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Identity, Race and Gender in Toni Morrison's the Bluest
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS Rosana Ruas Machado Gomes Identity, Race and Gender in Toni Morrison’s The Bluest Eye Porto Alegre 1º Semestre 2016 Rosana Ruas Machado Gomes Identity, Race and Gender in Toni Morrison’s The Bluest Eye Monografia apresentada ao Instituto de Letras da Universidade Federal do Rio Grande do Sul como requisito parcial para a conclusão do curso de Licenciatura em Letras – Língua Portuguesa e Literaturas de Língua Portuguesa, Língua Inglesa e Literaturas de Língua Inglesa. Orientadora: Profª Drª Marta Ramos Oliveira Porto Alegre 1º Semestre 2016 ACKNOWLEDGMENTS In recognition of their endless encouragement and support, I would like to thank my family, friends and boyfriend. It was extremely nice of you to pretend I was not very annoying when talking constantly about this work. Thank you for listening to discoveries of amazing interviews with Toni Morrison, complaints about back pains caused by sitting and typing for too many hours in a row, and meltdowns about deadlines. I also thank you for simply being part of my life–you make all the difference because you make me happy and give me strength to go on. I would especially like to thank Mariana Petersen for somehow managing to be a friend and a mentor at the same time. You have helped me deal with academic doubts and bibliography sources, and I am not sure I would have been able to consider myself capable of studying literature if you had not showed up. Since North-American literature is now one of my passions, I am extremely grateful for your presence in my life. -
Storylines Midwest Toni Morrison Was Born Chloe Anthony Wofford by Slaves Escaping the South in the Mid-19Th- Discussion Guide No
Beloved by Toni Morrison About the author The Midwest was seen as a “zone of freedom” StoryLines Midwest Toni Morrison was born Chloe Anthony Wofford by slaves escaping the South in the mid-19th- Discussion Guide No. 3 in Lorain, Ohio, in 1931. A voracious reader as a century. How do you think the Midwest is seen child, Morrison took degrees from Howard today by those outside it? by David Long University and Cornell and began a distinguished StoryLines Midwest teaching career that led her from Texas Southern What happens to a culture when the continuity Literature Consultant University to Yale, Bard, and Princeton. For many of family life is broken or denied? Are there areas years, until 1987, Morrison worked as a senior of the Midwest where the continuity of culture editor at Random House. In addition to the Nobel is being broken today? Or where it is not being Prize (1993) and Pulitzer (1998), Morrison has broken or has evolved? received a variety of other literary awards, including the National Book Critics Circle Award. Additional readings Toni Morrison. The Bluest Eye, 1969. Discussion questions Sula, 1973. In Black Women Writers at Work, Toni Morrison The Song of Solomon, 1977. says: “I am from the Midwest so I have a special Tar Baby, 1981. affection for it. My beginnings are always Jazz, 1992. there. .No matter what I write, I begin there. Playing in the Dark: Whiteness and the It’s the matrix for me.” How does the novel’s Literary Imagination, 1992. setting—both in place and time—affect its Paradise, 1998. -
Building in Toni Morrison's Paradise1
THE RELIGIOUS OVERTONES OF ETHNIC IDENTITY- BUILDING IN TONI MORRISON'S PARADISE1 Ana Mª Fraile Marcos Universidad de Salamanca This article approaches the study of Toni Morrison's latest novel, Paradise (1998), as an illustration of the process of (African) American identity-formation. The two communities that Morrison contraposes in the novel may be seen as representative of two different trends in America's construction of national identity: assimilation and homogenization, on the one hand, or interactive difference, on the other. Whereas Ruby emerges as a proud and paradisiacal African American town which gradually falls prey to its Manichean view of the world, the Convent is eventually presented as an alternative open community. Thus, Ruby functions as a mirror to American history. By adopting the American creeds and religious typology present in the Puritan origins of the United States, the community of Ruby reproduces the exclusionist, discriminatory, isolationist, hegemonic and violent character of American society as well as the tensions within it. The Convent, on the other hand, evolves towards the creation of a spiritual paradise based on the fluid hybridization of opposites. The issues of race and gender appear to be central to the construction of both communities, although it is religion, and particularly the adoption of the American jeremiad and the myth of the City upon a Hill, what provides the structural and thematic pattern for the novel. The following article attempts a close reading of Toni Morrison's Paradise (1998) based on the assumption that the novel offers a critique of the traditional American paradigm of nationhood and identity formation with roots in Puritanism. -
Teaching the Bard and Exploring Racism
The Review: A Journal of Undergraduate Student Research Volume 22 Article 3 2021 Shakespeare in the Wake of #BlackLivesMatter: Teaching the Bard and Exploring Racism Kathryn S. Kelly St. John Fisher College, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/ur Part of the Education Commons, and the English Language and Literature Commons How has open access to Fisher Digital Publications benefited ou?y Recommended Citation Kelly, Kathryn S.. "Shakespeare in the Wake of #BlackLivesMatter: Teaching the Bard and Exploring Racism." The Review: A Journal of Undergraduate Student Research 22 (2021): -. Web. [date of access]. <https://fisherpub.sjfc.edu/ur/vol22/iss1/3>. This document is posted at https://fisherpub.sjfc.edu/ur/vol22/iss1/3 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. Shakespeare in the Wake of #BlackLivesMatter: Teaching the Bard and Exploring Racism Abstract This essay examines the ways in which teachers (specifically pre-service teachers) can approach teaching Shakespeare’s work in a culturally responsive manner in order to promote anti-racism and social awareness in the classroom, school community, and the world. This proposal for teaching Shakespeare includes a case study of Othello that is designed according to the principles in the Social Justice Pedagogical and Content Knowledge (SJPACK) framework created by Jeanne Dyches and Ashley Boyd to prepare pre-service teachers for the discussions about race they will someday facilitate with their students. The framework focuses on teaching the history of racism in the Early Modern era and comparing it to racism today (and to Othello) and teaching other texts, written by authors of color, beside Othello, and asking students to consider the themes and ideas that the two texts share. -
The Bluest Eye
The Bluest Eye (Questions) 1. Discuss the narrative structure of the novel. Why might Morrison have chosen to present the events in a non-chronological way? 2. Write an essay in which you discuss Morrison’s juxtaposing the primer’s Mother-Father-Dick-Jane sections with Claudia’s and the omniscient narrator’s sections. What is the relationship between these three differing narrative voices? 3. Discuss the significance of no marigolds blooming in the fall of 1941. 4. Compare Pecola’s character to Claudia’s. Which of these two characters is better able to reject white, middle-class America’s definitions of beauty? Support your answer with examples from the text. 5. Discuss the symbolism associated with Shirley Temple in the novel. What does she represent to Pecola? What might she represent to Maureen Peal? 6. Discuss Cholly’s dysfunctional childhood. What is his definition of what a family should be? Does knowing about his upbringing affect your reactions when he rapes Pecola? Why or why not? 7. How does Morrison present gender relations in the novel? Are men and women’s relationships generally portrayed positively or negatively? Support your answer with examples from the text. 8. Write an essay in which you compare Louis Junior’s and Soaphead Church’s treatments of Pecola. Is she treated worse by one of these characters than the other? If so, which one, and why? Is it significant that each relationship involves animals? 9. Discuss the mother-daughter relationships in the novel. 10. Does Morrison present any positive role models for Pecola and other girls like her? How might Morrison define what beauty is? Does she present any examples of such beauty in the novel? 11. -
Toni Morrison Tar Baby Compared to Daniel Defoe's Robinson Crusoe
American International Journal of Contemporary Research Vol. 4, No. 9; September 2014 Toni Morrison Tar Baby Compared to Daniel Defoe's Robinson Crusoe Latifa Ahmed AL- Radaydeh Dr. Nayera EL Miniawi Abstract Once the events of Tar Baby took place on an island , (the Caribbean) which is depicted as a quiet and beautiful. An island which is remot from civilization, the incidents of Robinson Crusoe, also took place on a quiet beautiful isolated island Both islands were described as quiet and beautiful. From an external judgment since no one knows what was going on those two islands?. What masteries do they hide? What kind of hidden chaos was waiting the two visitors in both works(Robison & son)? Robinson, in Robinson Crusoe and son, in Tar Baby thought that those islands are peaceful and are full of tranquility. Thus, both of them were shocked to find so many adventures on them. Keywords: race, class, sex Toni Morrison's Biography Toni Morrison was born on February 18. 1931 .She was the second baby in a family of six. Her father was George wofford and her mother was Ramah Willis. Morrison was born in Ohio, the place to which her family moved escaping racism in the south. The family moved to the North hopping to find better life and better opportunities. There, her father worked three jobs in order to support his family. His main job was a welder in a shipyard. George Wofford was a hardworking dignified man. His work was of a high quality so that every time he welded a ship, he also welded his name onto the side of that ship. -
Memories of the Daughters from “Recitatif” to Beloved Jitsuko
論 文 Memories of the Daughters from “Recitatif” to Beloved Jitsuko Kusumoto* Abstract This paper focuses on the repressed memories of female characters in “Recitatif” and Beloved, both written by Toni Morrison, to examine their characteristics. Both works connect with each other in the memories of daughters. The female protagonists in both stories face and recreate their memories with the help of other women. Female solidarity also empowers the female protagonists to establish their own identities. From “Recitatif” to Beloved, the bond widens, beginning between daughter and daughter and black and white, expanding to mother and daughter and finally to women in the community. By developing the theme of sharing memories, Morrison shows that women’s traumatic memories can be healed by other women. Keywords : Toni Morrison, “Recitatif,” Beloved, memories, daughter(s) Introduction work” (302). She also said this of Beloved during an interview: Toni Morrison’s fifth novel, Beloved, is considered her I thought this has got to be the least read of all the books I’d masterpiece, earning her both a Pulitzer and the Nobel Prize. The written because it is about something that the characters novel explores slavery and its consequences. Her only short story, don’t want to remember, I don’t want to remember, black “Recitatif” (1983), published before Beloved (1987), has not been people don’t want to remember, white people don’t want to discussed much, partly because the original anthology that remember. I mean, it’s national amnesia. (120) included this short story is out of print.1 Therefore, these two With the term “amnesia,” she describes the state where people, works have not been treated together in former studies.2 However, beyond race, try to repress their painful memories. -
Trends in American Fiction Morrison & Music
ENG 352:420: Trends in American Fiction Morrison & Music Tuesdays and Thursdays: 11:30 AM-12:50 PM Room: HAH 421 Professor: Dr. Melanie R. Hill Office Hours: Tuesdays from 1:00 PM-2:00 PM and by appointment Location: Hill Hall 512 Phone: (973) 353-5182 Email: [email protected] Course Overview: In an article in The New Yorker entitled, “Toni Morrison and Nina Simone, United in Soul,” Emily Lordi writes, “Toni Morrison was such an exceptional talent and seemed to float so high above the fray, that it’s easy to forget she was a product of her time. But she was profoundly influenced by the work of contemporary musicians. She wanted her writing to emulate, ... ‘all of the intricacy, all of the discipline, that she heard in black musical performance.’” In this course, we will explore Toni Morrison’s canonical oevure from novels, Jazz and Song of Solomon to Sula and Beloved. In addition to Morrison’s works, we will examine the intersection of African American literature and music, as well as race, gender and spirituality. This seminar will juxtapose Morrison’s renowned literature with the performances of black musicians from Nina Simone and Curtis Mayfield to Issac Hayes and Aretha Franklin. As both text and performance, prose and poetry, and literature and music, studying the works of Toni Morrison offers an excellent resource for our investigation of black literary studies. This seminar is designed to give students a profound examination of Toni Morrison’s writing, and involve students in the kinds of research that the discipline of literary studies currently demands, including: working with primary sources and archival materials; reviewing the critical literature; using online databases of historical newspapers, periodicals, and other cultural materials; exploring relevant contexts in literary, linguistic, and cultural history; studying the etymological history and changing meanings of words; experimenting with new methods of computational analysis of texts; and other methodologies. -
Palimpasestic Images of Landscape, Gender, and Ethnicity in Toni Morrison’S a Mercy
English Language and Literature Studies; Vol. 10, No. 1; 2020 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education Palimpasestic Images of Landscape, Gender, and Ethnicity in Toni Morrison’s A Mercy Hayat Ali Marwan1 1 Swansea University, U.K. Correspondence: Hayat Ali Marwan, Swansea University, U.K. E-mail: [email protected] Received: December 31, 2019 Accepted: January 30, 2020 Online Published: February 10, 2020 doi:10.5539/ells.v10n1p32 URL: https://doi.org/10.5539/ells.v10n1p32 Abstract This study explores Morrison’s A Mercy as a palimpsest, both in terms of its adoption of multiple narrators and in the way, landscape is layered with vestiges of history, myths, and most importantly, with traces of black women creativity. Reading landscape in Morrison’s novel as a multi-textured palimpsest entails an assessment of the interplay of ethnicity and gender in the novel. This study finds in Alice Walker’s employment of the symbolic connotations of the “garden” to depict the creativity of black women discussed in her book In Search of Our Mother’s Garden (1984) a theoretical framework for interpreting Florens’s creativity in reading the land and the development of her identity in relation to the natural realm. This study also explores the palimpsestic aspects in Morrison’s text both synchronically and diachronically. The diachronic aspect examines the way Morrison’s A Mercy delves into history towards earlier representations of the American landscape and shows how her text reads and overwrites others. As a model of intertextuality, the palimpsest enables Morrison to overwrite the writings of American Transcendental figures such as Emerson and Thoreau, who have gained precedence in writing and visualizing the American landscape. -
Blackface Minstrelsy, Identity Construction, and the Deconstruction of Race in Toni Morrison’S Paradise
Studies in American Fiction is a journal of articles and reviews on the prose fiction of the United States. Founded by James Nagel and later edited by Mary Loeffelholz, SAF was published by the Department of English, Northeastern University, from 1973 through 2008. Studies in American Fiction is indexed in the MLA Bibliography and the American Humanities Index. Studies in American Fiction Volume 35 Autumn 2007 Number 2 Dana Williams, Playing on the “Darky”: Blackface Minstrelsy, Identity Construction, and the Deconstruction of Race in Toni Morrison’s Paradise Copyright © 2007 Northeastern University ISSN 0091-8083 PLAYING ON THE “DARKY”: BLACKFACE MINSTRELSY, IDENTITY CONSTRUCTION, AND THE DECONSTRUCTION OF RACE IN TONI MORRISON’S PARADISE Dana A. Williams Howard University In a Washington Post interview with David Streitfeld only days before the release of her seventh novel, Paradise (1998), Toni Morrison contends that what she wanted to do with Paradise was not to erase race but to force “readers either to care about it or see if it disturbs them” that race can be so blurred that, without specific linguistic ut- terance, race can go unidentified.1 That the relationship between lit- erature and race is of especial significance to Morrison is evidenced not only in this interview with Streitfeld but in countless other inter- views, throughout her fiction, and, perhaps, most aggressively, in her collection of essays and lectures Playing in the Dark: Whiteness and the Literary Imagination. Lodged in the context of her investigation of how an Africanist presence shapes classic American texts is Morrison’s commentary on the role of the writer in articulating cru- cial moments in American history and in offering “truth” about soci- ety even when the literary critic will not. -
Morrison's Beloved: Allegorically Othering "White" Christianity Author(S): Peggy Ochoa Source: MELUS, Vol
Morrison's Beloved: Allegorically Othering "White" Christianity Author(s): Peggy Ochoa Source: MELUS, Vol. 24, No. 2, Religion, Myth and Ritual (Summer, 1999), pp. 107-123 Published by: The Society for the Study of the Multi-Ethnic Literature of the United States (MELUS) Stable URL: http://www.jstor.org/stable/467702 Accessed: 05/01/2010 19:09 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=melus. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Society for the Study of the Multi-Ethnic Literature of the United States (MELUS) is collaborating with JSTOR to digitize, preserve and extend access to MELUS. -
Toni Morrison and the Literary Canon: Whiteness, Blackness, and the Construction of Racial Identity
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by South East Academic Libraries System (SEALS) i TONI MORRISON AND THE LITERARY CANON: WHITENESS, BLACKNESS, AND THE CONSTRUCTION OF RACIAL IDENTITY THESIS submitted in fulfilment of the requirements for the degree of MASTERS OF ARTS in English Literature at Rhodes University By ARETHA M M PHIRI December 2009 ii ABSTRACT Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African- American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race.