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In Color Struck (1926), Zora Neale Hurston attempts to correct and overcome the limitation of her first play Spears (1925) as 'black folk drama.' The limitation is found in the fact that the African setting of the play is not a real but an imaginary world. On the contrary, Color Struck deals with 'real' places and folks in Florida. All the African-American properties registered in the play, including fashion and cakewalk dance, are the things easily found in all-black communities of the 1920s. In this way, Hurston fills Color Struck with the real African-American things, replacing the imaginary African counterparts.
The 'replacing' process is explained as Hurston's conscious shift of her interest ‘from the imagined to the real,’ which was realized through the playwright's 'committing to the folk' strategy. This strategy was elaborated from the anthropological attainment (scientific attitude, analytical approach, and experience of field study) Hurston obtained in the days of writing Color Struck. The experience of 'field' in particular was instrumental to make the contents of Color Struck secure the feasibility as folk material. Color Struck documents the life of African-American folks in the Florida places of the 1920s. Hurston spent her childhood at the all-black communities in the Florida places and, therefore, 'knew' well about the black folks here. Thus, the black folks's experience in the play merge into the playwright's own experience. The Florida places are where not only the characters but also the playwright resides in the real world. In this way, the contents of Color Struck secure the feasibility as folk material.
Dealing with the real lives of African-American folks and weaving them into the shape of a play, Color Struck presents a model of African-American folk drama in terms of both contents and form. Furthermore, this play was tried and completed about five years earlier than Mule Bone, which was co-authored by Hurston and Langston Hughes between 1930 and 1931 and has been credited to be the first black folk drama. In this respect, Color Struck takes additional significance to antedate the origin of the genre of black folk comedy.
The 'replacing' process is explained as Hurston's conscious shift of her interest ‘from the imagined to the real,’ which was realized through the playwright's 'committing to the folk' strategy. This strategy was elaborated from the anthropological attainment (scientific attitude, analytical approach, and experience of field study) Hurston obtained in the days of writing Color Struck. The experience of 'field' in particular was instrumental to make the contents of Color Struck secure the feasibility as folk material. Color Struck documents the life of African-American folks in the Florida places of the 1920s. Hurston spent her childhood at the all-black communities in the Florida places and, therefore, 'knew' well about the black folks here. Thus, the black folks's experience in the play merge into the playwright's own experience. The Florida places are where not only the characters but also the playwright resides in the real world. In this way, the contents of Color Struck secure the feasibility as folk material.
Dealing with the real lives of African-American folks and weaving them into the shape of a play, Color Struck presents a model of African-American folk drama in terms of both contents and form. Furthermore, this play was tried and completed about five years earlier than Mule Bone, which was co-authored by Hurston and Langston Hughes between 1930 and 1931 and has been credited to be the first black folk drama. In this respect, Color Struck takes additional significance to antedate the origin of the genre of black folk comedy.
목차
Ⅰ. 서론
Ⅱ. 색/인종 정체성: 아프리칸-아메리칸
Ⅲ. 케이크워크: 이산의 형식
Ⅳ. 포크에 충실함: 현실을 읽는 방식
Ⅴ. 결론
인용 문헌
Abstract
저자소개
참고문헌 (16)
참고문헌 신청
[학술지(정기간행물)] - / 2006 / 상상된 아프리카:조라 닐 허스튼의 Spears에 나타난 뿌리 찾기의 양상 19 (2) : 173 ~ 201
[학술지(정기간행물)] - / 1967 / “Negro Producers of Ragtime ” International Library of Negro Life and History The Negro in Music and Art
[학술지(정기간행물)] - / 2001 / On Her Ground:The Life and Times of Madam C. J. Walk
[학술지(정기간행물)] - / 1996 / Introduction:Zora Neale Hurston Eulalie Spence Marita Bonner and Others:The Prize Plays and Other One-Acts Published in Periodicals
[학술지(정기간행물)] - / 1994 / “Narrative Strategy and Purpose in Zora Neale Hurston’s Mules and Men : 14 ~ 23
[학술지(정기간행물)] - / 1967 / “Negro Producers of Ragtime ” International Library of Negro Life and History The Negro in Music and Art
[학술지(정기간행물)] - / 2001 / On Her Ground:The Life and Times of Madam C. J. Walk
[학술지(정기간행물)] - / 1996 / Introduction:Zora Neale Hurston Eulalie Spence Marita Bonner and Others:The Prize Plays and Other One-Acts Published in Periodicals
[학술지(정기간행물)] - / 1994 / “Narrative Strategy and Purpose in Zora Neale Hurston’s Mules and Men : 14 ~ 23
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