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    题名: 奧古斯特˙威爾森《鋼琴課》劇中的重建黑人認同
    Reconstructing Black Identities in August Wilson`s The Piano Lesson
    作者: 陳孟飛
    Meng-fei Chen
    贡献者: 姜翠芬
    Tsui-fen Jiang
    陳孟飛
    Meng-fei Chen
    关键词: 認同
    黑人主體
    漂泊離散
    奴隸制度
    藍調
    美國夢
    歷史
    鬼
    史都華˙霍爾
    保羅˙吉爾羅伊
    米歇˙傅柯
    法蘭茲˙法農
    identity
    black subject
    diaspora
    slavery
    the blues
    the American dream
    history
    ghost
    Stuart Hall
    Paul Gilroy
    Michel Foucault
    Frantz Fanon
    日期: 2002
    上传时间: 2009-09-17 16:14:26 (UTC+8)
    摘要: 本篇論文主要呈現非裔劇作家奧古斯特˙威爾森在《鋼琴課》劇中，如何藉由書寫黑人經驗來解構被白人扭曲的黑人歷史，從而建構真實的黑人歷史。威爾森在此劇中透過三個重要的議題：黑人的遷徙、奴隸制度、以及藍調，來探究舊有的和新開發的黑人認同。為了進一步說明劇作家在黑人主體上的看法，史都華˙霍爾（Stuart Hall）的後現代認同觀念便可作為此研究的大前提：主體並不是由個別的、單一的認同所組成，而是同時由數個認同所構成。理論部分，史都華˙霍爾對文化認同與漂泊離散（diaspora）的概念、保羅˙吉爾羅伊（Paul Gilroy）對漂泊離散、奴隸制度、與黑人音樂的闡述、米歇˙傅柯（Michel Foucault）的對抗記憶（counter-memory）與歷史的觀念以及法蘭茲˙法農（Frantz Fanon）的後殖民理論均被運用來閱讀《鋼琴課》這一劇。
    本論文共分為五個章節。第一章提供劇作家、劇本、以及理論架構的一般介紹。第二章處理黑人漂泊離散認同（diasporic identity）的議題，而此認同展現於黑人的遷徙經驗上。劇中男主角威利男孩（Boy Willie）最後決定要返回南方的家，他的決心使他有別於待在北方的其他黑人。第三章透過審視鋼琴與鬼的意義與功用，著重在黑人種族認同（racial identity）的討論上。威利男孩與白人鬼的爭鬥突顯威爾森對黑人自主權的重視。第四章探索藍調跟文化認同（cultural identity）的關連性。劇中女主角柏妮斯（Berniece）藉由彈奏鋼琴來召喚祖靈，此不僅幫助她與過去作連結，並使她得到一個正面的自我確認形象。第五章是結論，總結威爾森在此劇中所展現的新的黑人認同。
    This thesis attempts to show how August Wilson deconstructs the white distortion of black history and constructs an authentic black history by writing about the black experience in The Piano Lesson. Wilson explores the old and the new black identities from three significant issues of migration, slavery, and the blues respectively in the play. In order to further explicate the playwright’s arguments on the black subject, Stuart Hall’s idea of postmodern identity serves as a major premise: the subject is composed not of a single, unitary, but of several identities at the same time. Stuart Hall’s idea about cultural identity and diaspora, Paul Gilroy’s elaboration on diaspora, slavery, and black music, Michel Foucault’s theory of counter-memory and the concept of history, and Frantz Fanon’s postcolonial argument are applied to the reading of The Piano Lesson.
    The thesis consists of five chapters. Chapter One provides a general introduction to the playwright, the play, and the theoretical framework. Chapter Two deals with the issue of black diasporic identity, which is demonstrated in black migration. Boy Willie’s final decision to return home in the South distinguishes him from those who stay in the North. Chapter Three centers on the discussion of black racial identity by scrutinizing the meaning and function of the piano and the ghosts. Boy Willie’s fighting with the white ghost foregrounds Wilson’s concern over black autonomy. Chapter Four explores the relationship between the blues and cultural identity. Berniece’s invocation to her ancestors through playing the piano helps her connect with the past and gain a positive image of self-recognition. Chapter Five is the conclusion which sums up the manifestation of Wilson’s construction of new black identities in the play.
    參考文獻: Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. The Empire Writes Back: Theory and Practice in Post-colonial Literatures. London: Routledge, 1989.
    Bigsby, C. W. E. Modern American Drama, 1945-1990. New York: Cambridge UP, 1992.
    Bissiri, Amadou. “Aspects of Africanness in August Wilson’s Drama: Reading The Piano Lesson through Wole Soyinka`s Drama.” African American Review 30.1(1996): 99-113.
    Bloom, Harold, ed. August Wilson. Broomall: Chelsea House, 2002.
    Brockett, Oscar G. History of the Theatre. 6th ed. Boston: Allyn and Bacon, 1991.
    Brogan, Kathleen. “American Stories of Cultural Haunting: Tales of Heirs and Ethnographers.” College English 57.2 (1995): 149-65.
    Brustein, Robert. “The Lesson of ‘The Piano Lesson.’” New Republic 202 (1990): 28-30.
    Childers, Joseph, and Gary Hentzi, eds. The Columbia Dictionary of Modern Literary and Cultural Criticism. New York: Columbia UP, 1995.
    Clark, Keith. Black Manhood in James Baldwin, Ernest J. Gaines, and August Wilson. Chicago: U of Illinois P, 2002.
    Cohen, Robin. Global Diasporas: An Introduction. Seattle: U of Washington P, 1997.
    Crow, Brian and Chris Banfield. An Introduction to Postcolonial Theatre. Cambridge: Cambridge UP, 1996.
    Elam, Jr., Harry J. “The Dialectics of August Wilson’s The Piano Lesson.” Theatre Journal 52 (2000): 361-79. Elkins, Marilyn, ed. August Wilson: A Casebook. New York: Garland, 2000.
    Ellison, Ralph. Shadow and Act. New York: Random House, 1964.
    Fanon, Frantz. Black Skin, White Masks. Trans. Charles Lam Markmann. New York: Grove, 1967.
    ---. The Wretched of the Earth. New York: Grove, 1963.
    Fishman, Joan. “Romare Bearden, August Wilson, and the Traditions of African Performance.” May Your Fences Have Gates: Essays on the Drama of August Wilson. Ed. Alan Nadel. Iowa City: U of Iowa P, 1994. 133-49.
    Frith, Simon. “Music and Identity.” Questions of Cultural Identity. Ed. Stuart Hall and Paul du Gay. London: Sage, 1996. 108-27.
    Foucault, Michel. “Nietzsche, Genealogy, History.” Language, Counter-Memory, Practice: Selected Essays and Interviews. Trans. Donald F. Bouchard and Sherry Simon. Ithaca: Cornell UP, 1977. 139-64.
    Galens, David, ed. Drama for Students. Vol. 7. Detroit: Gale, 2000.
    Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. London: Verso, 1993.
    ---. “Diaspora and the Detours of Identity.” Identity and Difference. Ed. Kathryn Woodward. London: Sage, 1997. 299-343.
    Hall, Stuart. “Cultural Identity and Diaspora.” Identity: Community, Culture, Difference. Ed. Jonathan Rutherford. London: Lawrence & Wishart, 1990. 222-37.
    ---. “Old and New Identities, Old and New Ethnicities.” Culture, Globalization and the World-system: Contemporary Conditions for the Representation of Identity. Ed. Anthony D. King. Minneapolis: U of Minnesota P, 1997. 41-68.
    ---. “The Question of Cultural Identity.” Modernity and Its Futures. Ed. Stuart Hall, David Held and Tony McGrew. Cambridge: The Open University, 1992. 273-325.
    Hill, Holly. “Black Theatre into the Mainstream.”Contemporary American Theatre. Ed. Bruce Alvin King. London: Macmillan, 1991. 81-96.
    Hochschild, Jennifer L. Facing up to the American Dream: Race, Class, and the Soul of the Nation. Princeton: Princeton UP, 1995.
    hooks, bell. “Representing Whiteness in the Black Imagination.” Cultural Studies. Ed. Lawrence Grossberg, Cary Nelson, and Paula A. Treichler. New York: Routledge, 1992. 338-46.
    Jackson, Travis A. “Jazz Performance as Ritual: The Blues Aesthetic and the African Diaspora.” The African Diaspora: A Musical Perspective. Ed. Ingrid Monson. New York: Garland, 2000. 23-82.
    Kubitschek, Missy Dehn. “August Wilson’s Gender Lesson.” May Your Fences Have Gates: Essays on the Drama of August Wilson. Ed. Alan Nadel. Iowa City: U of Iowa P, 1994. 183-99.
    Madden, David, ed. American Dreams, American Nightmares. London: Southern Illinois UP, 1970.
    Morales, Michael. “Ghosts on the Piano: August Wilson and the Representation of Black American History.” May Your Fences Have Gates: Essays on the Drama of August Wilson. Ed. Alan Nadel. Iowa City: U of Iowa P, 1994. 105-15.
    Morrison, Toni. Beloved. New York: Plume, 1987.
    Moyers, Bill. “August Wilson’s America: A Conversation with Bill Moyers.” American Theatre 54 (1989): 13-17.
    Nadel, Alan, ed. May Your Fences Have Gates: Essays on the Drama of August Wilson. Iowa City: U of Iowa P, 1994.
    Pereira, Kim. August Wilson and the African-American Odyssey. Chicago: U of Illinois P, 1995.
    Pettengill, Richard. “The Historical Perspective: An Interview with August Wilson.” August Wilson: A Casebook. Ed. Marilyn Elkins. New York: Garland, 2000. 235-54.
    Plum, Jay. “Blues, History, and the Dramaturgy of August Wilson.” African American Review 27.4 (1993): 561-67.
    Powers, Kim. “An Interview with August Wilson.” Theatre 16.4 (1984): 50-55.
    Rocha, Mark William. “August Wilson and the Four B’s Influences.” August Wilson: A Casebook. Ed. Marilyn Elkins. New York: Garland, 2000. 3-16.
    Ross, Karen. Black and White Media: Black Images in Popular Film and Television. Cambridge: Polity, 1996.
    Shafer, Yvonne. August Wilson: A Research and Production Sourcebook. Westport: Greenwood, 1998.
    Shannon, Sandra G. “Annotated Bibliography of Works and about August Wilson.” May Your Fences Have Gates: Essays on the Drama of August Wilson. Ed. Alan Nadel. Iowa City: U of Iowa P, 1994. 230-66.
    ---. The Dramatic Vision of August Wilson. Washington, D.C.: Howard UP, 1995.
    ---. “Subtle Imposition: The Lloyd Richards-August Wilson Formula.” August Wilson: A Casebook. Ed. Marilyn Elkins. New York: Garland, 2000. 183-98.
    ---. “A Transplant That Did Not Take: August Wilson’s Views on the Great Migration.” African American Review 31.4 (1997): 659-66.
    Werner, Craig. “August Wilson’s Burden: The Function of Neoclassical Jazz.” May Your Fences Have Gates: Essays on the Drama of August Wilson. Ed. Alan Nadel. Iowa City: U of Iowa P, 1994. 21-50.
    Wilson, August. Joe Turner’s Come and Gone. August Wilson: Three Plays. Ed. Paul Carter Hsrrison. Pittsburgh: U of Pittsburgh P, 1991. 193-289.
    ---. Ma Rainey’s Black Bottom. New York: Plume, 1985.
    ---. The Piano Lesson. New York: Plume, 1990.
    描述: 碩士
    國立政治大學
    英國語文學研究所
    88551008
    91
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0088551008
    数据类型: thesis
    显示于类别:[英國語文學系] 學位論文

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