검은 가면과 유머: 흑인 분장악극 (The Minstrel Show)과 19세기 미국의 인종주의, 감상주의, 그리고 대중문화 (The Blackface Humor on the Minstrel Stage: The Shape of Racism, Sentimentalism, and Mass Culture in Nineteenth-Century America)

서지정보

· 발행기관 : 서울대학교 미국학연구소
· 수록지 정보 : 미국학 / 35권 / 2호 / 119 ~ 152페이지
· 저자명 : 이동환

초록

This study aims to overview various facets of Blackface minstrelsy through the lens of racial ideas, sentimentalism, and mass culture in nineteenth-century America. Blackface minstrelsy not only created black stereotypes with its blackface mask but also provided an opportunity to try cultural experiments by mixing up different ethnic legacies on the American soil. Blackface minstrels were actually in complicity with contemporary sentimental culture, which put emphasis on flowery feminine make-ups and excessive etiquettes. The audience from low class white males, as well as the blackface performers, projected their socioeconomic frustration into the feminine and black “Others.” Nineteenth-century sentimental culture was often criticized on the minstrel stage by its discrepancy between appearance and reality. Nevertheless, this black facade worked as a means of embracing diverse ethnic legacies from operas, folk songs, folk dances, and even festival customs. Blackface minstrelsy was a catalyst to transform the aforesaid elements into a solid mass culture in the American context. The urban mass in nineteenth-century America were attracted by the blackface humor on the minstrel stage. Especially, the vulgar humor was used as a principal way of sticking heterogenous elements together. And as Constance Rourke has commented on, it played an important role in creating the American national character. After all, blackface minstrelsy discloses the tricky bondage between racism, sentimentalism, and cultural diversity in nineteenth-century America.

영어초록

This study aims to overview various facets of Blackface minstrelsy through the lens of racial ideas, sentimentalism, and mass culture in nineteenth-century America. Blackface minstrelsy not only created black stereotypes with its blackface mask but also provided an opportunity to try cultural experiments by mixing up different ethnic legacies on the American soil. Blackface minstrels were actually in complicity with contemporary sentimental culture, which put emphasis on flowery feminine make-ups and excessive etiquettes. The audience from low class white males, as well as the blackface performers, projected their socioeconomic frustration into the feminine and black “Others.” Nineteenth-century sentimental culture was often criticized on the minstrel stage by its discrepancy between appearance and reality. Nevertheless, this black facade worked as a means of embracing diverse ethnic legacies from operas, folk songs, folk dances, and even festival customs. Blackface minstrelsy was a catalyst to transform the aforesaid elements into a solid mass culture in the American context. The urban mass in nineteenth-century America were attracted by the blackface humor on the minstrel stage. Especially, the vulgar humor was used as a principal way of sticking heterogenous elements together. And as Constance Rourke has commented on, it played an important role in creating the American national character. After all, blackface minstrelsy discloses the tricky bondage between racism, sentimentalism, and cultural diversity in nineteenth-century America.

참고자료

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