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    피의 반격 = Counterattack of Blood: Mixed-blood Question and 'White Nigger' Issue in Edward Sheldon's The Nigger

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    https://www.riss.kr/link?id=A99628601

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    Edward Sheldon's play The Nigger(1909) dramatizes the color problem and the issue of mixed-blood in the South of America in the early 1900s. This play deals with the ups and downs in life of Philip Morrow, a white man of wealth and reputation, admired as the model citizen of the Southern white society. Philip happens to realize the truth of his racial identity that is a mixed blood, and suffers an experience of racial degradation. He denies his 'White Nigger' identity, but eventually accepts it as a whole identity of his own. The sense of responsibility leads Philip to the determination to work for black brethren whom he despised when he was a white. The body of mixed-blood or 'White Nigger' Philip embodies the variation of racial identity and the consequent development of his self-awareness. The blood logic, originally invented by the white as a safety fence to protect their racial purity, ironically comes flying back like a boomerang and disrupts the ideal of whiteness. Thus, the blood logic launches a counterattack to the white crowd in the play, leading them to disillusion that America is the nation of mixed-blood, ethnic blending, heterogeneity, and the synthesis of pluralistic and unitary impulses.
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    Edward Sheldon's play The Nigger(1909) dramatizes the color problem and the issue of mixed-blood in the South of America in the early 1900s. This play deals with the ups and downs in life of Philip Morrow, a white man of wealth and reputation, admired...

    Edward Sheldon's play The Nigger(1909) dramatizes the color problem and the issue of mixed-blood in the South of America in the early 1900s. This play deals with the ups and downs in life of Philip Morrow, a white man of wealth and reputation, admired as the model citizen of the Southern white society. Philip happens to realize the truth of his racial identity that is a mixed blood, and suffers an experience of racial degradation. He denies his 'White Nigger' identity, but eventually accepts it as a whole identity of his own. The sense of responsibility leads Philip to the determination to work for black brethren whom he despised when he was a white. The body of mixed-blood or 'White Nigger' Philip embodies the variation of racial identity and the consequent development of his self-awareness. The blood logic, originally invented by the white as a safety fence to protect their racial purity, ironically comes flying back like a boomerang and disrupts the ideal of whiteness. Thus, the blood logic launches a counterattack to the white crowd in the play, leading them to disillusion that America is the nation of mixed-blood, ethnic blending, heterogeneity, and the synthesis of pluralistic and unitary impulses.

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    목차 (Table of Contents)

    • Ⅰ. 머리말
    • Ⅱ. 핵심과 주변: 백인 내부의 층위와 분화
    • Ⅲ. 백색의 변주: 필립의 인종 정체성
    • Ⅳ. 인종과 인간: 보편적 인간애와 역사인식
    • Ⅴ. 맺음말: 피의 반격
    • Ⅰ. 머리말
    • Ⅱ. 핵심과 주변: 백인 내부의 층위와 분화
    • Ⅲ. 백색의 변주: 필립의 인종 정체성
    • Ⅳ. 인종과 인간: 보편적 인간애와 역사인식
    • Ⅴ. 맺음말: 피의 반격
    • 인용문헌
    • Abstract
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    참고문헌 (Reference)

    1 박정만, "제임스 헌의 ‘진실을 위한 예술’론과 휴머니즘: Margaret Fleming에서의 사회적 혼혈 이슈와 여성 문제" 한국현대영미드라마학회 22 (22): 39-69, 2009

    2 Meserve, Walter J, "When Conscience Trod the Stage: American Plays of Social Awareness" Feedback Theatrebooks 1998

    3 Wilson, Garff B, "Three Hundred Years of American Drama and Theatre" Prentice-Hall 1973

    4 Hewitt, Barnard, "Theatre U.S.A. 1665 to 1957" McGraw-Hill 1959

    5 Sheldon, Edward, "The Nigger, In When Conscience Trod the Stage: American Plays of Sicial Awareness" Feedback Theatrebooks 257-433, 1998

    6 Perry, John, "The New Theatre" 58 (58): 322-326, 1972

    7 Nelson, John Herbert, "The Negro Character in American Literature" AMS 1970

    8 Lovett, Robert Morss, "The Drama of Mass Action" 24 (24): 1-9, 1935

    9 Austin, Gerlyn E, "The Advent of the Negro Actor on the Legitimate Stage in America" 35 (35): 237-245, 1966

    10 Chametzky, Jules, "Some Notes on Immigration, Ethnicity, and Accumulation" 11 (11): 45-52, 1984

    1 박정만, "제임스 헌의 ‘진실을 위한 예술’론과 휴머니즘: Margaret Fleming에서의 사회적 혼혈 이슈와 여성 문제" 한국현대영미드라마학회 22 (22): 39-69, 2009

    2 Meserve, Walter J, "When Conscience Trod the Stage: American Plays of Social Awareness" Feedback Theatrebooks 1998

    3 Wilson, Garff B, "Three Hundred Years of American Drama and Theatre" Prentice-Hall 1973

    4 Hewitt, Barnard, "Theatre U.S.A. 1665 to 1957" McGraw-Hill 1959

    5 Sheldon, Edward, "The Nigger, In When Conscience Trod the Stage: American Plays of Sicial Awareness" Feedback Theatrebooks 257-433, 1998

    6 Perry, John, "The New Theatre" 58 (58): 322-326, 1972

    7 Nelson, John Herbert, "The Negro Character in American Literature" AMS 1970

    8 Lovett, Robert Morss, "The Drama of Mass Action" 24 (24): 1-9, 1935

    9 Austin, Gerlyn E, "The Advent of the Negro Actor on the Legitimate Stage in America" 35 (35): 237-245, 1966

    10 Chametzky, Jules, "Some Notes on Immigration, Ethnicity, and Accumulation" 11 (11): 45-52, 1984

    11 Wainscott, Ronald, "Plays and Playerights: 1896-1915." The Cambridge History of American Theatre. Vol. II: 1870-1945" Cambridge UP 262-288, 1999

    12 "Opinion: The Eternal Problem" 126-, 1913

    13 Flynn, Joyce, "Melting Plots: Patterns of Racial and Ethnic Amalgamation in American Drama before Eugene O'Neill" 38 (38): 417-438, 1986

    14 Hischak, Thomas S, "Film and Theatre." The South: the Greenwood Encyclopedia of American Regional Cultures" Greenwood 193-221, 2004

    15 "Edward Sheldon's The Nigger"

    16 Ruff, Loren K, "Edward Sheldon" Twayne 1982

    17 Herne, James A, "Art for Truth's Sake in the Drama" 17 : 361-370, 1897

    18 Monfried, Walter, "A Playwright's Own Life Tragedy" 23 : 14-, 1946

    19 Quinn, Arthur Hobson, "A History of the American Drama. Vol. 2" Appleton-Century-Crofts 1927

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    기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
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