투어리스트 혹은 억류자 : 『올리버 트위스트』 속 도시 공간과 외국성
Tourist or Captive: City Space and Foreignness in Oliver Twist
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In Charles Dickens's Oliver Twist (1837), London space illuminates Victorian discourse over foreignness, as well as portraying the experience of being lost outside home and/or home country. While Oliver Twist, the main character of the novel, follows the tradition of the protagonist who recovers his original identity and social status through his quest for a home, the spaces that he visits and his relationships with those spaces reflect the dilemma of Victorian Britain, which rose to the surface in the late nineteenth century. On the one hand, Oliver safely returns to the middle-class home that he is connected to as he remains intact even though he visits the underworld of London. It helps to reinforce Victorian ideology that glorifies the middle-class male subject's ability to maintain his identity while being far away from home, which is presented as the tourist figure. On the other hand, Oliver often becomes like a captive who is exposed to the danger of losing ties with his home and/or home country. By portraying prisons, trap-like places, and characters who are placed near borderline, Oliv e r T wis t anticipates the late-nineteenth-century anxiety about the Other's intruding Britain from the outside world.
Abstract
In Charles Dickens's Oliver Twist (1837), London space illuminates Victorian discourse over foreignness, as well as portraying the experience of being lost outside home and/or home country. While Oliver Twist, the main character of the novel, follows the tradition of the protagonist who recovers his original identity and social status through his quest for a home, the spaces that he visits and his relationships with those spaces reflect the dilemma of Victorian Britain, which rose to the surface in the late nineteenth century. On the one hand, Oliver safely returns to the middle-class home that he is connected to as he remains intact even though he visits the underworld of London. It helps to reinforce Victorian ideology that glorifies the middle-class male subject's ability to maintain his identity while being far away from home, which is presented as the tourist figure. On the other hand, Oliver often becomes like a captive who is exposed to the danger of losing ties with his home and/or home country. By portraying prisons, trap-like places, and characters who are placed near borderline, Oliv e r T wis t anticipates the late-nineteenth-century anxiety about the Other's intruding Britain from the outside world.
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