August Wilson과 현대 미국 흑인 연극

손홍일 한국영미어문학회 1998 영미어문학 Vol.- No.52

장애와 영문학 연구/교육 : 『앵무새 죽이기』를 중심으로

손홍일 한국영미어문학회 2017 한국영미어문학회 학술대회 발표논문집 Vol.2017 No.1

미국 흑인 문학의 전통과 어메리칸 드림 : A Tradition in African American Literature

손홍일 신영어영문학회 1999 신영어영문학 Vol.12 No.-

A dominant theme in 20th-century African American literature is the American Dream. The significance of this theme can be inferred from the examination of the works of the best-known African American creative writers from 1900 to 1970. One can easily trace, decade by decade, an evolution of the relationship between African American intellectual thought and the Dream. During the first decade of the 20th century, W. E. B. Du Bois, in essay, Paul Laurence Dunbar, in poetry, and Charles W. Chesnutt, in fiction, used their art to depict African Americans whose virtues and talents make them worthy to be partners with whites in pursuing the Dream. In the succeeding generation that is often called the Harlem Renaissance, poet Langston Hughes and playwright Garland Anderson continued to emphasize the virtues and talents of the African Americans. However, in the 1930s and 1940s, African American writers such as Richard Wright, Ann Petry, and Frank Yerby began to denounce the American Dream to be delusive and destructive, while other writers such as Gwendolyn Brooks and Theodore Ward insisted to replace the faith in the Dream with racial solidarity or socialism. During the 1950s, in contrast to white writers who doubted or rejected traditional values of American society, African American writers regained faith in the Dream, perhaps because they believed what Martin Luther King, Jr. demanded would be soon realized. Ralph Ellison and, more significantly, Lorraine Hansberry emphasized the right of the African Americans to pursue the Dream by highlighting the common humanity of blacks and whites. However, in the 1960s, the social atmosphere changed, and African American writers once again denounced the Dream as a fatal delusion to the African Americans and emphasized spiritual freedom and love. Robert Hayden, Amiri Baraka, Ed Bullins, Mari Evans, and Nikki Giovanni, to take some examples among many, underscored self awareness, community loyalty, and racial pride rather than the materialistic Dream. In each of the decades from 1900 to 1970, African American writers continued the tradition of articulating the relationship of African American intellectual thought to the American Dream; and in each decade, most of them supported one particular view of that relationship. Owing to the Black Arts Movement, which succeeded in laying a solid foundation for African American literature, however, contemporary African American writers divulge from the American Dream tradition: they either simply reject the Dream as a destructive delusion or search for a better metaphor than the Dream.

흑인 연극 운동과 미국의 1960년대

손홍일 대구대학교 인문과학 예술문화연구소 1999 人文科學硏究 Vol.18 No.-

문학 비평가 다윈 터너(Darwin T. Turner)는 1954년부터 1970년까지의 기간을 미국 흑인 문학사에 있어서 제2의 문예부흥기로 규정하였다.1) 터너의 주장은 이 시기에 첫 번째 흑인문예부흥기인 할렘 르네상스를 능가하는 다양하고 활발한 문학 활동이 이루어졌다는 사실을 직시하고 있다는 점에서 설득력을 지닌다. 그러나 그의 주장은 1964년을 기점으로 흑인 연극 운동(Black Theater Movement)을 주축으로 한 순수 흑인예술 운동이 전개되어 그 이전 흑인 문학과는 대조적인 내용과 형태의 흑인 문학이 등장하게 된 중요한 사실을 흐리고 있어 적절치 않다.

The Return of the Native의 등장인물 분석

손홍일 忠南大學校 文科大學 英語英文學科 1979 Pegasus Vol.- No.3

A Missing Link: Three Historical Plays about Nat Turner

손홍일 대구대학교 인문과학연구소 1995 人文科學硏究 Vol.14 No.-

When William Styron's twenty year long "rneditation on history," The confessions of Nat Turner, came out in 1967, the novel drew sensational attention from the media, critics, and readers. Numerous magazines, periodicals, and newspapers competed in printing over 100 reviews of the novel as well as dozens fo interviews of styron. This laudatory attention to the novel began even before its official publication. The New American library bought the paperback rights to the yet-to-be finished novel for $150.000 to pyblish an edition for its members. Once published, the novel became an immediate best seller and had been sold more than 100.000 copies by 1971.

1950년대 미국 흑인 연극:Lorraine Hansberry를 중심으로

손홍일 대구대학교 인문과학 예술문화연구소 1997 人文科學硏究 Vol.16 No.-

미국 흑인 연극은 미국 연극의 한 부분으로서 전체 미국 연극과 밀접한 관계를 유지해 오는 동시에 전체 미국 연극과는 뚜렷하게 구분되는 독특한 역사와 전통을 형성 유지해오고 있다. 1858년에 출판된 William Wells Brown의 The Escape : or a Leap to Freedom에서 출발하여 현재 미국 연극계의 정상에 서 있는 August Wilson의 작품으로 이어지고 있는 진지한 극 형태로의 미국 흑인 연극의 역사 중에서 1950년대는 특별한 활동과 함께 성숙의 단계로 접어들었고 나아가 1960년대부터 시작된 급격한 성장과 변화의 토대를 마련하게 된 것이 바로1950년대인 것이다.

에드 블린스와 흑인 현실

손홍일 신영어영문학회 2001 신영어영문학 Vol.19 No.-

In the late 1960's, Ed Bullins came to the forefront of the Black Theater Movement, competing for the position of the leader of the Movement with LeRoi Jones. Jones initiated the "Revolutionary Theater," which foregrounded violence as a means of reorienting the black soul affected by white culture toward a revolution. In contrast, Bullins emphasized the "Theater of Black Experience," which focused on the inner reality of the black society, presenting a painfully honest picture of its life. Bullins' Theater of Black Reality led him to the "Twentieth-Century Cycle," an ambitious project of staging black experiences of the twentieth-century through twenty plays. Among the plays of the Cycle completed so far are In the Wine Time and In New England Winter. Set in an urban ghetto of the 1950's, In the Wine Time portrays the lives of the people on Derby Street. Cutting off the objectifying white gaze and employing what he called a "nigger street style," Bullins represented a reality shadowed by drinking, violence, and betrayal. In In New England Winter, Bullins used a kind of "play-within-a-play" technique to portray the life of black people caught in a tomb under the white snow. With this grim picture of black reality, Bullins intended to shock his audience to self-examination and, ultimately, to a will to change that reality. His extremely neutral eye, however, is problematic. The audience can rather be repulsed and even despaired than be led to self-reflection and change by the shocking black reality drawn through his neutral and, thus, cold observation.

(The) Grandmother and african american women's writing /

손홍일 대구대학교 인문과학연구소, 2003 人文科學硏究 Vol.26 No.-

블루스를 통한 신비화 해체:어거스트 윌슨의 『마 레이니의 검은 엉덩이』

손홍일 대구대학교 인문과학연구소 2004 人文科學硏究 Vol.28 No.-

This paper focuses on the intimate relationship between the blues and August Wilson, the leading African American playwright. Several distinctive motifs are observed in the development of African American literature: the "double consciousness" observed by W. E. B. DuBois, the "quest for freedom" explained by Sterling Brown, and the "signifying" suggested by Henry Louis Gates. The blues is perhaps more significant than these motifs. August Wilson is one of the writers who publicly recognize the influence of the blues on their writing. As a cultural nationalist, Wilson turns to the blues in his attempt to deconstruct what Fred Lee Hord has named as "mystification." Wilson believes that the blues shows African Americans how to resist against and eventually overthrow the mystification. Harry J. Elam calls such a belief of Wilson the "blues theology." This paper argues that Wilson's blues theology is best revealed in his play, Ma Rainey's Black Bottom (1984). It then attempts to evidence the claim largely by analyzing the conflicts between the two central figures of the play, Ma Rainey and Levee.