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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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August Wilson gives voice to the disfranchised and marginalized African Americans who have been in the America since 1619s their first step at West Virginia. Not only does he portrait African Americans and the predicaments of American life but explores the African roots, its connection with African American and the blues whose origin is the African music. The blues displays various characteristics of African culture as well as the diverse African American sensibilities. Wilson employs the sentiments from the blues, and further its structures in his plays.
Wilson listens to the African oral tradition which involves a wide variety of stories of spiritual reconciliation. The characters' stories become a means of self-authentication in which each character draws on African cultural identity for spiritual solace. Wilson's use of the African oral tradition comes from his insistence on a distinctive African American drama because the white society does not share certain important, unique qualities that African American can share.
In order to examine a present in which African American characters struggle within the socio-economic climate of the twentieth century, Wilson visits the past. In Ma Rainey's Black Bottom, set in a 1920s Chicago recording studio, Wilson reexamines the cultural repercussions of the blues musicians who are exploited and commercialized by the white producers. Set in 1911 the boardinghouse of Pittsburgh, Joe Turner's Come and Gone focuses on the ghost within Herald Loomis. This ghost is Loomis's personal experience in a chain gang, the barbaric penal system, becomes a horrific legacy connecting him to a long line of African ancestors, from transport on slave ships, the Middle Passage, through enslavement in the antebellum South. It is a sense of imprisonment that still lingers in 1911 in the consciousness of African Americans. In the Piano Lesson, setting in the Depression Era of the 1930s, Wilson focuses upon a piano as a symbol of the African ancestors as well as the source of conflict between Berniece and her brother Boy Willie. This piano is their legacy signifying their ancestors' servitude during the time of slavery. Through the apparition of Sutter's ghost, whose ancestor was a white plantation owner named Robert Sutter, Wilson presents the continued effects of enslavement to the will of the Whites. At last the ritual of exorcism by Berniece's calling out to her African ancestors makes Sutter's ghost disappeared not destroyed. That emphasizes the possibility of Whites' violence at anytime and anywhere. Therefore, the reestablishment of the kinship bond with African ancestor and the realization of the Africanness in African American culture can resist the enslaving and preserve his/her dignity as a human-being.
Wilson listens to the African oral tradition which involves a wide variety of stories of spiritual reconciliation. The characters' stories become a means of self-authentication in which each character draws on African cultural identity for spiritual solace. Wilson's use of the African oral tradition comes from his insistence on a distinctive African American drama because the white society does not share certain important, unique qualities that African American can share.
In order to examine a present in which African American characters struggle within the socio-economic climate of the twentieth century, Wilson visits the past. In Ma Rainey's Black Bottom, set in a 1920s Chicago recording studio, Wilson reexamines the cultural repercussions of the blues musicians who are exploited and commercialized by the white producers. Set in 1911 the boardinghouse of Pittsburgh, Joe Turner's Come and Gone focuses on the ghost within Herald Loomis. This ghost is Loomis's personal experience in a chain gang, the barbaric penal system, becomes a horrific legacy connecting him to a long line of African ancestors, from transport on slave ships, the Middle Passage, through enslavement in the antebellum South. It is a sense of imprisonment that still lingers in 1911 in the consciousness of African Americans. In the Piano Lesson, setting in the Depression Era of the 1930s, Wilson focuses upon a piano as a symbol of the African ancestors as well as the source of conflict between Berniece and her brother Boy Willie. This piano is their legacy signifying their ancestors' servitude during the time of slavery. Through the apparition of Sutter's ghost, whose ancestor was a white plantation owner named Robert Sutter, Wilson presents the continued effects of enslavement to the will of the Whites. At last the ritual of exorcism by Berniece's calling out to her African ancestors makes Sutter's ghost disappeared not destroyed. That emphasizes the possibility of Whites' violence at anytime and anywhere. Therefore, the reestablishment of the kinship bond with African ancestor and the realization of the Africanness in African American culture can resist the enslaving and preserve his/her dignity as a human-being.
목차
Ⅰ. 윌슨과 아프리카 전통
Ⅱ. 『마 레이니의 검은 엉덩이』와 블루스, 아프리카적 감수성
Ⅲ. 『조 터너 왔다 갔다』(Joe Turner Come and Gone)와 아프리카 의식
Ⅳ. 『피아노 레슨』(The Piano Lesson)과 과거의 의미
Ⅴ. 결론
참고문헌
Abstract
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