@article{oai:teapot.lib.ocha.ac.jp:00033608,
 author = {佐藤, 里野 and SATO, Rino},
 journal = {Journal of the Ochanomizu University English Society},
 month = {Mar},
 note = {application/pdf, 紀要論文, Suzan-Lori Parks features a black male protagonist, who impersonates Abraham Lincoln, in two plays of hers: The America Play and her Pulitzer-winning play, Topdog/ Underdog. As an African-American woman playwright, Parks has always explored her historical and cultural background in her theatrical works and has paid close attention to the voices of “Blacks” and “women,” whose memories and experiences, Parks assumes, have been unheard and misrepresented in the canonical narrative of grande histoire. Her political strategy is also clearly reflected in the motif of “Black Lincoln” in these two plays, as she attempts to racially displace the legendary white figure, Abraham Lincoln, and spotlight the racial issue within the representation of American history. However, she is always careful not to label herself as a playwright for “African American women,” and she tries to avoid any interpretation that might consider her works to be motivated exclusively by race or gender. In this sense, it is quite important to understand Parks’s double positioning ―simultaneous identification and dis-identification with an “African American woman playwright” ― in reading of her “Black Lincoln” and its aesthetic and political role in these apparently racial texts. Therefore in this paper, I will examine Parks’s strategic self-identification as a modern playwright, along with a critical interpretation of “Black Lincoln” in a broader focus beyond the perspective of racial concern. This will be done by taking the following steps; first, I introduce Parks’s concept of “history” in playwriting in order to show her artistic and political mission to bring “Black history” to the stage. Second, I focus on racism and sexism that are problematized in the figures of “black Lincoln” to examine how Parks writes her plays for “Blacks” and “women.” Then, I investigate how Parks disqualifies her writing from being considered solely “racial” or “feminist” by examining the role of the “playwright” in her own texts. In so doing, this paper will show Parks’s apparently contradictory position as an effectively political one in the field of contemporary American theatre today.},
 pages = {5--17},
 title = {リンカーンを演じる黒人 : 『アメリカ・プレイ』と『トップドッグ／アンダードッグ』にみる「歴史」の芸術的創造},
 volume = {5},
 year = {2015}
}