고결, 야만, 그리고 사라짐: 『메타모라』에 나타난 인디언 캐릭터와 미국 정체성
Noble, Savage, and Disappearing: Native Americans and National Identity in Metamora; or, the Last of the Wampanoags
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
‘The noble savage’ is one of the important motives in the early American literature. Referring to the Native Americans, more familiarly known as American Indians, the term reflects the contemporary white’s romantic gaze upon these so-called red-skin pagan tribesmen. The term also reflects the contemporary social needs to establish genuine and authentic identity of the US as distinct from British one, after the independence from the motherland. John Augustus Stone’s 1829 play Metamora is the representative reflection on the white’s romantic gaze upon the American Indians as well as their literary response to the social needs for the American tradition and national identity. This paper traces the process in which the positive images of the protagonist Metamora, meeting a sudden turn in the middle, are portrayed as negative in the second half, and the Indian chief eventually dies disappearing into history. This paper explores the following issues: the author’s intention to romanticize the Indian chief as the model of proto-American virtue and finally dispose him in the end; the implication of his disappearance in terms of the social needs and justification for American national identity; the collective emotions of the US citizens, related to the issue of national identity, as implied by the author’s literary choice and solution in the play.
Abstract
‘The noble savage’ is one of the important motives in the early American literature. Referring to the Native Americans, more familiarly known as American Indians, the term reflects the contemporary white’s romantic gaze upon these so-called red-skin pagan tribesmen. The term also reflects the contemporary social needs to establish genuine and authentic identity of the US as distinct from British one, after the independence from the motherland. John Augustus Stone’s 1829 play Metamora is the representative reflection on the white’s romantic gaze upon the American Indians as well as their literary response to the social needs for the American tradition and national identity. This paper traces the process in which the positive images of the protagonist Metamora, meeting a sudden turn in the middle, are portrayed as negative in the second half, and the Indian chief eventually dies disappearing into history. This paper explores the following issues: the author’s intention to romanticize the Indian chief as the model of proto-American virtue and finally dispose him in the end; the implication of his disappearance in terms of the social needs and justification for American national identity; the collective emotions of the US citizens, related to the issue of national identity, as implied by the author’s literary choice and solution in the play.
참고문헌 (26)
- Ehle, John, "Trail of Tears: The Rise and Fall of the Cherokee Nation" (1997), Anchor Books
- Finkelman, Paul, "Jackson, Andrew (1767-1845), In Encyclopedia of American Civil Liberties, vol. 2", pp.832~833 (2006), Routledge
- Grose, B. Donald, "Edwin Forrest, Metamora, and the Indian Removal Act of 1830", Theatre Journal, 37, pp.181~191 (1985)
- Hargreaves, Mary, "John Quincy Adams: Campaigns and Elections, In American President: An Online Reference Resource. Miller Center of Public Affairs" (2013), University of Virginia
- Hewitt, Barnard, "Theatre U.S.A 1665 to 1957" (1959), McGraw-Hill
- Kalter, Susan, "Finding a Place for David Cusick in Native American Literary History", MELUS, 27(3), pp.9~42 (2002)
- Martin, Scott C., "Interpreting “Metamora”: Nationalism, Theater, and Jacksonian Indian Policy", Journal of the Early Republic, 19(1), pp.73~101 (1999)
- Meserve, Water J., "Heralds of Promise: The Drama of the American People in the Age of Jackson, 1829-1849" (1986), Greenwood
- Moody, Richard, "Edwin Forrest: First Star of the American Stage" (1960), Alfred A. Knopf
- Moody, Richard, "Dramas from the American Theatre 1762-1909" (1969), Houghton Mifflin
- Murdoch, James E., "The Stage; or, Recollections of Actors and Acting" (1880), J. M. Stoddart
- Quinn, Arthur Hobson, "A History of the American Drama: from the Beginning to the Civil War" (1946), F. S. Crofts
- Parrington, Vernon Louis, "Main Currents in American Thought, vol. 2" (1930), Harcourt, Brace and Company
- Prucha, Francis Paul, "Documents of United Indian Policy" (1975), U of Nebraska P
- Barry B. Witham, "Review of Metamora, In New York Mirror 24 (19 December, 1829): 190. Reprinted in Theatre in the United States: A Documented History, vol. 1", pp.150~151 (1996), Cambridge UP
- Richards, Stanley, "American on Stage: Ten Great Plays of America" (1976), Doubleday
- Richardson, Gary A, "In the Shadow of the Bard: James Nelson Barker’s Republican Drama and the Shakespearean Legacy, In When They Weren’t Doing Shakespeare: Essays on Nineteenth-Century British and American Theatre" (1989), U of Georgia P
- Stagg, John C.A., "Madison’s War: Politics, Diplomacy, and Warfare in the Early American Republic, 1783–1830" (1983), Princeton UP
- Stone, John Augustus, "Metamora; or, The Last of the Wampanoags (1929), In Staging the Nation: Plays from the American Theatre 1787-1909" (1998), Bedford Books
- Styan, J. L. Drama, "Stage and Audience" (1975), Cambridge UP
- Thornton, Russell, "Cherokee Population Losses During the Trail of Tears: A New Perspective and a New Estimate", Ethnohistory, 31(4), pp.289~300 (1984)
- Vandenhoff, George, "Leaves from an Actor’s Note-book" (1860), Appleton and Company
- Wilentz, Sean, "Andrew Jackson" (2005), Times Books
- Wilmer, S. E. Theatre, "Society and the Nation: Staging American Identities" (2002), Cambridge UP
- Wilson. Garff B, "Three Hundred Years of American Drama and Theatre: from Ye Bare and Ye Cubb to Hair" (1972), Prentice-Hall