論奧古斯特·威爾遜《鋼琴課》中非裔美國人文化記憶與身份重構
發(fā)布時間：2023-04-09 19:59
近年來,關于奧古斯特·威爾遜的普利策戲劇獎獲獎作品《鋼琴課》的研究,前人主要從創(chuàng)傷解讀,黑人的身份探究,非洲文化等角度開展,而以文化記憶理論考察《鋼琴課》的研究鮮見。文化記憶理論由阿萊達·阿斯曼提出,該理論認為文化是一個群體的核心所在,群體的“文化記憶”可以超越時空,持續(xù)對每一代群體成員產(chǎn)生影響,從而產(chǎn)生文化認同和身份認同,而遺失文化記憶就會導致群體的解散。以該理論為視角研究《鋼琴課》,可發(fā)現(xiàn)非洲文化記憶對于非裔美國人在主流社會中身份重構的重要作用:對于文化記憶的否認和摒棄讓非裔美國人長期處于社會的邊緣地帶,而只有重新找回失去的歷史文化記憶才能使他們以新建構的文化身份融入主流社會。本文將以阿斯曼夫婦的文化記憶理論為參考,對威爾遜的原著語料進行闡釋性的分析,并在此基礎上得出以下觀點:(一)對歷史“記憶”和傳統(tǒng)文化“記憶”的摒棄,使得非裔美國人否認自身傷痛歷史記憶,甚至拒絕讓后代繼承這段屈辱的歷史文化記憶,文化的無根性讓他們身份的構建面臨困難。而長期和群體以及家庭的分離,讓黑人難以在群體中找到歸屬感,只能淪為白人可以隨意處置的物品,無法構建自身文化身份,在主流社會找尋一席之地。(二)非裔美...
【文章頁數(shù)】：51 頁
【學位級別】：碩士
【文章目錄】：
Acknowledgements
摘要
Abstract
Introduction
Critical Review
The Theoretical Framework
The Argument and Structure of the Thesis
Chapter One:Plight in Identity-construction for the Loss of Cultural Memory
1.1 Abandonment of African American History and Traditional Cultural Memory
1.1.1 Willie and Berniece’s Negation of the Family Excruciating Past
1.1.2 Maretha’s Indifference to the Root of African Culture
1.2 Charles Family’s Invisibility in the Society Imbued with White Cultural Memory
1.2.1 Charles Family’s Separation from Community and Family Members
1.2.2 Charles Family as the Appendages of the Whites
Chapter Two:Strategies and Process of Regaining Cultural Memory
2.1 Mythic Images of Memory: Legends of Ghosts as Stimulus
2.1.1 The Ghost of Sutter:Hegemonism of White Culture
2.1.2 The Ghost of Yellow Dog and Ancestors:Reconnection with History
2.2 The Meaningful Objects and Traditional Blues as the Memory Bearers
2.2.1 The Piano and Carvings as Archival Artifacts of the Family Memory
2.2.2 The Blues as the Record of African American History
Chapter Three:Reconstruction of Identity with the Retrieval of Cultural Memory
3.1 Charles Family’s Identity Reconstruction in the Cultural Memory
3.1.1 Charles Family’s Acceptance of Past Memory and Collective Heritage
3.1.2Charles Family’s Reconnection with African Community and Family
3.2 Charles family’s Reintegration to the Society with Cultural Memory
3.2.1 Charles Family’s Pursuit of Free and Dignified Life
3.2.2 Boy Willie’s Striving for Economic Ascension
Conclusion
Works Cited
本文編號：3787644
【文章頁數(shù)】：51 頁
【學位級別】：碩士
【文章目錄】：
Acknowledgements
摘要
Abstract
Introduction
Critical Review
The Theoretical Framework
The Argument and Structure of the Thesis
Chapter One:Plight in Identity-construction for the Loss of Cultural Memory
1.1 Abandonment of African American History and Traditional Cultural Memory
1.1.1 Willie and Berniece’s Negation of the Family Excruciating Past
1.1.2 Maretha’s Indifference to the Root of African Culture
1.2 Charles Family’s Invisibility in the Society Imbued with White Cultural Memory
1.2.1 Charles Family’s Separation from Community and Family Members
1.2.2 Charles Family as the Appendages of the Whites
Chapter Two:Strategies and Process of Regaining Cultural Memory
2.1 Mythic Images of Memory: Legends of Ghosts as Stimulus
2.1.1 The Ghost of Sutter:Hegemonism of White Culture
2.1.2 The Ghost of Yellow Dog and Ancestors:Reconnection with History
2.2 The Meaningful Objects and Traditional Blues as the Memory Bearers
2.2.1 The Piano and Carvings as Archival Artifacts of the Family Memory
2.2.2 The Blues as the Record of African American History
Chapter Three:Reconstruction of Identity with the Retrieval of Cultural Memory
3.1 Charles Family’s Identity Reconstruction in the Cultural Memory
3.1.1 Charles Family’s Acceptance of Past Memory and Collective Heritage
3.1.2Charles Family’s Reconnection with African Community and Family
3.2 Charles family’s Reintegration to the Society with Cultural Memory
3.2.1 Charles Family’s Pursuit of Free and Dignified Life
3.2.2 Boy Willie’s Striving for Economic Ascension
Conclusion
Works Cited
本文編號：3787644
本文鏈接：http://sikaile.net/shoufeilunwen/zaizhiboshi/3787644.html
