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블루스적 대응 : 『보이지 않는 인간』

A Look at African Americans' Blues Attitude through Invisible Man

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초록

This paper aims to re-think African American's positive attitude to face up the harsh reality in the bondage of ‘invisibility’. They could beat it with the power of the ‘blues' with the help of the blues-aesthetic device, laughter and joke, which could be ,rather than, sublimated to the form of art named the ‘universality'. These processes of the transformation and development have been accomplished through the main hero(his the other self)'s long journey in Invisible Man. He advocates that the blues is an art form through which African Americans have survived and kept their courage. That is to say, they have conquered and transcend the agony of life by squeezing tragicomic lyricism from painful experiences through the blues. In singing the blues, they do not admit that they are losers, but claim their humanity and renew themselves by giving order in the dehumanizing circumstances. Therefore the blues can be considered as a ritual to celebrate man's ability to deal with chaos and bluesman as celebrants, so it is not so much personal song as song of communion which has public function. And it was the blues that became the aesthetic mainspring of Ellison's writing.

Abstract

This paper aims to re-think African American's positive attitude to face up the harsh reality in the bondage of ‘invisibility’. They could beat it with the power of the ‘blues' with the help of the blues-aesthetic device, laughter and joke, which could be ,rather than, sublimated to the form of art named the ‘universality'. These processes of the transformation and development have been accomplished through the main hero(his the other self)'s long journey in Invisible Man. He advocates that the blues is an art form through which African Americans have survived and kept their courage. That is to say, they have conquered and transcend the agony of life by squeezing tragicomic lyricism from painful experiences through the blues. In singing the blues, they do not admit that they are losers, but claim their humanity and renew themselves by giving order in the dehumanizing circumstances. Therefore the blues can be considered as a ritual to celebrate man's ability to deal with chaos and bluesman as celebrants, so it is not so much personal song as song of communion which has public function. And it was the blues that became the aesthetic mainspring of Ellison's writing.

참고문헌 (19)

  1. Baker, Houston A., Jr, "Blues, Ideology, and Afro-American Literature" (1984), Univ. of Chicago P
  2. Baumbach, Jonathan, "The Landscape of Nightmare", pp.78~85 (1997), New York UP.
  3. Blake, Susan L, "Ritual and Rationalization: Black Folklore in the Works of Ralph Ellison", PMLA, 94, pp.87~94 (1979)
  4. Bluestein, C. W. E, "The Voice of the Folk" (1982), Univ. of Massachusetts P
  5. Bone, Robert A, "The Negro Novel in America" (1964), Yale University P.
  6. Collier, James Lincoln, "Inside Jazz" (1973), Four Winds P
  7. Cone, James H, "The Spirituals and the Blues: An Interpretation" (1990), Greenwood P
  8. Ellison, Ralph, "Invisible Man" (1972), Vintage Books
  9. Ellison, Ralph, "Shadow and Act" (1972), Vintage Books
  10. Evans, David, "Big Road Blues: Tradition and Creativity in the Folk Blues" (1982), Univ. of California P
  11. Gayle, Addison, Jr, "The Black Aesthetic" (1971), Doubleday & Co
  12. Gayle, Addison, Jr, "The Way of the New World: The Black Novel in America" (1989), Indiana University P
  13. Hassan, Ihab, "Radical Innocence: Studies in the Contemporary American Novel" (1961), Princeton UP.
  14. Inge, Thomas M, "Black American Writers: Bibliographical Essays, 2" (1978), St. Martin's P
  15. Jones, LeRoi, "Blues People" (1963), William Morrow & Co
  16. Klein, Marcus, "After Alienation: American Novels in Mid-Century" (1978), Univ. of Chicago P
  17. O'Meally, Robert G, "The Craft of Ralph Ellison" (1980), Harvard UP
  18. Ostendorf, Berndt, "Black Literature in White America" (1982), Barnes & Noble Books
  19. Tanner, Tony, "City of Words: American Fiction 1950-1970" (1971), Harper & Row Pub

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