지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2017.8
- 수록면
- 143 - 168 (26page)
- DOI
- 10.29163/jmed.2017.08.30.2.143
이용수
초록· 키워드
오류제보하기
Suzan-Lori Parks is an American playwright who reproduces African-Americans’ painful past and history, memories and myths through her own avant-garde stage techniques. Her stage is a space for calling upon events that had been excluded in history recorded by whites, and creating a new history by discovering, restructuring, and transforming the past. In her latest work, Father Comes Home From the Wars Parts 1, 2 & 3(2015), Parks attempts to ‘rewrite the past’ and provide a different backdrop of the American Civil War.
This drama shows a long journey of a black slave named Hero who follows his master who promises him, ‘Join the Confederate Army in the war and I’ll give you the freedom’, to the battlefield and finally returns home alone. Hero meets a biracial Union Army soldier, Smith, who is taken as a war prisoner by the master, and though Hero belongs to the Confederate Army, he releases Smith. During the journey in the battlefield, confused about his identity, Hero finally renames himself ‘Ulysses’ after the great general of the Union Army. His embarking on a journey back home reminds of the structure of Homer’s Odysseia. By showing an African-American journey grafted onto Greek tragedy, Parks de-constructs American history and rewrites Black history. And through this, multi-layered repressions of black people at that time are revealed, with the ambiguous position and identity of the black slave, who has no choice but to follow his master and join the Confederate Army that has to fight against the emancipation of the black slaves. To enhance the stage effect of the ironical message, Parks uses her unique stage techniques such as appearance of chorus, abundant use of music, colorful uniforms and costume change. Through this stage strategy, the playwright encourages the audience to keep a critical distance and to accept problems of conflict, war, and identity that penetrate through the history of the black.
Hero’s split identity as a black slave is changed into that of an independent existence as he changes his name to Ulysses. However, at the end of his returning home, he does not show his fellow slaves the Emancipation Proclamation, but lets them leave for the freedom, and tries to have kids with a new wife instead of his own wife, Penny, who"s been waiting for him. He acts like his white master, by showing to follow the customs of the white men, the ruling class. It is the paradoxical class order reconstruction where emancipated slaves try to repress and control other black people. Through this theatre, Parks represents not only the racial identity problems of American black slaves, but also the social dilemma that follows when the slaves are freed.
This drama shows a long journey of a black slave named Hero who follows his master who promises him, ‘Join the Confederate Army in the war and I’ll give you the freedom’, to the battlefield and finally returns home alone. Hero meets a biracial Union Army soldier, Smith, who is taken as a war prisoner by the master, and though Hero belongs to the Confederate Army, he releases Smith. During the journey in the battlefield, confused about his identity, Hero finally renames himself ‘Ulysses’ after the great general of the Union Army. His embarking on a journey back home reminds of the structure of Homer’s Odysseia. By showing an African-American journey grafted onto Greek tragedy, Parks de-constructs American history and rewrites Black history. And through this, multi-layered repressions of black people at that time are revealed, with the ambiguous position and identity of the black slave, who has no choice but to follow his master and join the Confederate Army that has to fight against the emancipation of the black slaves. To enhance the stage effect of the ironical message, Parks uses her unique stage techniques such as appearance of chorus, abundant use of music, colorful uniforms and costume change. Through this stage strategy, the playwright encourages the audience to keep a critical distance and to accept problems of conflict, war, and identity that penetrate through the history of the black.
Hero’s split identity as a black slave is changed into that of an independent existence as he changes his name to Ulysses. However, at the end of his returning home, he does not show his fellow slaves the Emancipation Proclamation, but lets them leave for the freedom, and tries to have kids with a new wife instead of his own wife, Penny, who"s been waiting for him. He acts like his white master, by showing to follow the customs of the white men, the ruling class. It is the paradoxical class order reconstruction where emancipated slaves try to repress and control other black people. Through this theatre, Parks represents not only the racial identity problems of American black slaves, but also the social dilemma that follows when the slaves are freed.
목차
I. 서론
II. 서사극적 요소
III. 인종 정체성의 재현
IV. 흑인사회 내 계급질서의 재편
V. 결론
인용문헌
Abstract
참고문헌 (20)
참고문헌 신청
[학위논문] - 강보경 / 2004 / 브레히트 극에 나타난 코러스의 형태와 기능 : 서양 전통극 및 노오(能)와의 비교 고찰 / 석사 / 부산대학교 대학원
[학술지(정기간행물)] - 김영덕 / 2017 / 팍스의 Venus에 나타난 공연의 정치학: 구경거리에서 공연자로 / 현대영미드라마 30 (1) : 5 ~ 32
[학술지(정기간행물)] - 손동호 / 2002 / August Wilson과 미국 흑인극 정전형성 / 외국문학연구 (12) : 4 ~ 100
[학술지(정기간행물)] - 이상복 / 2004 / 희곡의 상호텍스트성과 상호매체성 / 브레히트와 현대연극 (12)
[학술지(정기간행물)] - 전연희 / 2014 / 수잔 로리 팍스의 극에 나타난 미국 흑인음악의 극적변용: The America Play, Venus 그리고 Topdog/Underdog를 중심으로 / 현대영미드라마 27 (3) : 303 ~ 343
[학술지(정기간행물)] - 김영덕 / 2017 / 팍스의 Venus에 나타난 공연의 정치학: 구경거리에서 공연자로 / 현대영미드라마 30 (1) : 5 ~ 32
[학술지(정기간행물)] - 손동호 / 2002 / August Wilson과 미국 흑인극 정전형성 / 외국문학연구 (12) : 4 ~ 100
[학술지(정기간행물)] - 이상복 / 2004 / 희곡의 상호텍스트성과 상호매체성 / 브레히트와 현대연극 (12)
[학술지(정기간행물)] - 전연희 / 2014 / 수잔 로리 팍스의 극에 나타난 미국 흑인음악의 극적변용: The America Play, Venus 그리고 Topdog/Underdog를 중심으로 / 현대영미드라마 27 (3) : 303 ~ 343
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
『미국 연극』에 나타난 미국 역사 다시쓰기의 전략
영어영문학연구
2018 .01
-
『전 세계에 살아남은 마지막 흑인의 죽음』: 흑인음식과 역사의 재현
현대영어영문학
2019 .01
-
스티브 매퀸의『노예 12년』: 공감에 기초한 새 노예 서술
영미문화
2015 .01
-
디아스포라 역사에서 희생자로 남지 않기—카릴 필립스의 『강을 건너며』와 대서양 노예서사
현대영미소설
2018 .01
-
『자비』를 통한 토니 모리슨의 노예서사 다시 쓰기
영미문학교육
2015 .01
-
한국 한시에 나타난 노비
동양고전연구
2017 .01
-
미국 역사교육의 쟁점과 전망 : 아프리카계 미국인 역사교육을 중심으로
역사비평
2015 .02
-
메타비평, 해체, 트랜스텍스트성으로 읽는 노예법
성경원문연구
2021 .04
-
흑인 여성의 육체에 내재한 식민주의적 억압과 착취: 수잔 로리 팍스의 『비너스』
영어영문학연구
2019 .01
-
검은 노예주, 하얀 노예: 마크 트웨인의 『바보 윌슨』에 나타난 혈통의 딜레마
영어영문학
2020 .01
-
제의와 드라마 사이: 바라카의 『노예』 읽기
영어영문학연구
2019 .01
-
한(恨)의 정서와 해원(解冤) : 토니 모리슨의 『빌러비드』
동서비교문학저널
2017 .06
-
몸 착취의 역사: Venus와 과학적 인종주의
현대영미드라마
2019 .04
-
자본주의와 인종차별의 착종 : 모리슨의『자비』
신영어영문학
2016 .08
-
진천 평산 신씨 노비 가족의 존재양상 -노비의 결혼과 가계 계승을 중심으로-
古文書硏究
2018 .01
-
1807년 영국의 노예 무역 폐지와 존 뉴턴
신학과 목회
2016 .05
-
몸의 언어와 수잔 로리 팍스의 The Red Letter Plays
현대영미드라마
2018 .12
-
조선조 야담 속 노비의 형상과 그 의미
인문사회과학연구
2023 .02
-
한국전쟁기 ‘인종전쟁(Color War)’ 선전전과 미 흑인 군인의 ‘월경(越境)’
사림
2024 .04
이 논문의 저자 정보
최근 본 자료
댓글(0)
0