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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.4
- 수록면
- 115 - 143 (29page)
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초록· 키워드
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Derek Walcott's Dream on Monkey Mountain is one of the representative post-colonialist dramas, which was premired in 1967. As a native of an island country Trinidad in the Caribbean, Walcott deals with the various issues of post-colonialism in the play including the psychiatric problems that the west-indians experience. He is known to have used Franz Fanon's theory about the relationship between the black and the white in his book Black Skin, White Masks, in which Fanon argues that there is a significant difference between the way the blacks behave when they are with blacks and the way they behave when they are with whites. And the idea of inferiority has been so deep-rooted in the mind of blacks that it is something that has to be removed first after independence. This psychological problem, according to Fanon, is the result of the colonialist rule, and it has been said that the Negro is the link between white man and monkey.
In Dream on Monkey Mountain Walcott does not attempt to criticize the European culture that he has imbibed in school since his childhood. He sincerely acknowledges the good sides of foreign cultures that have infiltrated the west indian culture. He also wants to use the European culture of the white people. The literary canons that had been imposed on the school curriculum of the natives by the colonist government to meet with the need of the imperialist desire to civilize and assimilate the natives with the cultural standards of the `imperial center' in Europe. Walcott as a native of Trinidad does not attempt to hide or blindly reject the influences of the western classics that he had read and discussed in the classroom. Instead he includes them in his work in such a way that everybody may read the presence of the various western classics and understand them, if possible, in their own terms. The audience may be happy to find important moments of the classics in a native author's work, but what they have to remember is that Walcott utilizes them not to acknowledge the grace of the colonial literature education but to use them for his own post-colonialist purposes. In other words, what Walcott does in the play is to parody and criticize the colonialist aesthetics in order to undermine the colonialist aesthetics and form a 'canonical counter-discourse.' In Dream on Monkey Mountain, the protagonist, who was suffering from an extreme case of inferiority complex because of his skin color, changes at the end of the action to become a completely different person, and proudly spells out his name in the interrogation by the prison guard Corporal Lestrade. In the beginning of the play he simply says that his name is Makak, meaning a monkey. The whole play is an exorcism. Makak becomes a born-again West-indian Man.
In Dream on Monkey Mountain Walcott does not attempt to criticize the European culture that he has imbibed in school since his childhood. He sincerely acknowledges the good sides of foreign cultures that have infiltrated the west indian culture. He also wants to use the European culture of the white people. The literary canons that had been imposed on the school curriculum of the natives by the colonist government to meet with the need of the imperialist desire to civilize and assimilate the natives with the cultural standards of the `imperial center' in Europe. Walcott as a native of Trinidad does not attempt to hide or blindly reject the influences of the western classics that he had read and discussed in the classroom. Instead he includes them in his work in such a way that everybody may read the presence of the various western classics and understand them, if possible, in their own terms. The audience may be happy to find important moments of the classics in a native author's work, but what they have to remember is that Walcott utilizes them not to acknowledge the grace of the colonial literature education but to use them for his own post-colonialist purposes. In other words, what Walcott does in the play is to parody and criticize the colonialist aesthetics in order to undermine the colonialist aesthetics and form a 'canonical counter-discourse.' In Dream on Monkey Mountain, the protagonist, who was suffering from an extreme case of inferiority complex because of his skin color, changes at the end of the action to become a completely different person, and proudly spells out his name in the interrogation by the prison guard Corporal Lestrade. In the beginning of the play he simply says that his name is Makak, meaning a monkey. The whole play is an exorcism. Makak becomes a born-again West-indian Man.
목차
1. 서론
2. 윌컷의 역담론 기법과 『원숭이 산의 꿈』
3. 제국주의 담론
4. 몸 그리고 검정색의 미학
5. 거미와 백인 여신
6. 이중성의 시학
7. 원숭이 산의 꿈과 아프리카 귀향
8. 실패한 혁명
9. 에필로그
주
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