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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2007.8
- 수록면
- 211 - 234 (24page)
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초록· 키워드
오류제보하기
Alice Childress's Wine in the Wilderness, when viewed within its social, cultural, and dramatic context, reveals the mechanisms of symbolic violence embedded in the everyday life of African Americans. Pierre Bourdieu's sociology of practice offers a theoretical framework for revealing the symbolic violence wielded by the dominant class on the dominated. Drawing on the narratives of the dominant?Bill the artist, Sonny-man the novelist, and Cynthia the social worker?and the dominated?Oldtimer and Tommy?in an African American community, this essay reveals the features of symbolic violence in conjunction with the concept of habitus, which is defined as "the site of the internalization of reality and the externalization of internality."
Bill's "statement" of how to represent African American womanhood in his triptych allows us to read the social implications of what seems to be its purely aesthetic representation. Bill's imposition of systems of meaning through his artistic representation is a form of symbolic violence in a way that it is accepted as legitimate, thus leading to the dominated's acceptance through a process of misrecognition by the African American community. The dominant's preferences and tastes correspond to educational level and social class. In short, their aesthetic is a dominating aesthetic in terms of definition of African American womanhood, choice of language, implementation of social norms, and taste.
The dominant's aesthetic sense, based on the abstractness of African Americans' real life, produces a sense of distinction, serving as the dominant's symbolic violence for oppressing the dominated, which works so subtly that it is invisible. The reading of Wine in the Wilderness in terms of symbolic violence shows the ways in which the dominant's daily practices reproduce and foster domination. Tommy "talks back" the mechanisms of symbolic violence evident in everyday life, such as social conformity and docility. Dramatizing the necessity of conception of African American community as a space of symbolic violence between the dominant and the dominated, the play can be interpreted as a social text for black liberation through the "talking back" by revealing the ways in which symbolic violence works in the daily life of African Americans.
Bill's "statement" of how to represent African American womanhood in his triptych allows us to read the social implications of what seems to be its purely aesthetic representation. Bill's imposition of systems of meaning through his artistic representation is a form of symbolic violence in a way that it is accepted as legitimate, thus leading to the dominated's acceptance through a process of misrecognition by the African American community. The dominant's preferences and tastes correspond to educational level and social class. In short, their aesthetic is a dominating aesthetic in terms of definition of African American womanhood, choice of language, implementation of social norms, and taste.
The dominant's aesthetic sense, based on the abstractness of African Americans' real life, produces a sense of distinction, serving as the dominant's symbolic violence for oppressing the dominated, which works so subtly that it is invisible. The reading of Wine in the Wilderness in terms of symbolic violence shows the ways in which the dominant's daily practices reproduce and foster domination. Tommy "talks back" the mechanisms of symbolic violence evident in everyday life, such as social conformity and docility. Dramatizing the necessity of conception of African American community as a space of symbolic violence between the dominant and the dominated, the play can be interpreted as a social text for black liberation through the "talking back" by revealing the ways in which symbolic violence works in the daily life of African Americans.
목차
Ⅰ. 서론
Ⅱ. 계급적 사회질서와 구별짓기의 아비투스
Ⅲ. 예술적 추상성과 상징적 폭력의 메커니즘
Ⅳ. 흑인대중의 맞받아 말하기
Ⅴ. 결론
Abstract
참고문헌 (10)
참고문헌 신청
현택수 , 1998 , 아비투스와 상징폭력의 사회비판이론 문화와 권력 : 101 ~ 120
Bourdieu, Pierre , 1977 , Reproduction in Education, Society and Culture
Routledge , 1984. , A Social Critique of the Judgement of Taste. London
Stanford UP , 1990. , _____. The Logic of Practice. 1980. Trans. Richard Nice. Stanford
Praeger , 1988. , Elizabeth. Their Place on the Stage Black Women Playwrights in America. New York
Bourdieu, Pierre , 1977 , Reproduction in Education, Society and Culture
Routledge , 1984. , A Social Critique of the Judgement of Taste. London
Stanford UP , 1990. , _____. The Logic of Practice. 1980. Trans. Richard Nice. Stanford
Praeger , 1988. , Elizabeth. Their Place on the Stage Black Women Playwrights in America. New York
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