현대 미국문학의 인종 패러디--저항의 형태로서 모방과 해체

Abstract

In ethnic groups or individuals, their poetry is found very playful even though it looks very serious in socio-political issues. Ethnical parody is thereby expressed in non-black form - the regular rhyming pattern just as seen in Shakespearean sonnets as well as in non-Asian form - extremely free versification. Imitation of the Anglo-Saxon tradition characterizes some interactions, either derisive or serious, between the old and the new. Their poetic style refers to "the cultural politics of parody" which helps contribute to ethnical parody in different ways: traditional form and dictions in the black vs. free versification in the Asian with expressions of spiritual anguish. Claude McKay was a man of extremes, beginning his literary career as an imitator of Shakespearean sonnets, yet "Negro" critics first hailed him as the vanguard of the Harlem Renaissance, and then, several years later, damned him as its quirk. He used the poetry of the larger culture: mostly Shakespearean sonnet in form, yet with prevailing social and political points in content. Gwendolyn Brooks must have had McKay's poetry in mind. Brooks plays her role in taking black men and women as equal by deconstructing McKay's rigid codes of masculinity. In "Gay Chaps at the Bar," she brings herself and other black women into Afro-American political identity, ironically, by speaking honestly about what it means to be black ethnicity. By embodying the Brooks' voice of racism and ethnicity, Asian immigrants clear a space for their later literature on ethnicity and struggle for ethnic identity. Instead of Black writers who get into the canon of Western literary history by seizing a poetic form steeped in male conquest and political struggle, Asian female writers progressively deconstruct its racial and gender associations in free style in English, which often seem awkward in expression. Nonetheless, Asian writers speak about racial and sexual protest directly or indirectly without hesitation.