Georgia Douglas Johnson’s One-Act Plays as Realistic Tragicomedies
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This paper studies the one-act plays of Georgia Douglas Johnson who was one of the well-known black writers and activists during the New Negro Renaissance. Her work has been overlooked until relatively recently, and especially, few of her plays were published and produced during her lifetime. Currently, literary critics have examined her work as experimental and social protest against institutionalized racism and sexism and accordingly regarded Johnson as one of the important figures in the historical and political development of African American literature in the twentieth century. In this study, Johnson’s one-act plays such as “Blue Blood”(1926), “Blue-Eyed Black Boy”(c. 1930) and “Plumes”(1927) are explored in terms of “realistic tragicomedies” which represent the precarious and twisted lives of black women in the 1920s and 1930s. Set in the rural South, the plays make visible Johnson’s dramaturgical skill as well as her critical awareness of the feminization of poverty, maternal emotions, miscegenation, the atrocity of lynching, and sexual violence.
Abstract
This paper studies the one-act plays of Georgia Douglas Johnson who was one of the well-known black writers and activists during the New Negro Renaissance. Her work has been overlooked until relatively recently, and especially, few of her plays were published and produced during her lifetime. Currently, literary critics have examined her work as experimental and social protest against institutionalized racism and sexism and accordingly regarded Johnson as one of the important figures in the historical and political development of African American literature in the twentieth century. In this study, Johnson’s one-act plays such as “Blue Blood”(1926), “Blue-Eyed Black Boy”(c. 1930) and “Plumes”(1927) are explored in terms of “realistic tragicomedies” which represent the precarious and twisted lives of black women in the 1920s and 1930s. Set in the rural South, the plays make visible Johnson’s dramaturgical skill as well as her critical awareness of the feminization of poverty, maternal emotions, miscegenation, the atrocity of lynching, and sexual violence.
참고문헌 (18)
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