신의 정의와 현실의 정의: Aftermath에서 개진되는 린칭 이슈와 성난 흑인 세대의 행동주의

다국어 초록 (Multilingual Abstract)

Aftermath (1919), one-act play by Mary P. Burrill, dramatizes the story of a returning black US Army soldier from World War I. John returns to his home in South Carolina and learns that his father was lynched to death by a white man. The play ends with John leaving the house with his gun to punish this injustice. What stands out in the play is the conflicting attitudes between the old and new generations of black society, over the white lynching. Mam Sue, grandmother, speaks for the old generation’s belief in God’s justice, insisting that the family endure and overcome the sufferings with the power of the Bible and faith. Her grandson John, a returning soldier, expresses the resistance of the new generation against the God’s justice. His position is summed up in the justice of reality, as symbolized by the pistol he brought home from the war. For John, the Bible’s words “love your enemies” are far from the reality he experienced in the war. What he learned in the real world is the justice of guns, which is to “git a good aim at ‘em, an’ let huh go!” Finally, he leaves home with his pistol to punish the white devils’ violence against his father and black people. John’s determination and activism suggests the angry young black generation’s new and painful understanding of the reality and their awakening of the real alternatives in need, foreshadowing the ‘aftermath’—the future of black human rights history that will lead to the rise of Harlem Renaissance and the New Negro Movement of the 1920s, and the Black Power Movement of the 1960s.

목차 (Table of Contents)

• Ⅰ. 들어가며
• Ⅱ. 무대: 남성 부재, 종교, 신구 대결의 표상들
• Ⅲ. 굴러 떨어진 장작: 전조, 죽음과 린칭의 기억
• Ⅳ. 신의 정의와 현실의 정의: 세대교체 욕망의 변증적 의미망
• Ⅴ. 행동주의: 성난 흑인 세대
• Ⅵ. 나가며: 열린 결말, 그 이후
• 인용문헌
• Abstract

참고문헌 (Reference)

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