(흑인) 미국연극에서 미국여성문학으로: 로런 한스베리의『태양 속의 건포도』정전화 과정과 숨은 그림 찾기
From (Black) American Drama to Women’s Literature: Deconstructing the Canonization of Lorraine Hansberry’s A Raisin in the Sun and Finding the Hidden Picture
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This article aims to reveal the feminist Lorraine Hansberry “unidealized, unsimplified, in her fullest complexity” (Rich 22) by deconstructing the canonization of A Raisin in the Sun in anthologies and books, and then by excavating the hidden picture from the surface story of an American black family, a feminist picture that can be drawn from the housewife Ruth Younger’s management of home economics, her attitude towards money, and her wish to move to the house in Clybourne Park. The first part of this article looks both at the anthologies in which A Raisin in the Sun is included and at the books about Lorraine Hansberry and A Raisin in the Sun to reveal how the position of the play has changed in the pedagogical or academic institutions. The play has been read and taught, I argue, first as a black American drama or a representative of American drama, then as a black American feminist drama or an American feminist drama, recently as feminist philosophy, and then finally as American feminist literature. This critical survey of the anthologies and the books informs us that the play has conveyed “the changing interests and beliefs of those people whose place in the cultural hierarchy empowers them” (Tompkins 37) and thus opens the way for a discovery of the values and interests suppressed by their critical endeavors. The latter part of this article attempts to unmask the play by looking at the trifles to uncover the hidden values and interests. For this purpose, this article concentrates on the issues of money and house that the play raises and does so from the perspective of Ruth, who neither plays an important role in the plot development nor raises her own voice, and thus has been concealed even from the eyes of the feminist critics. This article argues that Ruth’s special economic attitude and practice can be an alternative to the capitalistic principle and practice, and that her concept of house as her own space of freedom redefines Lena Younger’s spiritual and Walter Lee Younger’s political concepts of house. Yet, this article does not ignore the fact that Ruth not only upholds the basic principles of the capitalistic system by willingly accepting the roles of a housewife and a maid, but also supports the patriarchal system by dreaming of happiness in an American middle-class nuclear family. By showing the complexities in both Ruth’s economic life and her wish to have her own space, this article shows a way of discovering Ruth, a woman “unidealized, unsimplified.”
Abstract
This article aims to reveal the feminist Lorraine Hansberry “unidealized, unsimplified, in her fullest complexity” (Rich 22) by deconstructing the canonization of A Raisin in the Sun in anthologies and books, and then by excavating the hidden picture from the surface story of an American black family, a feminist picture that can be drawn from the housewife Ruth Younger’s management of home economics, her attitude towards money, and her wish to move to the house in Clybourne Park. The first part of this article looks both at the anthologies in which A Raisin in the Sun is included and at the books about Lorraine Hansberry and A Raisin in the Sun to reveal how the position of the play has changed in the pedagogical or academic institutions. The play has been read and taught, I argue, first as a black American drama or a representative of American drama, then as a black American feminist drama or an American feminist drama, recently as feminist philosophy, and then finally as American feminist literature. This critical survey of the anthologies and the books informs us that the play has conveyed “the changing interests and beliefs of those people whose place in the cultural hierarchy empowers them” (Tompkins 37) and thus opens the way for a discovery of the values and interests suppressed by their critical endeavors. The latter part of this article attempts to unmask the play by looking at the trifles to uncover the hidden values and interests. For this purpose, this article concentrates on the issues of money and house that the play raises and does so from the perspective of Ruth, who neither plays an important role in the plot development nor raises her own voice, and thus has been concealed even from the eyes of the feminist critics. This article argues that Ruth’s special economic attitude and practice can be an alternative to the capitalistic principle and practice, and that her concept of house as her own space of freedom redefines Lena Younger’s spiritual and Walter Lee Younger’s political concepts of house. Yet, this article does not ignore the fact that Ruth not only upholds the basic principles of the capitalistic system by willingly accepting the roles of a housewife and a maid, but also supports the patriarchal system by dreaming of happiness in an American middle-class nuclear family. By showing the complexities in both Ruth’s economic life and her wish to have her own space, this article shows a way of discovering Ruth, a woman “unidealized, unsimplified.”
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