Island Rovers: the Anti-Settlement Message in The Coral Island
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Ballantyne's The Coral Island shows how cultural imaginings of the adventurer were used in the conception of nationhood and that of male development in the nineteenth-century British island adventure stories. Through a journey between islands, that is, home country and island(s) placed on the imperial frontier, The Coral Island illustrates that those who participate in overseas occupations contribute to the expansion of the empire. The anti-domestic message of the novel remains throughout the novel, highlighting the empire's general attitude toward the foreign. The Coral Island that the three boys come to inhabit is depicted like a school garden, thereby unsettling the myth of the idealized middle-class home-builder; the boy characters are at home without building a home there, which anticipates the later Victorian period in which the empire-building project involved no personal attachment to a unique space but mechanical expansion of territory instead. Likewise, the boys do not need to domesticate the Island of Mango either because they find it already a part of the extended empire. Through the characters who keep traveling without any sense of displacement, the novel evokes and supports the notion of perpetual roving that enables the empire to continue expanding.
Abstract
Ballantyne's The Coral Island shows how cultural imaginings of the adventurer were used in the conception of nationhood and that of male development in the nineteenth-century British island adventure stories. Through a journey between islands, that is, home country and island(s) placed on the imperial frontier, The Coral Island illustrates that those who participate in overseas occupations contribute to the expansion of the empire. The anti-domestic message of the novel remains throughout the novel, highlighting the empire's general attitude toward the foreign. The Coral Island that the three boys come to inhabit is depicted like a school garden, thereby unsettling the myth of the idealized middle-class home-builder; the boy characters are at home without building a home there, which anticipates the later Victorian period in which the empire-building project involved no personal attachment to a unique space but mechanical expansion of territory instead. Likewise, the boys do not need to domesticate the Island of Mango either because they find it already a part of the extended empire. Through the characters who keep traveling without any sense of displacement, the novel evokes and supports the notion of perpetual roving that enables the empire to continue expanding.
참고문헌 (14)
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