A Theatre of Victims

• 발행기관: 한국영미어문학회
• 저자명: Sook-he Kim
• 간행물 정보: 『영미어문학』영미어문학 제97호, 151~167쪽, 전체 17쪽
• 주제분류: 어문학 > 영어와문학
• 파일형태: PDF
• 발행일자: 2010.12.30

영문 초록

According to LeRoi Jones, the role of authentic black writers is to rediscover their legitimate cultural traditions and their particular quality of blackness. Moreover, Jones was not interested in describing the peculiar inward value of the Black Art, but rather its functional values. Thus, it is only in light of the endeavor to unify functional use and aesthetic content of his literary works that his efforts are properly understood. It is obvious that this functional view of Black Art has a direct influence in determining the content of his two major plays, Dutchman and The Slave, which are discussed in this paper. Thus, in this paper, Jones' artistic abilities in successfully incorporating his newly developed theory of black consciousness into his writings are specifically discussed along with the dominant the me of victimization which is embodied in both of his plays. For instance, in Dutchman, Clay reaffirms his vulnerability and suddenly falls victim to a white woman, Lula, despite his efforts to liberate himself from an oppressive American history as his past history imposes an identity on his selfhood. In The Slave, Walker, a black revolutionary, is confronted with problems that originally were inherited from his personal contact with a white woman, Grace, in a hostile society. Walker remains a victim regardless of his outlook toward his rebel army as they attempt to change a fallacious world.

키워드

Harlem Renaissance The Black Arts Movement Afro-American Revolutionary Theater Black Consciousness Nationalism