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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.4
- 수록면
- 173 - 201 (29page)
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Spears (1925) is credited to be the first play of Zora Neale Hurston, an American black female writer. In addition, the play is significant in the two aspects. First, the play was Hurston's first written expression of her interest in Africa. Second, it was the germinating piece for Black folk drama that Hurston would develop and finally reach to the completion in form through the co-writing of Mule Bone (from May to June 1930) with Langston Hughes.
Set in the Luallaba tribe in Africa, Spears deals with such various aspects of experience as politics, economy and religion that the residents of the all-black community confront in their daily lives. The playwright's interest in Africa is found in her rich and detailed description of the tangible and intangible 'things African.' The registration of such things African plays a role to express the playwright's perspective on the color/black identity as an African-American. No color but black exists in this all-black community. Having no other color to be compared with theirs, the 'Black' becomes the authentic color/race identity of the Luallabas. In addition, the combined force of tangible and intangible properties gives birth to an another dimension of African property, the so-called 'collective experience.' The rain-making ritual exemplifies best the process on which the two levels of the African properties are merged into the third but more intrinsic black experience.
Both expressing Hurston's interests in Africa and reflecting her understanding of the black color/race identity as authentic, this play is definitely a 'Black' drama. On the other hand, it contains an undeniable limitation as a 'folk' drama. That is, the African set of the play is not a real but an imaginary world. Subsequently, all the things African in this world inevitably turn out as the fictional artifacts. However, in a different point of view, this African world can be understood as the extended version of Eatonville, the all-black community in Florida. In other words, the authentic black experience and color identity in the Luallaba tribe was no other than what she had cherished since her childhood in the all-black community in America. In this respect, Spears to a degree meets with the playwright's sense of the real. For another reason, despite Hurston's desire for the root of her black experience and identity, Africa was literally too far away from her to contact in person. In this sense, the imaginary world of African could be an unavoidable result.
Although causing for the limitation of the play, the 'imagined Africa' could be Hurston's best solution for the exploration of the root of her black experience and color/race identity. Despite the fictional beings, artifacts, the things African were the pictures completing her idea of the root and, therefore, reaffirming the belief in her not being a cultural orphan. In this way, the imagined Africa reflects her desire and searching effort toward the root.
Set in the Luallaba tribe in Africa, Spears deals with such various aspects of experience as politics, economy and religion that the residents of the all-black community confront in their daily lives. The playwright's interest in Africa is found in her rich and detailed description of the tangible and intangible 'things African.' The registration of such things African plays a role to express the playwright's perspective on the color/black identity as an African-American. No color but black exists in this all-black community. Having no other color to be compared with theirs, the 'Black' becomes the authentic color/race identity of the Luallabas. In addition, the combined force of tangible and intangible properties gives birth to an another dimension of African property, the so-called 'collective experience.' The rain-making ritual exemplifies best the process on which the two levels of the African properties are merged into the third but more intrinsic black experience.
Both expressing Hurston's interests in Africa and reflecting her understanding of the black color/race identity as authentic, this play is definitely a 'Black' drama. On the other hand, it contains an undeniable limitation as a 'folk' drama. That is, the African set of the play is not a real but an imaginary world. Subsequently, all the things African in this world inevitably turn out as the fictional artifacts. However, in a different point of view, this African world can be understood as the extended version of Eatonville, the all-black community in Florida. In other words, the authentic black experience and color identity in the Luallaba tribe was no other than what she had cherished since her childhood in the all-black community in America. In this respect, Spears to a degree meets with the playwright's sense of the real. For another reason, despite Hurston's desire for the root of her black experience and identity, Africa was literally too far away from her to contact in person. In this sense, the imaginary world of African could be an unavoidable result.
Although causing for the limitation of the play, the 'imagined Africa' could be Hurston's best solution for the exploration of the root of her black experience and color/race identity. Despite the fictional beings, artifacts, the things African were the pictures completing her idea of the root and, therefore, reaffirming the belief in her not being a cultural orphan. In this way, the imagined Africa reflects her desire and searching effort toward the root.
목차
Ⅰ. 서론
Ⅱ. 아프리카적인 것들
Ⅲ. 기우제: 집단 체험의 양상
Ⅳ. 아프리칸 컨티뉴엄: 흑인 정체성과 뿌리
Ⅴ. 상상된 세계: 포크 드라마로서의 한계와 가능성
Ⅵ. 결론
인용 문헌
Abstract
참고문헌 (15)
참고문헌 신청
[학술지(정기간행물)] - / 2004 / Arts and Letters:An A-to-Z Reference of Writers, Musicians and Artists of the African American Experience
[학술지(정기간행물)] - / 2004 / Archaic Techniques of Ecstasy
[학술지(정기간행물)] - / 1972 / The Drama of Nommo
[학술지(정기간행물)] - / 1987 / Some African Influences on the Afro-American Theatre The Theatre of Black Americans A Collection of Critical Essays : 13 ~ 29
[학술지(정기간행물)] - / 1977 / U of Illinois P
[학술지(정기간행물)] - / 2004 / Archaic Techniques of Ecstasy
[학술지(정기간행물)] - / 1972 / The Drama of Nommo
[학술지(정기간행물)] - / 1987 / Some African Influences on the Afro-American Theatre The Theatre of Black Americans A Collection of Critical Essays : 13 ~ 29
[학술지(정기간행물)] - / 1977 / U of Illinois P
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