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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
- 2006.4
- 수록면
- 203 - 230 (28page)
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초록· 키워드
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In constructing American history, historians have valorized white male settlers and marginalized women and people of color. In their view Africans did not have civilization prior to contact with whites, that Africans never invented or created anything, that Africans are inferior beings to whites, and that the United States is solely a white project. The recovery and, indeed, the revaluation of African American history demands an alternative method of inquiry, one that is distinctly African American. Afrocentricity offers hope for actualizing the masses of Americans around the idea of African people as subjects rather than as objects. Wilson's dramaturgy challenges the secondary position of African Americans within American history by contextualizing black cultural experiences and, in turn, creating an opportunity for the black community to examine and define itself.
Piano Lesson explores African American's relationship to family history, particularly to the history of their slave ancestors. The central symbol in the play is the piano, and the conflict over its possession is just as important as the interwoven narratives it calls forth. The physical disturbance of Boy Willie's arrival awakens Bernice, but his presence in the house, physically and symbolically, also seems to awaken the dead. Boy Willie announces that Sutter, whose land he intends to purchase and whose brother he intends to visit in Chicago, was found drowned in a well on his property.
Thanks to the African influence Wilson's historical perspective includes not only physical activities but also supernatural events such as the appearance of ghosts and the Nommo-force of the ancestors. According to African philosophy, the dead man, the ancestor, is in communication with his descendants. He can let his life force work on his descendants. Boy Willie, who is often criticized as a consummate materialist, is an Esu-Elegbara figure, the messenger of the gods in African mythology, who interprets the will of the gods to men, and carries the desires of man to the gods. Without Boy Willie's threat to sell the piano and buy Sutter's land, Bernice would have let the piano remain in the living room forever. He is the messenger form their ancestors.
Blues are the African American community's cultural response to the world, and a connective force that links the past with the present, and the present with the future. For Wilson the blues enable African Americans to explore their liminality through the everyday experiences of the past and to reclaim their cultural history. The blues thereby became a safety valve that permitted them to release the tension and pressure resulting from daily trials. The cathartic lyrics purged the anxiety brought on by separation, loneliness, and love affairs gone sour. By finally playing the piano and calling forth the Nommo of her ancestors with her improvised songs Bernice finally could purge the piano and the household of Sutter's ghost.
Piano Lesson explores African American's relationship to family history, particularly to the history of their slave ancestors. The central symbol in the play is the piano, and the conflict over its possession is just as important as the interwoven narratives it calls forth. The physical disturbance of Boy Willie's arrival awakens Bernice, but his presence in the house, physically and symbolically, also seems to awaken the dead. Boy Willie announces that Sutter, whose land he intends to purchase and whose brother he intends to visit in Chicago, was found drowned in a well on his property.
Thanks to the African influence Wilson's historical perspective includes not only physical activities but also supernatural events such as the appearance of ghosts and the Nommo-force of the ancestors. According to African philosophy, the dead man, the ancestor, is in communication with his descendants. He can let his life force work on his descendants. Boy Willie, who is often criticized as a consummate materialist, is an Esu-Elegbara figure, the messenger of the gods in African mythology, who interprets the will of the gods to men, and carries the desires of man to the gods. Without Boy Willie's threat to sell the piano and buy Sutter's land, Bernice would have let the piano remain in the living room forever. He is the messenger form their ancestors.
Blues are the African American community's cultural response to the world, and a connective force that links the past with the present, and the present with the future. For Wilson the blues enable African Americans to explore their liminality through the everyday experiences of the past and to reclaim their cultural history. The blues thereby became a safety valve that permitted them to release the tension and pressure resulting from daily trials. The cathartic lyrics purged the anxiety brought on by separation, loneliness, and love affairs gone sour. By finally playing the piano and calling forth the Nommo of her ancestors with her improvised songs Bernice finally could purge the piano and the household of Sutter's ghost.
목차
등록된 정보가 없습니다.
참고문헌 (14)
참고문헌 신청
[학술지(정기간행물)] - / 1988 / The Afrocentric Idea
[학술지(정기간행물)] - / 1996 / Aspects of Africanness in August Wilson's drama:reading The Piano Lesson through Wole Soyinka's drama 30 : 1 ~ 15
[학술지(정기간행물)] - / 2000 / August Wilson:A Casebook
[학술지(정기간행물)] - / 1988 / A Theory of African-American Literary Criticism
[학술지(정기간행물)] - / 1991 / A Conversation with August Wilson U of Pittsburgh P
[학술지(정기간행물)] - / 1996 / Aspects of Africanness in August Wilson's drama:reading The Piano Lesson through Wole Soyinka's drama 30 : 1 ~ 15
[학술지(정기간행물)] - / 2000 / August Wilson:A Casebook
[학술지(정기간행물)] - / 1988 / A Theory of African-American Literary Criticism
[학술지(정기간행물)] - / 1991 / A Conversation with August Wilson U of Pittsburgh P
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