『조 터너 다녀가다』에 나타난 공동체 구원의 제의

다국어 초록 (Multilingual Abstract)

August Wilson’s drama pursues the resurrection of African ancestral spirituality within the African-American community and encourages black solidarity by embracing their painful history. Victor Turner’s theory of liminality explains how Wilson’s characters obtain new identities through rituals. Loomis in Joe Turner’s Come and Gone finds his African identity with the help of African ancestors’ revelation and finds “the song of self-sufficiency” for the whole black community by performing self-sacrifice. The creative, subversive power of liminality gives the participants of rituals new posibilities and authority to build their future. By singing blues, the characters perform a ritual through which they heal their spirits and achieve self-empowerment to reconstruct their history. Wilson tries to create a new whole by reconnecting fragmented and dislocated black histories with a collagist technique. Wilson’s characters acquire new identities while his audience gets to shape a new world view through rituals.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 해방과 치유의 주바 제의
• Ⅲ. 콜라주 블루스의 제의
• Ⅳ. 자기 희생제의를 통한 공동체 구원
• Ⅴ. 결론
• 인용문헌
• Abstract

참고문헌 (Reference)

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2 Bogumil, Mary L, "‘Tomorrow Never Comes’: Songs of Cultural Identity in August Wilson’s Joe Turner’s Come and Gone" 46 (46): 463-476, 1994

3 Grimes, Ronald L, "Victor Turner’s Definition, Theory, and Sense of Ritual, In Victor Turner and the Construction of Cultural Criticism" Indiana UP 141-146, 1990

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5 Fischer-Lichte, Erika, "Theater, Sacrifice, Ritual : Exploring Forms of Political Theatre" Routledge 2005

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7 Turner, Victor, "The Ritual Process : Structure and AntiStructure" Aldine 1969

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32 Morrison, Toni, "Beloved" Vintage 2004

33 Harris, Trudier, "August Wilson’s Folk Traditions, In August Wilson: A Casebook" Garland 49-67, 2000

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37 DeVries, Hilrary, "A Song in Search of Itself" 3 (3): 22-25, 1987