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首页> 外文学位 >Haunted heritage: History, memory, and violence in the drama of August Wilson and Suzan-Lori Parks.
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Haunted heritage: History, memory, and violence in the drama of August Wilson and Suzan-Lori Parks.

机译：被困扰的遗产：奥古斯特·威尔逊（August Wilson）和苏珊·洛瑞（Suzan-Lori）公园的戏剧中的历史，记忆和暴力。

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摘要

Ghosts, specters, and spirits visit frequently the pages of African American literature. In Haunted Heritage: History, Memory, and Violence in the Drama of August Wilson and Suzan-Lori Parks I examine the question of haunting in contemporary African American drama. I argue that despite their differences in style and form, the plays of both Wilson and Parks are characterized by haunting and that this haunting is a manifestation of the gaps that violent events in the past have left in African American cultural memory and imagination. In the introductory chapter, I discuss how haunting is linked with trauma and demonstrate the impact that the traumas of the Middle Passage and slavery had have on African American cultural imagination. I show further how haunting is linked to an ethics of responsibility. The following chapter analyzes how the legacy of the Middle Passage and slavery haunt the characters of August Wilson's plays Joe Turner's Come and Gone and The Piano Lesson; only after they learn to contend with the past can they build themselves a future. Chapter Three offers a psychoanalytic reading of Wison's Fences, demonstrating that the protagonist's narcissistic fixations are a manifestation of trans-generational haunting. The focus of the next chapter shifts in that it focuses on haunting not only in the content of the play, but as integral to the form of Parks' The America Play. Haunted by the violence that the exclusion of African Americans from the creation of American myths entails, the play presents a powerful critique of the American nationalist mythology. The final chapter reads the specter of Hawthorne's Hester Prynne in Parks' The Red Letter Plays both as an exploration of the myth of motherhood and as Parks' effort to come to terms with the paradoxical legacy of Hawthorne as a literary ancestor. I conclude by suggesting that, responding to the call of the ghosts from the past, Wilson and Parks re-invent history, give voice to their silenced ancestors, and incorporate the heretofore unheard voices into cultural memory.
机译：鬼魂，幽灵和烈酒经常浏览非裔美国人文学的页面。在《闹鬼的遗产：奥古斯特·威尔逊和苏珊·洛里公园的戏剧中的历史，记忆和暴力》中，我探讨了当代非洲裔美国人戏剧中的困扰问题。我认为，尽管威尔逊和帕克斯的剧作在形式和形式上有所差异，但它们的特点仍然是困扰，而这种困扰是过去暴力事件在非裔美国人文化记忆和想象中留下的空白的体现。在介绍性章节中，我讨论了困扰与创伤之间的联系，并论证了中间通道和奴隶制的创伤对非裔美国人文化想象力的影响。我进一步展示了困扰是如何与责任伦理联系在一起的。接下来的章节分析了中间通道和奴隶制的遗产如何困扰着奥古斯特·威尔逊（August Wilson）的戏剧乔·特纳（Joe Turner）的《来与去》和《钢琴课》中的角色；只有学会了与过去抗衡，他们才能建立自己的未来。第三章对维森的栅栏进行了心理分析，证明了主角的自恋眼神是跨代困扰的体现。下一章的重点转移了，它不仅着重于剧本的内容，而且集中于公园的《美国剧》的形式。该剧被非洲裔美国人排斥创造神话所带来的暴力困扰，该剧对美国民族主义神话提出了强有力的批评。最后一章读到了霍恩斯的《书信》中霍斯特·海丝特·珀琳的幽灵，既是对母性神话的探索，也是帕克斯努力将霍桑作为文学祖先的自相矛盾遗产的内容。最后，我建议威尔逊和帕克斯回应过去鬼魂的召唤，重塑历史，向沉默的祖先发声，并将迄今未曾听到的声音纳入文化记忆。

著录项

  • 作者

    Grant, Sinikka.;

  • 作者单位

    State University of New York at Buffalo.;

  • 授予单位 State University of New York at Buffalo.;
  • 学科 Black Studies.; Theater.; Literature American.
  • 学位 Ph.D.
  • 年度 2006
  • 页码 201 p.
  • 总页数 201
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 人类学;公共建筑;
  • 关键词

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