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This paper argues that Zora Neale Hurston's Their Eyes Were Watching God illuminates a space of the black soul in the Harlem Renaissance. The Renaissance had delivered the Niggerati of a cultural movement for the new negro, while the black society inevitably underwent a hugh cultural shift triggered by the great migration of the black population from the agricultural South to the urban North in the early 20th century.
Most of the people left their black souls in the black cultural tradition behind, because not only did the circumstances for the survival of the black force them to forget it, but the old leaders also degraded it as a mere primitive past on the white cultural basis. The atmosphere of the Renaissance had, therefore, built a “racial mountain” to the young 'folk' artists who sought to encounter the real self of themselves and their low voice people. Hurston brings us to a broad scene of another way of life to find a 'dust track' of the race through the journey of Janny in Their Eyes Were Watching God. On the road, she should sublate(aufheben) the contradiction of the ex-slave generation who is starred by Nanny and also disclose the political humbug behind the white masks of the “Talented Tenth” whom Jody acts. Nanny demands her to be in high position by marriage and two husbands compel her to be a mule or a servant for their businesses by power(big voice). For her as a new negro, they don't know how to love and how to live for themselves. Meeting Tea Cake, who has different attitude to the world and human life and is able to recall her a sense of her soul with entirely new words, opens the door of a wide horizon of their people's lives. She experiences a life with joy, work combined with play, and songs and stories shared with low people in muddy Everglades. After the long journey, she returns home and she can not help singing her stories and planting seeds of her songs in the inner space of her people as Nanny did.
Hurston's blues repeats the characters of the black music and cultural tradition which has embraced their suffering in the racist US. The style should therefore be a repetition of 'call-and-response' and 'cut and return' to the starting point. After all, her novel climbs a 'racial mountain' to find her sister and brother, and deeply grooves in the black tradition with a new expression style.
Most of the people left their black souls in the black cultural tradition behind, because not only did the circumstances for the survival of the black force them to forget it, but the old leaders also degraded it as a mere primitive past on the white cultural basis. The atmosphere of the Renaissance had, therefore, built a “racial mountain” to the young 'folk' artists who sought to encounter the real self of themselves and their low voice people. Hurston brings us to a broad scene of another way of life to find a 'dust track' of the race through the journey of Janny in Their Eyes Were Watching God. On the road, she should sublate(aufheben) the contradiction of the ex-slave generation who is starred by Nanny and also disclose the political humbug behind the white masks of the “Talented Tenth” whom Jody acts. Nanny demands her to be in high position by marriage and two husbands compel her to be a mule or a servant for their businesses by power(big voice). For her as a new negro, they don't know how to love and how to live for themselves. Meeting Tea Cake, who has different attitude to the world and human life and is able to recall her a sense of her soul with entirely new words, opens the door of a wide horizon of their people's lives. She experiences a life with joy, work combined with play, and songs and stories shared with low people in muddy Everglades. After the long journey, she returns home and she can not help singing her stories and planting seeds of her songs in the inner space of her people as Nanny did.
Hurston's blues repeats the characters of the black music and cultural tradition which has embraced their suffering in the racist US. The style should therefore be a repetition of 'call-and-response' and 'cut and return' to the starting point. After all, her novel climbs a 'racial mountain' to find her sister and brother, and deeply grooves in the black tradition with a new expression style.
목차
Ⅰ. 들어가면서
Ⅱ. 할렘 르네상스와 흑인의 전통
Ⅲ. 불화와 계승: 중단과 회귀의 패턴
Ⅳ. 공동체의 윤리와 새로운 삶의 모색: 부름과 응답
Ⅴ. 나오면서
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