed into the modernist exploration of human mind. The colonial anxiety or suspicion of the inhumanity of the civilized, which darkens the Englishman's exploration of the Congo, and contradicting colonial discourse, renders Conrad's text highly ambivalent in postcolonial reading. It is in Lord of the Flies, the revision of Ballantyne's novel, that the suspicion is finally confirmed. The British boys' adventure on an uninhabited tropical island, with no natives, reveals that the savage or beast, representing the Other, is no longer without but within.
Abstract
The British tradition of adventure fiction, from Defoe's Robinson Crusoe in the 18th century to Golding's Lord of the Flies in the 20th century, reflects the growth and decline of the British Empire. Particularly, Ballantyne's The Coral Island, the high adventure novel of the Victorian era, epitomizes a turning point for the ideology of imperial expansion. While, like Defoe's work that symbolizes the British colonial conquest in the previous century, Ballantyne's tale represents the triumph of colonial adventure in the South Pacific, it simultaneously reveals the white man's fleeting anxieties incurred on the colonial frontier. The incipient anxieties of colonial adventure, which may be reduced to the suspicion of the kinship between civilized and savage, and threatening the foundation of the Empire, are properly addressed in Conrad's Heart of Darkness, the modernist and fin-de-siècle adventure novel. As it costs the belief in the Empire, however, the turn-of-the-century exploration of the remote colony is transformed into the modernist exploration of human mind. The colonial anxiety or suspicion of the inhumanity of the civilized, which darkens the Englishman's exploration of the Congo, and contradicting colonial discourse, renders Conrad's text highly ambivalent in postcolonial reading. It is in Lord of the Flies, the revision of Ballantyne's novel, that the suspicion is finally confirmed. The British boys' adventure on an uninhabited tropical island, with no natives, reveals that the savage or beast, representing the Other, is no longer without but within.
참고문헌 (27)
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