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
- 2012.12
- 수록면
- 116 - 138 (23page)
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초록· 키워드
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This paper seeks to explore the primitivism in O’eill’ The Emperor Jones and its relationship with Harlem Renaissance. The Emperor Jones was written when the Harlem Renaissance was in its golden age. It was an innovative play during the time and it became the first one of its kind to feature a black actor in a major role on the Broadway stage for American theatre. O’eill, as a white American playwright, is a pioneer on the issue of African American dilemma in the 20th century in America. He endows his title character with a marked individuality to develop theatrical reality deeper than the previous playwrights. However, The Emperor Jones gave rise to controversy due to the issue of race. The Harlem Renaissance was both a celebration of African American achievement and a declaration of freedom from racial myths that characterized the “ld Negro.”During the Harlem Renaissance the white artists found that the primitivism was a symbol of freedom from restraint and a source of energy and sensuality. But primitivism was a complex issue for the black writers in the Harlem Renaissance. By the time The Emperor Jones opened at the Provincetown Playhouse, it would provide encouragement to the black writers in Harlem, but its primitivist approach to the black often highlights the black’ inferiority to the whites. Some white stereotypes seemed to exploit the association of blacks and savagery and the jungle setting; for this reason many artists and intellectuals based in Harlem questioned and doubted the primitivism viewpoint held by whites. Despite its new technique and innovative style, the artistic merits of the play were marred by the primitive practice.
목차
I. 서론
II. 오닐과 할렘 르네상스
III. 『황제 존즈』와 원시주의
IV. 결론
인용 문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2014-842-000462927