제국, 영국소설, 안식처의 상실: 윌키 콜린즈의 『월장석』 = Empire, the British Novel, and the Uncanny: Wilkie Collins`s The Moonstone

다국어 초록 (Multilingual Abstract)

While the interpenetration of home and empire has been a wellacknowledged point in reading Wilkie Collins`s The Moonstone, few critics have paid adequate attention to the peculiarly unsettling effect of the novel`s Indian ending. Although its detective plot results in Blake and Rachel`s marriage, a quintessential closure of Victorian domestic fiction, the novel is destined to return to India in order to trace the final whereabouts of the moonstone. This compulsive return to the colonial space indeed implies the ways in which the discursive domain of domestic fiction is significantly undermined by the anti-adventure mode of the Victorian imperial romance. This essay delves into such generic intersections in light of the uncanny [unheimlich]. Recasting the Freudian notion in the novel`s symbolic function of constituting subjecthood and building a symbolic home, I redefine the uncanny as a counter-discursive undercurrent of a narrative that disrupts the text`s official ideological affiliations. From this perspective, I examine several key moments from the novel that evoke the uncanny in disparate yet intertwined ways. As the culmination of the uncanny at the very end of The Moonstone overwhelms the preceding domestic ending, it has far-reaching literary historical implications for the British novel of the late nineteenth century. Ironically enough, neither domestic fiction nor its sub-canonic others (the imperial romance and the other forms of colonial literature) could no longer secure the Bourgeois-imperialist subjectivity or preserve any sense of ``home`` without bad faith, in the age when the entire earth had been a home to an Englishman.

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