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ハーストンのフォークロアと女性解放との関係 : 戯曲『火の馬車』と『ポーク・カウンティ』におけるハイ・ジョンの影響から
https://doi.org/10.15027/0002040625
https://doi.org/10.15027/0002040625d34b9274-19bc-4997-bfe7-546c3a00d55f
| 名前 / ファイル | ライセンス | アクション |
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HiroshimaStud-EnglLangLit_69_31.pdf (1017 KB)
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| Item type | デフォルト(1) | |||||||||
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| 公開日 | 2025-05-21 | |||||||||
| タイトル | ||||||||||
| タイトル | ハーストンのフォークロアと女性解放との関係 : 戯曲『火の馬車』と『ポーク・カウンティ』におけるハイ・ジョンの影響から | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | Relations between Hurston’s Folklore and Women’s Liberation: Influences of “High John” Seen in Her Plays, The Fiery Chariot and Polk County | |||||||||
| 言語 | en | |||||||||
| 作成者 |
光森, 幸子
× 光森, 幸子
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| アクセス権 | ||||||||||
| アクセス権 | open access | |||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||
| 権利情報 | ||||||||||
| 言語 | ja | |||||||||
| 権利情報 | 著作権は，執筆者本人と広島大学英文学会に帰属するものとします。 | |||||||||
| 内容記述 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | According to Zora Neale Hurston, black folklore is “not a thing of the past,” but is “still in the making,” and her work implies revision and modification of ideas. It is, thus, quite understandable why Hurston did not think of the various stories about the black cultural hero, High John, which she collected in Polk County in Florida in 1928, as static and fixed. In her essay, “High John de Conquer,” Hurston wrote that High John is warring “without outside-showing force, and winning his war from within ”with“ the soul of the black man whole and free.” These assertions are central to Hurston’s interpretation of High John, as she sees the souls of black folk as whole and free. Therefore, she made deliberate changes to High John in both of her plays, The Fiery Chariot and Polk County. The Fiery Chariot is based on one of High John’s stories she heard and transcribed, “Ole Massa and John Who Wanted to Go to Heaven.” Here, the original protagonist, High John, is changed to be a male slave named Ike, who is like the typical black men Hurston saw in Polk County. Similarly, Liza is replaced by the assertive Dinah. Ike does not assume the personality of High John, which Hurston defines as a “hope-bringer” to slaves. On the contrary, he is dominant towards Dinah and his son, and he is flattering to the white master. Dinah knows Ike’s true intentions, which are completely different from his humble prayers, and also uses the white master’s tricks against Ike. The reason Hurston brought Dinah to the foreground was because she saw the sexism of black men in her position, relegated to a supporting role. By endowing Dinah with High John’s spiritual strength, Hurston presents him as a more universal hero for both black men and women. In Polk County, Hurston clearly intends to place Big Sweet, a black woman, on an equal position with her black male partner, Lonnie. In the oppressive sawmill environment that was the same as during the slavery era, Lonnie inherits High John’s fighting style that does not rely on physical force. Meanwhile, in this discriminatory environment, black women also suffer from the sexism of black men. Big Sweet publicly speaks out of the women’s pains and becomes a driving force for change in the black community. When she is about to be forced out of the sawmill camp by Dicey’s conspiracy, she, like Lonnie, hears the drumming of High John, a sure sign of his coming. In that way, Hurston imbues Big Sweet with High John’s spirit of resistance. Her power is contagious and gives courage to those around her. To save her from Dicey’s false claims, the people in the sawmill camp decide to confront the white manager, prepared to leave the camp with her. In the South, where Jim Crow laws were rampant, protesting against white people was dangerous. In the play, there is a conflict between white pride and the strong unity of the black people, but in the end, the unity of the black people prevails, which strongly reflects Hurston’s hopes. In Polk County, Big Sweet is given the role of bringing gender equality to the black community, which goes beyond Dinah who reveals the gender inequality in a black family in The Fiery Chariot. In addition, the role of High John, the hero for black people, influences not only the liberation from racism but also the liberation of women. This clearly reflects Hurston’s shifting interpretation of High John. |
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| 言語 | en | |||||||||
| 内容記述 | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | 本稿は，日本アメリカ文学会第62 回全国大会（2023 年10 月21 日，札幌学院大学）での口頭発表原稿に加筆修正を施したものである | |||||||||
| 言語 | ja | |||||||||
| 出版者 | ||||||||||
| 出版者 | 広島大学英文学会 | |||||||||
| 言語 | ja | |||||||||
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| 出版者 | The English Literary Association of Hiroshima University | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| 出版タイプ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.15027/0002040625 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 助成情報 | ||||||||||
| 助成機関識別子タイプ | Crossref Funder | |||||||||
| 助成機関識別子タイプURI | https://doi.org/10.13039/501100001691 | |||||||||
| 助成機関名 | 日本学術振興会 | |||||||||
| 言語 | ja | |||||||||
| 助成機関名 | Japan Society for the Promotion of Science | |||||||||
| 言語 | en | |||||||||
| 研究課題番号URI | https://kaken.nii.ac.jp/ja/grant/KAKENHI-PROJECT-22K13085/ | |||||||||
| 研究課題番号 | 22K13085 | |||||||||
| 研究課題名 | ゾラ・ニール・ハーストンの「民衆劇」における黒人表象と普遍性との関連 | |||||||||
| 言語 | ja | |||||||||
| 収録物識別子 | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 0288-2876 | |||||||||
| 書誌情報 |
ja : 英語英文學研究 en : Hiroshima studies in English language and literature 巻 69, p. 31-47, ページ数 17, 発行日 2025-03-30 |
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| 大見出し | 論文 | |||||||||
| 言語 | ja | |||||||||
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| 大見出し | Articles | |||||||||
| 言語 | en | |||||||||
