morrison novel
运用创伤理论分析《最蓝的眼睛》中佩科拉的形象(英文版)
摘要美国黑人女作家托妮.莫里森（1931-2019）出生于俄亥俄州钢城洛里恩,她曾获普利策小说奖，赛珍珠奖，美国艺术文学学院奖。
她在1993年获得诺贝尔奖.《最蓝的眼睛》为她的第一部长篇小说。
以美国1941年前后黑人遭受到的精神奴役为背景，在黑人奴隶制度废除后，虽然黑人和白人在肉体上的社会地位看起来是平等的，但是因为奴隶制度而在美国留下了黑人的穷困潦倒以及发自美国白人心里的种族歧视，而一些黑人为了改善自己的物质生活，在不知不觉中抛弃了本民族的优秀传统。
她注重细节描写。
突出情感表达，将小说创作与民族解放使命联系起来引发人们深思。
托尼习惯把神话色彩和政治敏感结合起来，在《最蓝的眼睛》发表的时候，正是美国黑人权利运动风气云涌的时候。
《最蓝的眼睛》中的主人公佩科拉的一家便是这种精神奴役下所酿成的悲剧。
本文应用了创伤理论相关的心理学理论来分析小说《最蓝的眼睛》中的人物特点，从创伤理论的心理创伤，文化创伤，宗教创伤三个方面来分析佩科拉悲剧形成的原因，以及从创伤修复理论的内部因素和外部因素来分析佩科拉最终创伤修复失败的原因。
文章根据文中独特的叙述角度和文中特有的时间顺序和黑人种族的文化背景,运用创伤理论来分析文中重要人物佩科拉的形象，从心理创伤，文化创伤和宗教创伤三个方面来分析佩科拉命运造成的原因。
同时运用创伤理论中的创伤复原理论分析佩科拉在遭受创伤后的复原过程，通过内在原因和外在原因分析佩科拉是如何修复失败造成最终的悲剧形象。
从而得到启示，引发深思。
关键词：托尼.莫里森；创伤理论；命运；佩科拉；创伤修复AbstractToni Morrison (1931-2019) was born in lorrain, Ohio. She won the Pulitzer prize for fiction, the pearl buck prize and the American academy of arts and letters.She won the Nobel Prize in 1993.Around 1941 blacks in the United States suffered mental slavery as the background, the black after the abolition of slavery, though blacks and whites in the social status of the body appear to be equal, but because of slavery in the United States left a black and poor from the racial discrimination of white America'smind, and some of the black people to improve their material life, in imperceptible in abandoned the fine tradition of this nation.She attention to detail.It emphasizes the expression of emotion and connects the creation of novels with the mission of national liberation.Tony had a habit of combining mythology with political sensibilities, and the publication of The Bluest Eye coincided with the rise of the black rights movement in America.The family of Pecola, the protagonist of The Bluest Eye, is a tragedy caused by such spiritual slavery.This paper applied the theory of trauma associated psychological theory to analyze the characteristics of the characters in the novel the bluest eye, the psychological trauma from the trauma theory, culture, religion, trauma from three aspects to analyze the causes of the formation of Pecola’s tragedy, and from the Wound Healing Theory to analyze the internal factors and external factors Pecola eventually wound repair the cause of the failure.Based on the unique feminist narrative Angle, the special chronological sequence and the cultural background of black race, this paper analyzes the image of Pecola, an important figure in this paper, by using the theory of trauma, and analyzes the causes of Pecola’s fate from three aspects: psychological trauma, cultural trauma and religious trauma.At the same time, the theory of trauma recovery in the trauma theory is used to analyze Pecola’s post-traumatic recovery process, and the internal and external reasons are used to analyze how Pecola repaired the final tragic image caused by failure.Thus get enlightenment, cause ponder.Key words: Toni Morrison; Trauma theory; Fate; Pecola; Wound healing.Contents摘要 (1)Abstract (1)1 Introduction (3)1.1 Background to the Study (4)1.2 Purpose of the Study and Research Questions (4)1.3 Approach to the Study (5)1.4 Organization of the Thesis (5)2 Literature Review (6)2.1 Studies on Toni Morrison and The Bluest Eye (6)2.2 Studies on Trauma Theory at Home and Aboard (10)3 Causes of The Tragic Image of The Pecola From Traum Theory (16)3.1 Psychological Trauma on Pecola (16)3.2 Cultural Trauma on Pecola (17)3.3 Religious Trauma on Pecola (19)4 The Reasons of The Pecola's Failure in Would Healing (21)4.1 Internal Factors of Pecola's Failture in Would Healing (22)4.2 External Factors of Pecola's Failture in Would Healing (26)5 Conclusion (29)References (30)Acknowledgements .........................................................................错误!未定义书签。
美国黑人女小说家 托尼 莫森 Toni_Morrison
• Beloved was inspired by the true story
of a black American slave woman, Margaret Garner. She escaped with her husband Robert from a Kentucky plantation, and sought fringe in Ohio.
Awards
• 1988 Pulitzer Prize for Fiction for Beloved •1989 MLA Commonwealth Award in Literature
•1993 Nobel Prize for Literature
•1993 Commander of the Arts and Letters, Paris •1994 Condorcet Medal, Paris •1994 Pearl Buck Award
Tar Baby
—— A novel about contentions and conflicts based on learned biases and prejudices. These biases exist on a race level, gender level, and a class level.
Beloved
Background
Characters and Plot
Writing features Themes
Background
• The story set in Cincinnati around the Reconstruction period. (战后恢复时期) • Beloved is a powerful book about the evil of slavery and the value of freedom. • The tragic story is told in a series of flashbacks. • Sethe, the protagonist, was once a slave in Kentucky before the Civil War.
beloved
Leo Tolstoy (1828-1910)
• a Russian novelist, short story writer, essayist, playwright and philosopher, who primarily wrote novels and short stories. • Tolstoy was a master of realistic fiction and is widely considered one of the greatest novelists of all time. • He is best known for two long novels, War and Peace (1869) and Anna Karenina (1877).
Masterpieces
• • • • • • • • • 《最蓝的眼睛》（The Bluest Eye, 1970) 《苏拉》（Sula，1973) 《所罗门之歌》（Song of Solomon，1977） 《柏油孩子》（Tar Baby，1981） 《宝贝儿》又称《宠儿》（Beloved，1987) 《爵士乐》（Jazz , 1992) 《天堂》（Paradise，1999) 《爱》（Love，2003) 《恩惠》（A Mercy，2008)
• Toni Morrison was the first black woman writer to hold a named chair at an Ivy League University. • She taught creative writing and also took part in the African-American studies, American studies and women‟s studies programs. • In 1993, Toni Morrison received the Nobel Prize in Literature for Beloved. She was the eighth woman and the first black woman to receive the Novel Prize in Literature. • Her best novels: The Bluest Eye Song of Solomon Beloved
toni morrison
托尼-莫里森像个魔术师一样，把不同的声音结合组织起来，构筑成不同的人物形象，而不是把自己的观点生硬地塞给读者。她要使读者在阅读过程中真正走进小说里，同她一起品味主人公生活的甘苦，内心世界的奥妙。那是一个黑人女孩在一个充满丑陋、歧视、欺凌的世界中，在来自另一个世界的“蓝色眼眸”的诱惑下，对美丽人生的梦幻。在她身上，你能够看到托尼-莫里森成熟塑造的“苏拉”(93年诺贝尔文学奖获奖作品《苏拉》的主人公)的影子。 莫里森的作品充满魔幻现实主义的神秘因素。《所罗门之歌》之歌中，派特拉平坦、没有肚脐眼的腹部；戴德一世的鬼魂；奶娃与神话小说中寻宝人经历相似的自我发现之旅；取材于黑奴传说的“飞回非洲的黑人”；《柏油娃儿》中来自非洲的“柏油夫人”这些超现实因素及黑人传说和神话，为莫里森的小说蒙上了一层神秘和魔幻色彩。莫里森的语言吸取了黑人口头文学的传统，看似简单却幽默，机智。那是经过精雕细琢之后又不留痕迹的文学语言。她的作品还随处可见色彩和音乐的意想，语言的美感更是得到了加强。 西方评论界普遍认为莫里森继承了拉尔夫·埃利森和詹姆斯·鲍德温的黑人文学传统，她不仅熟悉黑人民间传说、希腊神话和基督教《圣经》 ，而且也受益于西方古典文学的熏陶。在创作手法上，她那简洁明快的手笔具有海明威的风格，情节的神秘隐暗感又近似南方作家福克纳，当然还明显地受到拉美魔幻现实主义的影响。但莫里森更勇于探索和创新，摒弃以往白人惯用的那种描述黑人的语言。
编辑本段写作风格
自我追寻是莫里森小说的一个重要主题。正如非洲和美国在地理上分离的一样，非洲美国人的自也是断裂的。一方面，渴望加入美国主流社会；另一方面，又要保持自身的黑人文化传统。因此，总是在自我和异化之间痛苦地挣扎着。这里黑人自我异化主要由于自我与自身文化传统的断裂（主要表现在忘记过去，历史和母亲缺席等）和白人世界中主流文化对黑人文化渗透和颠覆造成的，而莫里森的小说旨在修复黑人文化，文化传播的断裂及持续性中黑人自我的异化。同时小说家本人也在警示他们：无论怎样都不要离开黑人社区。在莫里森看来离开黑人社区越远也就越危险。因为黑人的自追寻和实现从来不是孤立的，总是要和所处的黑人团体相联系的，离开了这个团体，个体就会孤立无依，并且可能会丧命，更谈不上追寻了。追寻不但不能离开黑人社区，而且还不能脱离过去-----历史。对莫里森而言，黑人的过去是黑人无法割断的纽带，过去是黑人文化精髓的宝库，只有回归过去才能找到黑人灵魂的寄托。这里“过去”，在莫里森的笔下，既包括非洲也包括旧南方，而旧南方也和非洲一样，是指黑人传统。莫里森小说中的人物或在争取自由的道路上过于疲惫，或是误以为他们已经获得了自由，或是面临着被白人文化所同化的生存困境，往往忘记过去，从而放弃自我追寻。
论托尼-莫里森小说叙事艺术——关于《最蓝的眼睛》、《宠儿》和《苏拉》的一种解读
苏州大学硕士学位论文论托尼?莫里森小说叙事艺术－－关于《最蓝的眼睛》、《宠儿》和《苏拉》的一种解读姓名：***申请学位级别：硕士专业：英语语言文学指导教师：***201105摘要托尼·莫里森（１９３１一）是２０世纪最为杰出的非裔美国女作家，因其卓越的创作才华于１９９３年获诺贝尔文学奖，是第一位也是唯一一位获此殊荣的美国黑人女性。
作为一名才华横溢的作家，莫里森是一位叙事艺术的大师。
在其创作的小说中，她总能成功地选择并运用最恰当的写作手法来服务小说的主题。
本论文选择莫里森的三部小说《最蓝的眼睛》、《宠儿》和《苏拉》来研究该作家如何运用不同的叙事技巧来深化小说的主题。
本论文分五章。
第一章简要介绍莫里森生平成就以及其三部作品，即《最蓝的眼睛》、《宠儿》和《苏拉》。
第二章主要分析莫里森在《最蓝的眼睛》中运用的多重叙述声音及人物故事对比等手法，说明小说家如何通过特定的叙事手法表明审美标准本应是多元的一少部分黑人内化白人标准是极其有害的。
第三章讨论莫里森在《宠儿》中运用的哥特式叙事以及内心独白等手法，说明小说如何运用这些手法揭示黑人在惨绝人寰的奴隶制下扭曲的心灵，并且指出只有当黑人相互袒露心灵才能治愈伤害。
第四章讨论小说《秀拉》中运用环形叙述和反讽等手法，说明小说家如何运用这些手法叙述一个叛逆的黑人女性成为黑人社区不可或缺的关键人物的故事。
最后一章为结论，对以上章节所讨论的写作手法进行总结，说明在莫里森自己的小说中总能通过将叙述手法与小说主题有机结合起来，使叙事艺术很好地服务于小说的主题。
关键词：托尼·莫罩森，《最蓝的眼睛》，《宠儿》，《苏拉》，叙事艺术。
叙事策略ＡｂｓｔｒａｃｔＴｏｎｉＭｏｒｒｉｓｏｎ（１９３１－）ｉｓｔｈｅｍｏｓｔｐｒｏｍｉｎｅｎｔａｎｄｓｕｃｃｅｓｓｆｕｌＡｆｒｉｃａｎＡｍｅｒｉｃａｎｗｏｍａｎｗｒｉｔｅｒｏｆｔｈｅ２０ｔｈｃｅｎｔｕｒｙ．ＳｈｅｒｅｃｅｉｖｅｄｔｈｅＮｏｂｅｌＰｒｉｚｅｆｏｒｌｉｔｅｒａｔｕｒｅｉｎ１９９３ｆｏｒｈｅｒｅｘｃｅｌｌｅｎｔａｃｈｉｅｖｅｍｅｎｔｓｉｎｗｒｉｔｉｎｇ，ａｎｄｈａｓｒｅｍａｉｎｅｄｔｈｅｆｉｒｓｔａｎｄｏｎｌｙＡｆｒｉｃａｎＡｍｅｒｉｃａｎｗｏｍａｎｔｏｗｉｎｔｈｉｓａｗａｒｄ．Ａｓａｇｉｆｔｅｄｗｆｉｔｅｒ’Ｍｏｒｒｉｓｏｎｉｓａｍａｓｔｅｒｗｉｔｈｔｈｅａｒｔｏｆｎａｒｒａｔｉｏｎ．Ｉｎｈｅｒｎｏｖｅｌｓ，ｓｈｅｕｎｆａｉｌｉｎｇｌｙｅｍｐｌｏｙｓｗｒｉｔｉｎｇｔｅｃｈｎｉｑｕｅｓｔｈａｔｂｅｓｔｓｅｒｖｅｈｅｒｍｅｓｓａｇｅ．Ｉｎｔｈｉｓｔｈｅｓｉｓ，Ｉｔａｋｅａｌｏｏｋａｔｔｈｒｅｅｏｆｈｅｒｎｏｖｅｌｓ，ｎａｍｅｌｙ，ＴｈｅＢｌｕｅｓｔｅｙｅ，ＢｅｌｏｖｅｄａｎｄＳｕｌａ，ａｎｄｅｘａｍｉｎｅｔｈｅｗａｙｉｎｗｈｉｃｈＭｏｒｒｉｓｏｎＵＳｅＳｄｉｆｆｅｒｅｎｔｎａｒｒａｔｉｖｅｄｅｖｉｃｅｓｔｏｆａｃｉｌｉｔａｔｅｔｈｅｃｏｍｍｕｎｉｃａｔｉｏｎｏｆｈｅｒｔｈｅｍｅｓ．Ｔｈｉｓｔｈｅｓｉｓｉｓｄｉｖｉｄｅｄｉｎｔｏｆｉｖｅｃｈａｐｔｅｒｓ．ＣｈａｐｔｅｒＯｎｅｉｓｔｈｅｉｎｔｒｏｄｕｃｔｉｏｎ，ｗｈｉｃｈｉｎｃｌｕｄｅｓａｂｒｉｅｆｓｕｒｖｅｙｏｆＴｏｎｉＭｏｒｒｉｓｏｎ’Ｓｗｒｉｔｉｎｇｃａｒｅｅｒａｎｄｈｅｒｔｈｒｅｅｂｏｏｋｓ，ＴｈｅＢｌｕｅｓｔｅｙｅ，ＳｕｌａａｎｄＢｅｌｏｖｅｄ．ＣｈａｐｔｅｒＴｗｏａｎａｌｙｚｅｓｔｗｏｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅｓｕｓｅｄｉｎＴｈｅＢｌｕｅｓｔｅｙｅ．Ｔｈｅｙａｒｅｔｈｅｕｓｅｏｆｍｕｌｔｉｐｌｅｎａｒｒａｔｉｖｅｐｅｒｓｐｅｃｔｉｖｅｓａｎｄｔｈｅｐｒｅｓｅｎｔａｔｉｏｎｏｆｃｏｎｔｒａｓｔｉｎｇｌｉｆｅｓｔｏｒｉｅｓｉｎｔｈｅｎｏｖｅｌ．Ｂｙｅｍｐｌｏｙｉｎｇｔｈｅｓｅｔｗｏｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅｓ，Ｍｏｒｒｉｓｏｎｉｎｄｉｃａｔｅｓｔｈｅｓｔａｎｄａｒｄｏｆｂｅａｕｔｙｓｈｏｕｌｄｂｅｄｉｆｆｅｒｅｎｔｉｎｄｉｆｆｅｒｅｎｔｐｅｏｐｌｅ’Ｓｅｙｅｓ．Ｉｔｉｓｈａｒｍｆｕｌｆｏｒｂｌａｃｋｐｅｏｐｌｅｔｏｉｎｔｅｒｎａｌｉｚｅｗｈｉｔｅｂｅａｕｔｙａｓｔｈｅｏｎｌｙｓｔａｎｄａｒｄ．ＣｈａｐｔｅｒＴｈｒｅｅｄｉｓｃｕｓｓｅｓｔｈｅｔｗｏｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅｓｉｎＢｅｌｏｖｅｄ．ＢｙｅｍｐｌｏｙｉｎｇｔｈｅＧｏｔｈｉｃｍｏｄｅｏｆｎａｒｒａｔｉｏｎａｎｄｔｈｅｉｎｔｅｒｉｏｒｍｏｎｏｌｏｇｕｅ，Ｍｏｒｒｉｓｏｎｓｈｏｗｓｒｅａｄｅｒｓｔｈｅｄｉｓｔｏｒｔｅｄｐｅｒｓｏｎａｌｉｔｙａｎｄｔｒａｕｍａｔｉｚｅｄｈｅａｒｔｓｏｆｂｌａｃｋｐｅｏｐｌｅｂｒｏｕｇｈｔｂｙｓｌａｖｅｒｙ．ＡｎｄＭｏｒｒｉｓｏｎａｌｓｏｉｎｄｉｃａｔｅｓｔｈａｔｏｎｌｙｗｈｅｎｂｌａｃｋｐｅｏｐｌｅｏｐｅｎｔｈｅｉｒｈｅａｒｔｓｔｏｅａｃｈｏｔｈｅｒＣａｎｔｈｅｙｆｉｎｄｔｒｕｅｌｏｖｅａｎｄｈａｖｅｔｈｅｉｒｓｐｉｒｉｔ＂ｓａｖｅｄ．ＣｈａｐｔｅｒＦｏｕｒｇｉｖｅｓａｓｕｒｖｅｙｏｆｔｈｅｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅｓｅｘｐｌｏｉｔｅｄｉｎＳｕｌａ，ｗｈｉｃｈａｒｅｃｅｎｔｅｒｅｄａｒｏｕｎｄｔｈｅｕｓｅｏｆｃｉｒｃｕｌａｒｓｔｒｕｃｔｕｒｅａｎｄｉｒｏｎｙ．Ｂｙｅｍｐｌｏｙｉｎｇｔｈｅｓｅｔｗｏｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅｓ，ＭｏｒｒｉｓｏｎｓｈｏｗｓＵＳｔｈａｔａｒｅｂｅｌｌｉｏｕｓｂｌａｃｋｗｏｍａｎｃａｎｂｅｓｕｐｐｏｒｔｉｖｅｔｏｈｅｒｃｏｍｍｕｎｉｔｙａｔｔｈｅｍｏｓｔｉｍｐｏｓｓｉｂｌｅｔｉｍｅｓ．Ｔｈｒｏｕｇｈｉｒｏｎｙ，Ｍｏｒｒｉｓｏｎａｌｓｏｒｅｉｎｆｏｒｃｅｓｔｈｅｔｈｅｍｅｏｆｔｈｅｎｏｖｅｌ，ｗｈｉｃｈｉｓ：ａｐｐｅａｒａｎｃｅｓｃａｌｌｂｅｄｅｃｅｐｔｉｖｅ．ＴｈｅｌａｓｔｃｈａｐｔｅｒｉｓｔｈｅｃｏｎｃｌｕｓｉｏｎｉｎｗｈｉｃｈＩｃｏｎｔｅｎｄＭｏｒｒｉｓｏｎｉｓａｎａｒｒａｔｉｖｅａｒｔｉｓｔｗｈｏｓｅｎｏｖｅｌｓｓｔａｎｄｃｏｎｓｉｓｔｅｎｔｌｙａｓａｃｏｍｂｉｎａｔｉｏｎｏｆｎａｒｒａｔｉｖｅｔｅｃｈｎｉｑｕｅｓａｎｄｔｈｅｍａｔｉｃｃｏｎｔｅｎｔｓ．ＡｎｄＩｂｅｌｉｅｖｅｔｈａｔｔｈｉｓｒｅｓｅａｒｃｈｗｉｌｌｈｅｌｐｎｏｔｏｎｌｙｔｏｄｅｅｐｅｎｏｕｒｕｎｄｅｒｓｔａｎｄｉｎｇａｎｄａｐｐｒｅｃｉａｔｉｏｎｏｆＭｏｒｒｉｓｏｎ’Ｓｆｉｃｔｉｏｎ，ｂｕｔａｌｓｏｔｏｓｕｇｇｅｓｔａｎｅｗｗａｙｏｆｓｔｕｄｙｉｎｇｈｅｒｎｏｖｅｌｓ．Ｗｏｒｄｓ：ＴｏｌｌｉＭｏｒｒｉｓｏｎ，ＴｈｅＢｌｕｅｓｔｅｙｅ，Ｂｅｌｏｖｅｄ，Ｓｕｌａ，ａｒｔｏｆｎａｒｒａｔｉｏｎ，ｎａｒｒａｔｉｖｅＫｅｙｓｔｒａｔｉｇｉｅｓＡｃｋｎｏｗｌｅｄｇｅｍｅｎｔｓＩｔｉｓｉｍｐｏｓｓｉｂｌｅｆｏｒｍｅｔｏｃｏｍｐｌｅｔｅｍｙｓｔｕｄｙａｓａｎＭＡｃａｎｄｉｄａｔｅａｔＳｏｏｃｈｏｗＵｎｉｖｅｒｓｉｔｙｗｉｔｈｏｕｔｔｈｅｈｅｌｐｏｆｍａｎｙｐｅｏｐｌｅ．ＷａｎｇＬａｂａｏ，ｉｓｔｈｅｍｏｓｔｉｍｐｏｒｔａｎｔＡｍｏｎｇｔｈｏｓｅｐｅｏｐｌｅ，ｍｙｓｕｐｅｒｖｉｓｏｒ，Ｐｒｏｆｅｓｓｏｒｏｎｅ．Ｈｉｓｃｏｎｓｔａｎｔｅｎｃｏｕｒａｇｅｍｅｎｔｈａｓｎｏｕｒｉｓｈｅｄｍｅｉｎｍｙｓｔｕｄｙ．Ｈｉｓｉｎｓｔｒｕｃｔｉｏｎａｎｄｅａｃｈｓｔａｇｅｏｆｔｈｅｗｒｉｔｉｎｇｐｒｏｃｅｓｓｈａｖｅｈｏｎｅｄｍｙｒｅｓｅａｒｃｈｓｋｉｌｌｓ·Ａｓａｓｔｒｉｃｔｇｕｉｄａｎｃｅａｔｍｅｎｔｏｒａｎｄｄｅｖｏｔｅｄｓｃｈｏｌａｒ，ｈｅｈａｓｓｅｔａｇｏｏｄｅｘａｍｐｌｅｆｏｒｍｅａｎｄｔａｕｇｈｔｍｅｔｈｉｎｇｓｎｏｔｌｉｍｉｔｅｄｔｏｌｉｔｅｒａｔｕｒｅｏｎｌｙ．１ｗｉｓｈｔｏｅｘｔｅｎｄｍｙｓｉｎｃｅｒｅｔｈａｎｋｓｔｏｈｉｍｆｏｒａｌｌｔｈａｔｈｅｈａｓｄｏｎｅｆｏｒｍｅ．ＭｙｇｒａｔｉｔｕｄｅａｌｓｏｇｏｅｓｔＯＰｒｏｆｅｓｓｏｒＺｈｕＸｉｎｆｕ，ＰｒｏｆｅｓｓｏｒＸｕＱｉｎｇｇｅｎａｎｄＰｒｏｆｅｓｓｏｒｍｅｗｉｔｈａｃｌｅａｒａｎｄｓｙｓｔｅｍａｔｉｃＨｏｎｇＱｉｎｇｆｕｗｈｏｈａｖｅｈｅｌｐｅｄｂｙｅｑｕｉｐｐｉｎｇｉｔｉｓｔｏｓｔｕｄｙＥｎｇｌｉｓｈａｎｄＡｍｅｒｉｃａｎｌｉｔｅｒａｔｕｒｅ．ＰｒｅｃｉｏｕｓａｄｖｉｃｅｕｎｄｅｒｓｔａｎｄｉｎｇｏｆｗｈａｔｆｒｏｍＰｒｏｆｅｓｓｏｒＺｈｕＸｉｎｇｆｕｉｎｐａｒｔｉｃｕｌａｒｈａｓｂｅｎｅｆｉｔｅｄｍｅｉｍｍｅａｓｕｒａｂｌｙ．ＡｎｄＩａｍｍｅｓｏｍｕｃｈｇｒａｔｅｆｕｌｔｏＰｒｏｆｅｓｓｏｒＳｏｎｇＹａｎｆａｎｇｗｈｏｓｅｔｈｏｕｇｈｔ－ｐｒｏｖｏｋｉｎｇｌｅｃｔｕｒｅｓｔａｕｇｈｔａｂｏｕｔｌｉｔｅｒａｒｙｔｈｅｏｒｙ．Ｔｈｅｗｒｉｔｉｎｇｐｒｏｃｅｓｓｗｏｕｌｄｂｅｍｏｒｅｃｈａｌｌｅｎｇｉｎｇｈａｄｉｔｎｏｔｂｅｅｎｆｏｒｔｈｅｕｎｆａｉｌｉｎｇｆｒｏｍｍｙｇｏｏｄｆｒｉｅｎｄｓ．ＡｎｄＩａｌｓｏｗｉｓｈｔｏｔｈａｎｋｍｙｆａｍｉｌｙｆｏｒｕｎｄｅｒｓｔａｎｄｉｎｇａｎｄｓｕｐｐｏｒｔｔｈｅｉｒｕｎｓｗｅｒｖｉｎｇｃｏｎｆｉｄｅｎｃｅｉｎｍｅａｎｄｕｎｃｏｎｄｉｔｉｏｎａｌｌｏｖｅ．ＣｈａｐｔｅｒＯｎｅＩｎｔｒｏｄｕｃｔｉｏｎＣｈｌｏｅＡｎｔｈｏｎｙＷｏｆｆｏｒｄ，ｌａｔｅｒｋｎｏｗｎａｓＴｏｎｉＭｏｒｒｉｓｏｎ，ｗａｓｂｏｒｎｉｎＬｏｒａｉｎ，Ｏｈｉｏ，ｏｎＦｅｂｒｕａｒｙ１８，１９３１．Ｓｈｅｗａｓｔｈｅｄａｕｇｈｔｅｒｏｆａｓｈｉｐｙａｒｄｗｅｌｄｅｒａｎｄａｒｅｌｉｇｉｏｕｓｗｏｍａｎｗｈｏｓａｎｇｉｎｔｈｅｃｈｕｒｃｈｃｈｏｋ．ＭｏｒｒｉｓｏｎｈａｄａｓｉｓｔｅｒＬｏｉｓａｎｄｔｗｏｙｏｕｎｇｅｒｂｒｏｔｈｅｒｓ，ＧｅｏｒｇｅａｎｄＲａｙｍｏｎｄ．ＨｅｒｐａｒｅｎｔｓｈａｄｍｏｖｅｄｔｏＯｈｉｏｆｒｏｍｔｈｅＳｏｕｔｈ，ｈｏｐｉｎｇｔｏｒａｉｓｅｔｈｅｉｒｃｈｉｌｄｒｅｎｉｎａｌｌｅｎｖｉｒｏｎｍｅｎｔｆｒｉｅｎｄｌｉｅｒｔｏｂｌａｃｋｓ．ＤｅｓｐｉｔｅｔｈｅｍｏｖｅｔｏｔｈｅＮｏｒｔｈ，ｔｈｅＷｏｆｆｏｒｄｈｏｕｓｅｈｏｌｄｗａｓｓｔｅｅｐｅｄｉｎｔｈｅｏｒａｌｔｒａｄｉｔｉｏｎｓｏｆＳｏｕｔｈｅｒｎＡｆｒｉｃａｎＡｍｅｒｉｃａｎａｎｄｓｔｏｒｉｅｓｏｆＣｈｌｏｅＷｏｆｆｏｒｄ’Ｓｃｈｉｌｄｈｏｏｄｕｎｄｏｕｂｔｅｄｌｙｃｏｍｍｕｎｉｔｉｅｓ．Ｔｈｅｓｏｎｇｓｉｎｆｌｕｅｎｃｅｄｈｅｒｌａｔｅｒｗｏｒｋ；ｉｎｄｅｅｄ，ＴｏｎｉＭｏｒｒｉｓｏｎ’ＳｏｅｕｖｒｅｄｒａｗｓｈｅａｖｉｌｙｕｐｏｎｔｈｅｏｒａｌａｒｔｆｏｒｍｓｏｆＡｆｒｉｃａｎＡｍｅｒｉｃａｎｓ．ＡｌｔｈｏｕｇｈＴｏｎｉＭｏｒｒｉｓｏｎ’Ｓｗｒｉｔｉｎｇｉｓｎｏｔａｕｔｏｂｉｏｇｒａｐｈｉｃａｌ，ｓｈｅｆｏｎｄｌｙａｌｌｕｄｅｓｔｏｈｅｒｐａｓｔ，”Ｍｙｂｅｇｉｎｎｉｎｇｓａｒｅａｌｗａｙｓｔｈｅｒｅ…Ｎｏｍａｔｔｅｒｗｈａｔ１ｗｒｉｔｅ，Ｉｂｅｇｉｎｔｈｅｒｅ…．Ｉｔ’Ｓｔｈｅｍａｔｒｉｘｆｏｒｍｅ…．Ｏｈｉｏａｌｓｏｏｆｆｅｒｓａｎｅｓｃａｐｅｆｒｏｍｓｔｅｒｅｏｔｙｐｅｄｂｌａｃｋｓｅｔｔｉｎｇｓ．Ｉｔｉｓｎｅｉｔｈｅｒｐｌａｎｔａｔｉｏｎｎｏｒｇｈｅｔｔｏ．＂（Ｗａｔｋｉｎｓ，１９９４：２０）ＴｏｎｉＭｏｒｒｉｓｏｎ’Ｓｗｒｉｔｉｎｇｗａｓａｌｓｏｇｒｅａｔｌｙｉｎｆｌｕｅｎｃｅｄｂｙｈｅｒｆａｍｉｌｙ．ＨｅｒｇｒａｎｄｐａｒｅｎｔｓｈａｄｒｅｌｏｃａｔｅｄｔｏＯｈｉｏｄｕｒｉｎｇｔｈｅｎａｔｉｏｎａｌｍｏｖｅｍｅｎｔｏｆｂｌａｃｋｓｏｕｔｏｆｔｈｅＳｏｕｔｈｋｎｏｗｎａｓｔｈｅＧｒｅａｔＭｉｇｒａｔｉｏｎ．Ｈｅｒｍｏｔｈｅｒ’Ｓｐａｒｅｎｔｓ，ＡｒｅｄｅｌｉａａｎｄＪｏｈｎＳｏｌｏｍｏｎＷｉｌｌｉｓ，ａｆｔｅｒｌｅａｖｉｎｇｔｈｅｉｒｆａｒｍｉｎＡｌａｂａｍａ，ｍｏｖｅｄｔｏＫｅｎｔｕｃｋｙ，ａｎｄｔｈｅｎｔｏＯｈｉｏ．Ｔｈｅｙｐｌａｃｅｄｅｘｔｒｅｍｅｖａｌｕｅｉｎｔｈｅｅｄｕｃａｔｉｏｎｏｆｔｈｅｉｒｃｈｉｌｄｒｅｎａｎｄｔｈｅｍｓｅｌｖｅｓ．ＪｏｈｎＷｉｌｌｉｓｍｕｇｈｔｈｉｍｓｅｌｆｔｏｒｅａｄａｎｄｈｉｓｓｔｏｒｉｅｓｂｅｃａｍｅｉｎｓｐｉｒａｔｉｏｎｆｏｒＭｏｒｒｉｓｏｎ’Ｓ跖愕ｏｆＳｏｌｏｍａｎ（１９７７）．ＣｈｌｏｅＷｏｆｆｏｒｄｗａｓａｎｅｘｔｒｅｍｅｌｙｇｉｆｔｅｄｓｔｕｄｅｎｔ，ｌｅａｒｎｉｎｇｔｏｒｅａｄａｔａｌｌｅａｒｌｙａｇｅａｎｄｄｏｉｎｇｗｅｌｌａｔｈｅｒｓｔｕｄｉｅｓａｔａｎｉｎｔｅｇｒａｔｅｄｓｃｈ００１．Ｍｏｒｒｉｓｏｎ，ｗｈｏａｔｔｅｎｄｅｄＨａｗｔｈｏｒｎｅＥｌｅｍｅｎｔａｒｙＳｃｈｏｏｌ，ｗａｓｔｈｅｏｎｌｙＡｆｒｉｃａｎＡｍｅｒｉｃａｎｉｎｈｅｒ１ｓｔｇｒａｄｅｃｌａｓｓｒｏｏｍ．Ｓｈｅｗａｓａｌｓｏｔｈｅｏｎｌｙｓｔｕｄｅｎｔｗｈｏｂｅｇａｎｓｃｈｏｏｌｗｉｔｈｔｈｅａｂｉｌｉｔｙｔｏｒｅａｄ．ＢｅｃａｕｓｅｓｈｅｗａｓＳＯａｓｋｅｄｔｏｈｅｌｐｏｔｈｅｒｓｔｕｄｅｎｔｓｌｅａｒｎｔｏｒｅａｄ．Ｓｈｅｆｒｅｑｕｅｎｔｌｙｗｏｒｋｅｄｓｋｉｌｌｅｄ，ｓｈｅｗａｓｏｆｔｅｎｗｉｔｈｔｈｅｃｈｉｌｄｒｅｎｏｆｎｅｗｉｍｍｉｇｒａｎｔｓｔｏＡｍｅｒｉｃａ．１ＣｈｌｏｅＷｏｆｆｏｒｄ’Ｓｐａｒｅｎｔｓ’ｄｅｓｉｒｅｔＯｐｒｏｔｅｃｔｔｈｅｉｒｃｈｉｌｄｆｒｏｍｔｈｅｒａｃｉｓｔｅｎｖｉｒｏｎｍｅｎｔｏｆｔｈｅＳｏｕｔｈｓｕｃｃｅｅｄｅｄｉｎｍａｎｙｒｅｓｐｅｃｔｓ：ｒａｃｉａｌｐｒｅｊｕｄｉｃｅｗａｓｌｅｓｓｏｆａｐｒｏｂｌｅｍｉｎＬｏｒａｉｎ，Ｏｈｉｏ，ｔｈａｎｉｔｗｏｕｌｄｈａｖｅｂｅｅｎｉｎｔｈｅＳｏｕｔｈ，ａｎｄＣｈｌｏｅＷｏｆｆｏｒ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Beloved
Beloved is a 1987 novel by the American writer Toni Morrison. Set after the American Civil War (1861–1865), it is inspired by the story of an African-American slave.In the novel, Sethe is a slave who escapes slavery, running back to her home in Ohio. When Sethe was found by her master after 28 days, she tried to kill her children all to avoid their slavery life, but she succeeded only in killing her eldest daughter by running a saw along her neck. The girl’s tombstone reads only "Beloved".After they escaped from slavery,their home is haunted by a returned ghost, thus Sethe's youngest daughter Denver becomesmentally disordered, and her sons have run away .When Paul D arrives he fells in love with Sethe and he helps to forces out the spirit. Then the spirit appears as a young woman calling herself Beloved. She coms back for her mother, and runs out of ideas to destroys the new happy life of her mother. When Sethe tells Paul Dthe family history, Paul D lefts. And Sethe spoils Beloved out of guilt.In the novel's climax, youngest daughter Denver searches for help from the black community to exorcise Beloved. At the end Sethe is confused and has a "re-memory" of her master coming again, Beloved disappears. The novel ends with Denver becoming a working member of the community and Paul D returning to Sethe .。
美国文学 Toni Morrison
Awards： Morrison is an award-winning writer. •1977, The National Book Critics Circle Award for Song of Solomon •1988, The Pulitzer prize (普利策奖) •1993, The Nobel Prize for literature •2000, National Humanities Medal Award
Thanks
1970bluesteye最蓝的眼睛1973sula秀拉1977songsolomon所罗门之歌1981tarbaby柏油孩子1987beloved宠儿1992jazz爵士乐1998paradise乐园1993lovemercy恩惠otherworks
Toni Morrison (1931- )
英教一班 第六组： 李丹 王风茹 崔皓月 刘婷婷
Writing Features
1. Powerful fictional style 2. Provocative themes 3. Sophisticated(复杂的) narrative techniques 4. Poetic style
Comments
Toni Morrison is a major contemporary American writer. She is the foremost author of contemporary black women's renaissance which includes, among others, Alice Walker, Gloria Naylor, Maya Angelou, Toni Cade Bambara, and Gayle Jones. Her oeuvre has drawn the attention of her readers to the importance of reconstructing history and interpreting the past from a racial perspective. She has blazed a new trail for her fellow writers.
读书笔记3000字精选9篇
读书笔记3000字精选9篇英文回答：Reading is one of my favorite hobbies, and I always make sure to take notes while reading to help me remember important points and quotes. Here are 9 selected book notes that I have compiled:1. "To Kill a Mockingbird" by Harper Lee.This classic novel explores themes of racism and injustice in the American South. One of the most memorable quotes from the book is "You never really understand a person until you consider things from his point of view...until you climb into his skin and walk around in it."2. "1984" by George Orwell.This dystopian novel paints a bleak picture of atotalitarian society where freedom is nonexistent. One of the most chilling quotes from the book is "Big Brother is watching you," which serves as a warning about the dangers of surveillance and government control.3. "The Great Gatsby" by F. Scott Fitzgerald.This novel captures the glamour and excess of the Jazz Age in America. One of the most famous quotes from the book is "So we beat on, boats against the current, borne back ceaselessly into the past," which reflects the idea of striving for a better future while being weighed down by the past.4. "Pride and Prejudice" by Jane Austen.This classic romance novel explores themes of love, class, and social expectations. One of the most iconiclines from the book is "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife," which sets the tonefor the story.5. "The Catcher in the Rye" by J.D. Salinger.This coming-of-age novel follows the rebellious teenager Holden Caulfield as he navigates the challenges of growing up. One of the most memorable quotes from the book is "I'm quite illiterate, but I read a lot," which captures Holden's complex character and his struggles with phoniness in the adult world.6. "To the Lighthouse" by Virginia Woolf.This modernist novel explores themes of time, memory, and the complexities of human relationships. One of the most poignant quotes from the book is "What is the meaning of life? That was all—a simple question; one that tended to close in on one with years, the great revelation had never come. The great revelation perhaps never did come. Instead, there were little daily miracles, illuminations, matches struck unexpectedly in the dark."7. "Beloved" by Toni Morrison.This powerful novel tells the story of Sethe, a former slave haunted by the memories of her past. One of the most haunting quotes from the book is "Definitions belong to the definers, not the defined," which speaks to the idea of reclaiming one's own identity and narrative.8. "The Road" by Cormac McCarthy.This post-apocalyptic novel follows a father and son as they journey through a devastated landscape. One of the most heartbreaking quotes from the book is "You forget what you want to remember, and you remember what you want to forget," which reflects the characters' struggle to hold on to their humanity in a harsh and unforgiving world.9. "The Alchemist" by Paulo Coelho.This inspirational novel follows the journey of a young shepherd named Santiago as he seeks his personal legend. One of the most uplifting quotes from the book is "And, when you want something, all the universe conspires inhelping you to achieve it," which encourages readers to pursue their dreams with determination and faith.中文回答：读书是我最喜欢的爱好之一，我总是在阅读时做笔记，以帮助我记住重要的观点和引用。
宠儿资料
普利策奖Toni Morrison托妮·莫里森内容简介······Beloved (1987) is a Pulitzer Prize-winning novel by Toni Morrison. The novel, her fifth, is loosely based on the life and legal case of the slave Margaret Garner, about whom Morrison later wrote in the opera Margaret Garner (2005). The book's epigraph reads: "Sixty Million and more," by which Morrison refers to the estimated number of slaves who died in the slave trade.In 1998 the novel was adapted into a film of the same name starring Oprah Winfrey.A survey of writers and literary critics conducted by The New York Times found Beloved the best work of American fiction of the past 25 years; it garnered 15 of 125 votes, finishing ahead of Don DeLillo's Underworld (11 votes), Cormac McCarthy's Blood Meridian (8) and John Updike's Rabbit series (8). The results appeared in The New York Times Book Review on May 21, 2006.取材于一段真实的历史，令人触目惊心女黑奴塞丝怀着身孕只身从肯塔基的奴隶庄园逃到俄亥俄的辛辛那提，奴隶主追踪而至。
小说宠儿评论
Character Analysis of Sethe in Beloved小说《宠儿》中塞丝的性格分析Literature ReviewAbstract: Sethe, the protagonist of Beloved, was a proud and noble black slave who was notorious for killing one of her daughters rather than had her returned to slavery. However, different critics hold different attitudes towards the portrait of Sethe. This paper is to have a general review on the main different ideas. And this paper is to forward a new understanding of the influence of slavery on the Black.摘要：塞丝，小说《宠儿》中主人翁，是一个骄傲又不平凡的黑人奴隶。
她宁愿杀死自己的孩子也不愿让他们回到奴隶主庄园。
不同的文学评论者对塞丝这一形象有不同的评论观点。
这篇文献综述主要是对参考文献中出现的不同观点进行简要的分析，并且本文从另外一个角度对塞丝进行全新的认识。
Beloved is the representative work of Toni Morrison, which was awarded ofPulitzer Prize in 1987 and Nobel Prize 1993. It is a novel about a black slave and her fighting with slavery. Beloved is inspired by the true story of a slave, Margaret Garner, who escaped with her husband Robert and children from a Kentucky plantation, and sought refuge in Ohio. When she was about to be recaptured, she tried to kill her children, in order to save the children from the slavery she had managed to escape. At the center of this novel is an almost unspeakable act of horror and heroism: a woman brutally kills her infant daughter rather than allow her to be enslaved. The woman is Sethe, and the novel traces her journey from slavery to freedom during and immediately following the Civil War. Woven into this circular and mesmerizing narration are the horrible truths of Sethe's past: the incredible cruelties she endures as a slave, and the hardships she suffers in her journey north to freedom. Sethe is a black slave who is hunger for freedom. So she escapes from Sweet Home by every possible means. But when she really gets freedom on life, she is bothered by the past. She can not make herself escape from the painful past so that she cannot get the freedom of spirit because of killing one of her daughters. After reading a lot of books and journals, such as Beloved; The Black World of Toni Morrison's Writings; The abnormal mothering--On beloved; An Analysis of Sethe's Love in the Beloved; Beloved and the Process of Re-membering and etc. and collecting plenty of materials from these books, I got my ideas from their views, thoughts, signals or so. Most of the references I used give a general introduction about different attitudes towards the character of Sethe. Toni Morrison is a great writer in the world. There are many researches on her and her works. However, all the researches are limited in “the formation of Sethe’s personalities in slavery”. Toni Morrison is good at describing characters in slavery. In each of Morrison’s books, slavery is the most important element. All of Morrison's fictions, from her first novel, The Bluest Eye, to 1998's Paradise, explore the way of pursuing freedom and the bonds that both unite and divide African-American women. In her works, Toni Morrison has explored the experience and roles of black women in a racist and male dominated society. Sethe who is the leading character of Beloved, is the typical women slave. This is the main school that regards Sethe’s love to her kids as lopsided love. In Twisted Psychological Reaction and Spoiled Maternal Love—theInterpretation of the Maternal Love of Seth in Beloved，Liu Qiulan, a teacher in Ankang Teachers College, states that “Sethe can not bear to have her kids endure slavery, In order to help her kids escape from the White’s bondage, Sethe cut off the neck of her little girl. It is the symbol of Sethe’s strong love to her kids”.Based on the African-American cultural heritage, Toni Morrison’s works often focus on the interior life of black people. In each of Toni Morrison’s books, the leading character is the black who lives in slavery. Slavery is the most important element. Especially, it is the case in Beloved. In dealing with her slavery theme, Morrison reveals the psychological, spiritual and physical devastation caused by slavery. In a word, Morrison’s creation is deeply rooted in the African American heritage, its folklore. With her modern slave narrative, Morrison gives history a different reading and, in a sense, reconstructs the “disremembered” African American history. Morrison tells us that slavery in the origin of guilty, such as Li Xuemei said in the abnormal mothering--On beloved: “slavery is the origin of the abnormal mothering.”There is another school that looks at Sethe’s sex through slavery. Sethe is a woman in America, what she can do is to accept the guilt which is from the schoolteacher and his two nephews categorically. But she escapes from Sweet Home successfully with her belief that she cannot make her kids return to the criminal manor. We can see what help Sethe have the steadfast faith are her strong love to her kids and the hunger for having an integral family life. Although Sethe is a woman, from her decision to escape from the Sweet Home, we can see Sethe’s desire of getting freedom is so strong. In Sethe’s eye, without men she can support the life for her kids. We can see at that time, females represented by Sethe are rising.However, as I see it on the basis of all the reference books, Sethe stands apart from the other Negroes by her boldness and her independence, which others take to be pride. “I will never run from another thing on this earth.”(Beloved 15) She pronounces to Paul D early in the novel. She is full of love for her children, and a willingness to make any sacrifice for them. Her love is a rare one-it is a daring love for a colored woman, whose children may be stripped from her at any time. Despite her resolution,though, Sethe's life is directionless. Her past, which includes both the murder of her daughter and being raped, is so huge that much of her time is spent beating back the past. Sethe must open up and accept everything about herself, past, present and future. She cannot claim some parts of herself and not others. Unless she must confront the past bravely, she cannot be truly freedom.Under slavery, the slave-owner refuses to consider the Blacks’ value. So, if the Blacks want to be independent and become freedom, they must realize the individual value of themselves and love themselves. But only self-loving is not enough, in the struggle of freedom, the individual standard of value should be united with the black community standard of value: caring each other, helping each other and supporting each other are needed in the black community.Beloved reminds us of their sufferings, and invites the readers to share the past and the legacy of slavery. The effects of slavery continue to the present, and like the characters of the book, we must learn to understand the past if we are to deal with its effects on the present. “Beloved” is a ghost of the past, but she is named for the audience at her funeral-an audience that includes, through the form of the novel, the readers of the book. Her name is ours; her legacy is one that we share and must confront.BibliographyHan Xiaodong. Beloved and the Process of Re-membering. Journal of Ningbo Radio & TV University, 2006.03.Li Xuemei. The abnormal mothering—On beloved. Journal of Qiqihar University ( Philosophy and Social Science Edition), 2003.02.Liu Qiulan. Twisted Psychological Reaction and Spoiled Maternal Love—the Interpretation of the Maternal Love of Seth in Beloved. Journal of Ankang Teachers College, 2006.04.Morrison, Toni. Beloved [M]. New York: Alfred A. Knopf. Inc,1987.Wu Lianghong. An Analysis of Sethe's Love in the Beloved. Journal of Huaihai Institute of Technology( Hematite & Science Edition), 2005.04.Xu Fang. The Black World of Toni Morrison's Writings. Journal of Wuhan University of Technology ( Social Science Edition), 2001.06.王烺烺. 欧美主流文学传统与黑人文化精华的整合—评莫里森《宠儿》的艺术手法[J]. 当代外国文学, 2002, (4): 117.王守仁, 吴新云. 性别·种族·文化—托妮·莫里森的小说创作[M]. 北京:北京大学出版社,2004.。
The bluest eye 简介Microsoft Word 文档
The Bluest EyeThe Bluest Eye is a 1970 novel by American author Toni Morrison. It is Morrison's first novel, written while Morrison was teaching at Howard University and was raising her two sons on her own.[1] The story is about a year in the life of a young black girl in Lorain, Ohio, named Pecola. It takes place against the backdrop of America's Midwest as well as in the years following the Great Depression. The Bluest Eye is told from the perspective of Claudia MacTeer as a child and an adult, as well as from a third-person, omniscient viewpoint. Because of the controversial nature of the book, which deals with racism, incest, and child molestation, there have been numerous attempts to ban it from schools and libraries.[2]Plot summaryClaudia and Frieda MacTeer live in Ohio with their parents. The MacTeer family takes two other people into their home, Mr. Henry and Pecola. Pecola is a troubled young girl with a hard life. Her parents are constantly fighting, both physically and verbally. Pecola is continually being told and reminded of what an “ugly” girl she is, thus fueling her desire to be caucasian with blue eyes. Throughout the novel, it is revealed that not only has Pecola had a life full of hatred and hardships, but her parents have as well. Pecola’s mother, Pauline, only fe els alive and happy when she is working for a rich, white family. Her father, Cholly, is a drunk who was left with his aunt when he was young and ran away to find his father, who wanted nothing to do with him. Both Pauline and Cholly eventually lost the love they once had for one another. While Pecola is doing dishes, her intoxicated father rapes her. His motives are unclear and confusing, seemingly a combination of both love and hate. Cholly flees after the second time he rapes Pecola, leaving her pregnant. In the end, Pecola’s child is born prematurely and dies. Claudia and Frieda give up the money they had been saving and plant flower seeds in hopes that if the flowers bloom, Pecola's baby will live; the marigolds never bloom.In the afterword, Morrison explains that she had met a man named Terry Owens from a down south area. Morrison knew this man while he had children of his own. He was a very nice but harmful man and didn't take nonsense from anyone. Morrison explains in a later book that Terry Owens was a veteran from the Vietnam war. "I was a very strong minded man coming from a home where I hadn't learn to read or working for a man that paid nothing much than a dollar."Ideas of beauty, particularly those that relate to racial and class characteristics, are a major theme in this book.[3] The title refers to Pecola's wish that her eyes would turn blue. Claudia is given a white baby doll to play with and is constantly told how lovely it is. Insults to physical appearance are often given in racial terms; a light-skinned student named Maureen is shown favoritism at school. There is a contrast between the world shown in the cinema and the one in which Pauline is a servant, as well as the WASP society and the existence the main characters live in. Most chapters' titles are extracts from a Dick and Jane reading book, presenting a happy, white family. This family is contrasted with Pecola's existence.CharactersPecola Breedlove - The protagonist of the novel, a poor, black girl who believes she is ugly because she and her community base their ideals of beauty on "whiteness". The title The Bluest Eye is based on Pecola's fervent wishes for beautiful blue eyes. She is rarely developed during the story, which is purposely done to underscore the actionsof the other characters. Her insanity at the end of the novel is her only way to escape the world where she cannot be beautiful and to get the blue eyes she desires from the beginning of the novel.Cholly Breedlove - Pecola's abusive father, an alcoholic man who rapes his daughter at the end of the novel. Rejected by his father and discarded by his mother as a four day old baby, Cholly was raised by his Great Aunt Jimmy. After she dies, Cholly runs away and pursues the life of a "free man", yet he is never able to escape his painful past, nor can he live with the mistakes of his present. Tragically, he rapes his daughter in a gesture of madness mingled with affection. He realizes he loves her, but the only way he can express it is to rape her. The source of some of his sexual violence is explained in a flashback scene in which his first sexual encounter is interrupted by two white men, who forces Cholly to continue while they watch.Pauline Breedlove - Pecola's mother. Mrs. Breedlove is married to Cholly and lives the self-righteous life of a martyr, enduring her drunk husband and raising her two awkward children as best she can. Mrs. Breedlove is a bit of an outcast herself with her shriveled foot and Southern background. Mrs. Breedlove lives the life of a lonely and isolated character who escapes into a world of dreams, hopes and fantasy that turns into the motion pictures she enjoys viewing. After a traumatic event with a foul tooth however, she relinquishes those dreams, and instead escapes into her life as a housekeeper for a rich white family.Sam Breedlove - Pecola's older brother. Sammy is Cholly and Mrs. Breedlove's one son. Sam's part in this novel is relatively low key. Like his sister Pecola, he is affected by the disharmony in their home and deals with his anger by running away from home.Claudia MacTeer - Much of the novel is told from the perspective of Claudia.Frieda MacTeer - Claudia's older sister and close companion. The two MacTeer girls are often seen together and while most of the story is told through Claudia's eyes, her sister Frieda plays a large role in the novel.Henry Washington - A man who comes to live with the MacTeer family and is subsequently thrown out by Claudia's father when he inappropriately touches Frieda.Soaphead Church (aka Elihue Micah Whitcomb) - A pedophile and mystic fortune teller who "grants" Pecola her wish for blue eyes. The character is somewhat based on Morrison's Jamaican ex-husband.Great Aunt Jimmy - Cholly's aunt who takes him in to raise after his parents abandon him. She dies when he is a young boy.Della Jones- Henry Washington's landlady before the Macteers.Hattie- Della's sister.Aunt Julia- Della and Hattie's aunt.Peggy - The woman has an affair with Della's husband.Old Slack Bessie- Peggy's mother.Maureen Peal - A light-skinned, wealthy mulatto girl who is new at the local school. She accepts everyone else’s assumption that she is superior and is capable of both generosity and cruelty. She changes her attitude throughout the novel towards Pecola.Bay Boy- One of the black boys from school who teases Pecola about her daddy.Woodrow Cain- One of the black boys from school who teases Pecola about her daddy.Buddy Wilson- One of the black boys from school who teases Pecola about her daddy.Junie Bug- One of the black boys from school who tease Pecola about her daddy.Mrs. MacTeer- The mother of Claudia and Frieda. She houses Pecola when her family is "put out."Mr. MacTeer- The father of Claudia and Frieda.China- One of the prostitutes who live above the Breedlove residence. Physically, she is extremely skinny.Poland- One of the prostitutes who live above the Breedlove residence. She speaks the least out of her, China, and Miss Marie.Maginot Line (aka Miss Marie)- One of the prostitutes who live above the Breedlove residence. She is known for being very plump.Dewey Prince- An old boyfriend of the Maginot Line.The Fishers- The rich, white couple who employ Pauline as their servant.Geraldine- A socially-conscious black woman in the community who tries to over exaggerate the fact that she is above traditional black stereotypes, and is more "civilized" than other black families in Lorain, Ohio.Louis- The husband of Geraldine.Louis Junior- Geraldine's son who picks on Pecola, and blames her for the killing of his mother's favorite cat.Rosemary Villanucci- The little girl of the MacTeer's next door neighbor who constantly tries to get Claudia and Frieda in trouble.Blue Jack- Cholly's boyhood mentor.M'Dear- Medicine woman in Cholly's hometown who tends on Aunt Jimmy.Essie Foster- Aunt Jimmy's neighbor whose peach cobbler is blamed for her death.Miss Alice- One of Aunt Jimmy's friends.Jake- Cholly's cousin that he first meets at Aunt Jimmy's funeral.Darlene- Young girl from Cholly's hometown whom he shared his first sexual experience with.Mr. Yacobowski- The immigrant grocery story owner where Pecola goes to buy Mary Janes.Samson Fuller- Cholly's father who lives in Macon, GA.Chicken and Pie- The nicknames of Pauline's younger, twin siblings.O.V.- Aunt Jimmy's half brother.Themes:Whiteness is beautyIn this book whiteness stands for beauty. This is a standard that the black girls can not meet, especially Pecola, who has darker skin than the rest. Pecola connects beauty with being loved and believes that if she would just have blue eyes all the bad things in her life would be replaced with love and affection. This hopeless desire leads her to madness by the end of the novel.Love is only as good as the loverThe Bluest Eye is a novel that contains several relationships, although the relationships never end pleasantly. Morrison sees love as a dynamic force, which can be extremely damaging depending on who is doing the loving. The biggest example of this is the relationship Cholly has with his daughter Pecola. Cholly is the only character in the whole book that can see past Pecola’s seemingly revolting shell enough to touch her. While this sounds like a beautiful thing, in actuality it is the violent rape that serves as the climax of the story. As Claudia points out in the final chapter of this novel, “Love is never any better than the lover. Wicked people love wickedly, violent people love violently, weak people love wea kly, stupid people love stupidly” While Cholly definitely loves, the core of his personality forces him to manifest this love in violent ways. Because he is not a good person, his love is extremely tainted. The reader can look at this in one of two ways. It can be seen as a very pessimistic view, claiming that true love can only be achieved if the lover is a good, honest person. However, the reader can also see this as uplifting. Even though love can be distorted, Morrison makes the point that everyone can, in fact, love. Even if an evil person loves in an evil manner, they are still able to love.Gender Disparity：The bluest eye is a novel based on the lives of black women and it is written by a black woman. Toni Morrison has described the world wide gender disparity by her characters like Pecola, Frieda, Pauline and the narrator Claudia,who once mentions in the novel that three things have greatly affected her life: being a child, being Black and being a girl. All the women characters are abused by both white women & men, as well as by Black men.MotifsDirty/Uncleanliness：Morrison continually places the idea and image of dirt and impurity-both figuratively and literally-in each new setting. In the beginning she introduces an ill Claudia plagued with bronchial and flu-likesymptoms, cooped up in an “old, cold, green” house. The Breedloves own appearance and home i s poor and ugly. Pecola befriends the prostitutes living above her, who are impure in their own nature. They sleep around, refute religion, are caked with make-up, surrounded themselves with smoke and are overweight. Altogether, the characters live in a dusty, hot town, separate from the upper-class whites. They themselves are dark and not pristine in appearance. Pecola is especially insecure about her differences and imperfections. Morrison uses this repetitive concept to emphasize the severity of their lifestyles and their desperation to keep up appearances.Sacrifice: Most of Morrison’s characters are martyrs to some cause or some person. Claudia and Frieda’s mother gave up youth and her own life to stay at home and care for a family. Pecola believes she’s ugly so that others may be beautiful. Her body is sacrificed to Cholly for his self-fulfillment. Claudia and Frieda gave up their bike money and flower seeds to “make magic” for Pecola and her baby. Mrs. Breedlove gave up her family, wealth, and status for Cholly and the trouble he brings economically, physically, and emotionally. Even Maginot Line and China gave up their bodies and social position to have a roof over their heads and food in their bellies. The book’s constant discussion of sacrifice, sin, and an unattainable redemption stresses a larger idea of life’s real purpose and the struggle to make it through something that yields no reward.Blue Eyes and Vision: Believing a new pair of eyes will change the way she sees things as well as the way she is seen, Pecola’s one deep desire is to have the bluest eyes in the world. The young girl’s innocent wish is marked by her perception of a world where the cruelty and hardships she suffers are a result of her appearance as an ugly black girl with dark eyes. She imagines having blue eyes will earn her respect and possible admiration. This is demonstrated when Pecola is teased by the little boys on the playground—when Maureen approaches staring at them with her light eyes, the boys back down and behave in a more respectable manner. Furthermore, Pecola wishes specifically for new eyes rather than lighter skin because she also hopes to literally view the world in a better way. At home and all around her, Pecola is tortured by the cruelty and dirtiness she constantly witnesses; if she were blessed with new eyes, she would be able to see herself and her world in a new, beautiful way. Pecola’s desire for blue eyes makes a connection between how a person is seen and what he or she sees.Whiteness: Throughout the novel, white skin is identified with beauty and purity. There are many recurring implications to the superiority of whites over blacks, specifically in women. The novel questions concepts of blackness and whiteness and describes the negative impact of white cultural domination on both black and white cultural identity.[3] The adoration of Shirley Temple (Frieda and Pecola in particular), the white baby doll given to Claudia, light-skinned Maureen being cuter than the other black girls, and Pauline Breedlove's preference for the little white girl she cares for demonstrate the prevailing dominance of whiteness. As a result, women learn to hate themselves for being black and in turn relay this disgust to their daughters. This is most apparent within the Breedlove family, where Mrs. Breedlove despises the ugliness she sees in her own daughter. Pecola is most affected by this connection of beauty with whiteness, believing that beauty is associated with love and is necessary for affection and respect. Her hopeless desire to be identified as a white girl eventually drives Pecola to insanity.Hegemony: Black women of this novel are presented as the victims of the white beauty standards of society and some of them, like Pauline and Geraldine, are greatly affected by cultural hegemony and start loving and adopting the ways of white people.[3] Not only Pauline and Geraldine, but many of the black characters fall prey to this, loving white people more than themselves. We can find a better example of it when Pauline beats Pecola for spilling a pie on the floor of the Fishers' house and when schoolboys tease Pecola and stop it when Maureen, the light skinned girl, goes to rescue her from those boys. Boys tease Pecola for her ugliness due to her blackness, but run away after seeing Maureen, as they don't want to do bad things in front of her.。
Best 100 English Novels Recommendation(世界排名前一百小说推荐)
1.ULYSSES by James Joyce 尤利西斯2.THE GREAT GATSBY by F. Scott Fitzgerald 了不起的盖茨比3. A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce 一个青年艺术家的肖像4.LOLITA by Vladimir Nabokov 洛丽塔5.BRAVE NEW WORLD by Aldous Huxley6.THE SOUND AND THE FURY by William Faulkner7.CATCH-22 by Joseph Heller8.DARKNESS AT NOON by Arthur Koestler9.SONS AND LOVERS by D.H. Lawrence10.THE GRAPES OF WRATH by John Steinbeck11.UNDER THE VOLCANO by Malcolm Lowry12.THE WAY OF ALL FLESH by Samuel Butler众生之路13.1984 by George Orwell14.I, CLAUDIUS by Robert Graves15.TO THE LIGHTHOUSE by Virginia Woolf16.AN AMERICAN TRAGEDY by Theodore Dreiser美国悲剧17.THE HEART IS A LONELY HUNTER by Carson McCullers心是孤独的猎手18.SLAUGHTERHOUSE-FIVE by Kurt Vonnegut第五屠宰场19.INVISIBLE MAN by Ralph Ellison隐形人20.NATIVE SON by Richard Wright 土生子21.HENDERSON THE RAIN KING by Saul Bellow 雨王韩德森22.U.S.A.(trilogy) by John Dos Passos23.WINESBURG, OHIO by Sherwood Anderson24. A PASSAGE TO INDIA by E.M. Forster25.THE WINGS OF THE DOVE by Henry James26.THE AMBASSADORS by Henry James27.TENDER IS THE NIGHT by F. Scott Fitzgerald28.THE STUDS LONIGAN TRILOGY by James T. Farrell29.THE GOOD SOLDIER by Ford Madox Ford30.ANIMAL FARM by George Orwell31.THE GOLDEN BOWL by Henry James32.SISTER CARRIE by Theodore Dreiser33. A HANDFUL OF DUST by Evelyn Waugh34.AS I LAY DYING by William Faulkner35.ALL THE KING’S MEN by Robert Penn Warren36.THE BRIDGE OF SAN LUIS REY by Thornton Wilder37.HOWARDS END by E.M. Forster38.GO TELL IT ON THE MOUNTAIN by James Baldwin39.THE HEART OF THE MATTER by Graham Greene40.LORD OF THE FLIES by William Golding41.DELIVERANCE by James Dickey42. A DANCE TO THE MUSIC OF TIME (series) by Anthony Powell43.POINT COUNTER POINT by Aldous Huxley44.THE SUN ALSO RISES by Ernest Hemingway45.THE SECRET AGENT by Joseph Conrad46.NOSTROMO by Joseph Conrad47.THE RAINBOW by D.H. Lawrence48.WOMEN IN LOVE by D.H. Lawrence49.TROPIC OF CANCER by Henry Miller50.THE NAKED AND THE DEAD by Norman Mailer51.PORTNOY’S COMPLAINT by Philip Roth52.PALE FIRE by Vladimir Nabokov53.LIGHT IN AUGUST by William Faulkner54.ON THE ROAD by Jack Kerouac55.THE MALTESE FALCON by Dashiell Hammett56.PARADE’S END by Ford Madox Ford58.ZULEIKA DOBSON by Max Beerbohm59.THE MOVIEGOER by Walker Percy60.DEATH COMES FOR THE ARCHBISHOP by Willa Cather61.FROM HERE TO ETERNITY by James Jones62.THE WAPSHOT CHRONICLES by John Cheever63.THE CATCHER IN THE RYE by J.D. Salinger64. A CLOCKWORK ORANGE by Anthony Burgess65.OF HUMAN BONDAGE by W. Somerset Maugham66.HEART OF DARKNESS by Joseph Conrad67.MAIN STREET by Sinclair Lewis68.THE HOUSE OF MIRTH by Edith Wharton69.THE ALEXANDRIA QUARTET by Lawrence Durell70. A HIGH WIND IN JAMAICA by Richard Hughes71. A HOUSE FOR MR BISWAS by V.S. Naipaul72.THE DAY OF THE LOCUST by Nathanael West73. A FAREWELL TO ARMS by Ernest Hemingway74.SCOOP by Evelyn Waugh75.THE PRIME OF MISS JEAN BRODIE by Muriel Spark76.FINNEGANS WAKE by James Joyce77.KIM by Rudyard Kipling78. A ROOM WITH A VIEW by E.M. Forster79.BRIDESHEAD REVISITED by Evelyn Waugh80.THE ADVENTURES OF AUGIE MARCH by Saul Bellow81.ANGLE OF REPOSE by Wallace Stegner82. A BEND IN THE RIVER by V.S. Naipaul83.THE DEATH OF THE HEART by Elizabeth Bowen84.LORD JIM by Joseph Conrad85.RAGTIME by E.L. Doctorow86.THE OLD WIVES’ TALE by Arnold Bennett87.THE CALL OF THE WILD by Jack London88.LOVING by Henry Green89.MIDNIGHT’S CHILDREN by Salman Rushdie90.TOBACCO ROAD by Erskine Caldwell91.IRONWEED by William Kennedy92.THE MAGUS by John Fowles93.WIDE SARGASSO SEA by Jean Rhys94.UNDER THE NET by Iris Murdoch95.SOPHIE’S CHOICE by William Styron96.THE SHELTERING SKY by Paul Bowles97.THE POSTMAN ALWAYS RINGS TWICE by James M. Cain98.THE GINGER MAN by J.P. DonleavyTHE READER’S LIST1.ATLAS SHRUGGED by Ayn Rand2.THE FOUNTAINHEAD by Ayn Rand3.BATTLEFIELD EARTH by L. Ron Hubbard4.THE LORD OF THE RINGS by J.R.R. Tolkien5.TO KILL A MOCKINGBIRD by Harper Lee6.1984 by George Orwell7.ANTHEM by Ayn Rand8.WE THE LIVING by Ayn Rand9.MISSION EARTH by L. Ron Hubbard10.FEAR by L. Ron Hubbard11.ULYSSES by James Joyce12.CATCH-22 by Joseph Heller13.THE GREAT GATSBY by F. Scott Fitzgerald14.DUNE by Frank Herbert15.THE MOON IS A HARSH MISTRESS by Robert Heinlein16.STRANGER IN A STRANGE LAND by Robert Heinlein17. A TOWN LIKE ALICE by Nevil Shute18.BRAVE NEW WORLD by Aldous Huxley19.THE CATCHER IN THE RYE by J.D. Salinger20.ANIMAL FARM by George Orwell21.GRAVITY’S RAINBOW by Thomas Pynchon22.THE GRAPES OF WRATH by John Steinbeck23.SLAUGHTERHOUSE FIVE by Kurt Vonnegut24.GONE WITH THE WIND by Margaret Mitchell25.LORD OF THE FLIES by William Golding26.SHANE by Jack Schaefer27.TRUSTEE FROM THE TOOLROOM by Nevil Shute28. A PRAYER FOR OWEN MEANY by John Irving29.THE STAND by Stephen King30.THE FRENCH LIEUTENANT’S WOMAN by John Fowles31.BELOVED by Toni Morrison32.THE WORM OUROBOROS by E.R. Eddison33.THE SOUND AND THE FURY by William Faulkner34.LOLITA by Vladimir Nabokov35.MOONHEART by Charles de Lint36.ABSALOM, ABSALOM! by William Faulkner37.OF HUMAN BONDAGE by W. Somerset Maugham38.WISE BLOOD by Flannery O’Connor39.UNDER THE VOLCANO by Malcolm Lowry40.FIFTH BUSINESS by Robertson Davies41.SOMEPLACE TO BE FLYING by Charles de Lint42.ON THE ROAD by Jack Kerouac43.HEART OF DARKNESS by Joseph Conrad44.YARROW by Charles de Lint45.AT THE MOUNTAINS OF MADNESS by H.P. Lovecraft46.ONE LONELY NIGHT by Mickey Spillane47.MEMORY AND DREAM by Charles de Lint48.TO THE LIGHTHOUSE by Virginia Woolf49.THE MOVIEGOER by Walker Percy50.TRADER by Charles de Lint51.THE HITCHHIKER’S GUIDE TO THE GALAXY by Douglas Adams52.THE HEART IS A LONELY HUNTER by Carson McCullers53.THE HANDMAID’S TALE by Margaret Atwood54.BLOOD MERIDIAN by Cormac McCarthy55. A CLOCKWORK ORANGE by Anthony Burgess56.ON THE BEACH by Nevil Shute57. A PORTRAIT OF THE ARTIST AS A YOUNG MAN by James Joyce58.GREENMANTLE by Charles de Lint59.ENDER’S GAME by Orson Scott Card60.THE LITTLE COUNTRY by Charles de Lint61.THE RECOGNITIONS by William Gaddis62.STARSHIP TROOPERS by Robert Heinlein63.THE SUN ALSO RISES by Ernest Hemingway64.THE WORLD ACCORDING TO GARP by John Irving65.SOMETHING WICKED THIS WAY COMES by Ray Bradbury66.THE HAUNTING OF HILL HOUSE by Shirley Jackson67.AS I LAY DYING by William Faulkner68.TROPIC OF CANCER by Henry Miller69.INVISIBLE MAN by Ralph Ellison70.THE WOOD WIFE by Terri Windling71.THE MAGUS by John Fowles72.THE DOOR INTO SUMMER by Robert Heinlein73.ZEN AND THE ART OF MOTORCYCLE MAINTENANCE by Robert Pirsig74.I, CLAUDIUS by Robert Graves75.THE CALL OF THE WILD by Jack London76.AT SWIM-TWO-BIRDS by Flann O’Brien77.FARENHEIT 451 by Ray Bradbury78.ARROWSMITH by Sinclair Lewis79.WATERSHIP DOWN by Richard Adams81.THE HUNT FOR RED OCTOBER by Tom Clancy82.GUILTY PLEASURES by Laurell K. Hamilton83.THE PUPPET MASTERS by Robert Heinlein84.IT by Stephen King85.V. by Thomas Pynchon86.DOUBLE STAR by Robert Heinlein87.CITIZEN OF THE GALAXY by Robert Heinlein88.BRIDESHEAD REVISITED by Evelyn Waugh89.LIGHT IN AUGUST by William Faulkner90.ONE FLEW OVER THE CUCKOO’S NEST by Ken Kesey91. A FAREWELL TO ARMS by Ernest Hemingway92.THE SHELTERING SKY by Paul Bowles93.SOMETIMES A GREAT NOTION by Ken Kesey94.MY ANTONIA by Willa Cather95.MULENGRO by Charles de Lint96.SUTTREE by Cormac McCarthy97.MYTHAGO WOOD by Robert Holdstock98.ILLUSIONS by Richard Bach99.THE CUNNING MAN by Robertson Davies。
Beloved-ToniMorrison
I think that the mother of Seth in the novel of Toni Morrison's "Beloved" loves her children very much. Although Seth personally killed his daughter, but all these precisely because that she excessively love her children and she did not want her children are subject to inhuman torture and treatment , so she selected such a way to take the children to the "safe place "---- paradise.There's an old Chinese saying :"all men, good or bad, rarely illtreat their own children". But in slavery system, slave children born are treated as private property of slave owners, as a mother who does not have any choice. Therefore, at that time, many black mothers in order to prevent their sons and daughters to be slaves who do not have any dignity,that they would rather kill their own children personally.Under the double oppression and humiliation of slavery and racism, as a mother, she can not fulfill her obligations, pain and suffering which has been suppressed long at the heart make Seth out of shape. She regarded her children not only as the best part of her life, but also the continuation of her life.When "school teachers" are ready to take her children away, she will naturally feel that this is a devastating blow to her: thus she will lose the best things in her life, even life. In the white man's culture, infanticide is a serious cultural taboo. It is an unforgivable crime. However, in the black culture, it is a mean of rescue and revenge and can be understood and forgiven.Although flight and kill her daughter has past 18 years long,but the nightmare moment of the past had not stopped on the entanglement of Seth. In order to engraved the dead daughter's name on the tombstone, she gave a woman's cherished chastity.Making a ten minutes transaction with lettering worker, she got exchange that her daughter's name engraved: beloved. Seth once said: "Without my child, I can not breathe." She had suffered inhuman torture,she wanted to protect their children so that they will not suffer what she had suffered, she never does not allow it to happen again on the the body of her children.In addition, Seth to Denver's connivance, on one hand, is a true reflection of her lovingness to her children; on the other hand, it is also her inner pain release after she killed her beloved. She devoted all her love to Denver so that she could find a trace of comfort and a way to reduce her evil.Later beloved reincarnated back to the side of Seth. While realized that beloved is her daughter, Seth was overjoyed, and even more made sure that her correctness of the behaviour she had do. She believed that beloved must be not blame her. So she frantically expressed her love for beloved: to please her, despite beloved devouring his own life.As the rebels of the society at that time, Seth was so leave no stone unturned to love her children so that they no longer live in terror of slavery. To this end, she was scarred and her mentality was distorted bylife. History made her maternal love beyond recognition. "Beloved" - it is a symbol, an engraved mark on tombstone, is the panic, pain and humble memories to love one.。
英语的读书笔记的格式是什么求Toni Morrison的作品的简介
英语的读书笔记的格式是什么?求Toni Morrison的作品的简介(中英文都行)?最佳答案读书笔记分为摘录笔记、提纲笔记、评注笔记、心得笔记四种。
摘录笔记就是把所读文章的好句子、好材料摘录下来的笔记。
这种笔记有的同学小学时就做过，但是坚持下来的人很少。
摘录笔记做多了，经常读一读，对于提高我们的语言表达能力很有帮助，在作文时可以参考、模仿，有的甚至可以直接引用。
提纲笔记就是把所读文章的要点归纳记录下来的笔记。
它对于我们阅读分析很有帮助，也有助于我们提高作文的构思能力。
如果所读的书是自己的书，还可以在书的空白处写下自己看法、疑问、评论等，也可以做一些记号。
这就是评注笔记。
它会加强我们对文章的理解、记忆，作文时如果要参考、模仿渡过的文章，有没有做过评注的，效果大不一样。
心得笔记简单的就是扼要地写一写读书的心得，可以不过多考虑格式，把心得记下来即可。
上一讲我们说找文章的“眼睛”，实际就是一种心得，你把它记录下来，不用过多地展开议论，这就是心得笔记。
广义地讲，读后感也是心得笔记之一，但人们一般都把读后感独立地提出来讲解和练习。
我们也这样做。
BelovedIn the troubled years following the Civil War, the spirit of a murdered child haunts the Ohio home of a former slave. This angry, destructive ghost breaks mirrors, leaves its fingerprints in cake icing, and generally makes life difficult for Sethe and her family; nevertheless, the woman finds the haunting oddly comforting for the spirit is that of her own dead baby, never named, thought of only as Beloved.A dead child, a runaway slave, a terrible secret--these are the central concerns of Toni Morrison''s Pulitzer Prize-winning Beloved. Morrison, a Nobel laureate, has written many fine novels, including Song of Solomon, The Bluest Eye, and Paradise--but Beloved is arguably her best. To modern readers, antebellum slavery is a subject so familiar that it is almost impossible to render its horrors in a way that seems neither clichéd nor melodramatic. Rapes, beatings, murders, and mutilations are recounted here, but they belong to characters so precisely drawn that the tragedy remains individual, terrifying to us because it is terrifying to the sufferer. And Morrison is master of the telling detail: in the bit, for example, a punishing piece of headgear used to discipline recalcitrant slaves, she manages to encapsulate all of slavery''s many cruelties into one apt symbol--a device that deprives its wearer of speech. "Days after it was taken out, goose fat was rubbed on the corners of the mouth butnothing to soothe the tongue or take the wildness out of the eye." Most importantly, the language here, while often lyrical, is never overheated. Even as she recalls the cruelties visited upon her while a slave, Sethe is evocative without being overemotional: "Add my husband to it, watching, above me in the loft--hiding close by--the one place he thought no one would look for him, looking down on what I couldn''t look at at all. And not stopping them--looking and letting it happen.... And if he was that broken then, then he is also and certainly dead now." Even the supernatural is treated as an ordinary fact of life: "Not a house in the country ain''t packed to its rafters with some dead Negro''s grief. We lucky this ghost is a baby," comments Sethe''s mother-in-law.Beloved is a dense, complex novel that yields up its secrets one by one. As Morrison takes us deeper into Sethe''s history and her memories, the horrifying circumstances of her baby''s death start to make terrible sense. And as past meets present in the shape of a mysterious young woman about the same age as Sethe''s daughter would have been, the narrative builds inexorably to its powerful, painful conclusion. Beloved may well be the defining novel of slavery in America, the one that all others will be measured by. --Alix Wilber哇，好容易给你找到Toni Morrison的资料，网上关于她的并不多，希望下面的对你有用吧：）/c?word=%B5%A3%3B%A9g%3 B%BC%AF%A8%BD%B4%CB&url=http%3A//pro%2Eli hpao%2Ecom/wiki/wiki%2Ephp%3F%E7%AB%A5%E5 %A6%AE%E2%80%A7%E6%91%A9%E9%87%8C%E 6%A3%AE%E7%9A%84%E3%80%8C%E6%96%B0% E9%BB%91%E4%BA%BA%E3%80%8D%E5%A5%B3 %E6%80%A7%E6%96%87%E5%A D%B8%E4%B9%8 B%E4%B8%80&b=0&a=87&user=baidu看找的地址也真够长的：）Toni Morrison的「新黑人」女性文学之一小说，从来就不是我的玩乐，而是我整个生命中为之付出一切的全部生命。
toni morrison
1993 Nobel Laureate in Literaturewho in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality.Toni Morrison, the daughter of Ramah and George Wofford, was born on February 18, 1931. Growing up in Lorain, Ohio, which was "an escape from stereotyped black settings -- neither plantation nor ghetto," Morrison, the second of four children, immersed herself in the close-knit community spirit and the folklore, myth, and supernatural beliefs of her culture. A common practice in her family was storytelling; after the adults had shared their stories, the children told their own. The importance of listening to stories and of creating them complemented Morrison's profound love of reading. In an interview with Jean Strouse, Morrison shared described her childhood experiences with literature: "Those books were not written for a little black girl in Lorain, Ohio, but they were so magnificently done that I got them anyway -- they spoke directly to me out of their own specificity."Upon graduating from high school, Morrison entered Howard to pursue a career in education. After obtaining a degree in English and in the classics, Morrison enrolledin graduate school at Cornell University where she wrote her master's thesis on the works of Virginia Woolf and William Faulkner. In 1955, Morrison began her teaching career at the Texas Southern University. She returned to Howard in 1957 as an English instructor and began working on her own writing. It was there that she met and married Harold Morrison, a Jamaican architect. They divorced in 1964, and Morrison moved to Syracuse, New York to become an editor for Random House. Raising her two sons, Harold Ford and Slade Kevin, Morrison continued working and writing.After many rejections, Holt, Rinehart, and Winston accepted The Bluest Eye for publication in 1970. During this time, Morrison mentored African American women writers, including Toni Cade Bambara and Gayl Jones and compiled and anthologized the works and histories of African-Americans. Subsequently, Morrison publishedSula, Song of Solomon, Beloved, Jazz, and most recently, Paradise. Her literary career is marked with many honors, including the National Book Critics Circle Award, the American Academy and Institute of Arts and Letters Award, the Pulitzer Prize, and the Robert F. Kennedy Award. Since 1988, Morrison has held the Robert F. Goheen Professorship of the Humanities at Princeton University and currently is the Chair of their Creative Writing Program. In 1993, Morrison was the first black woman to be awarded the Nobel Prize for literature. While giving a lecture at Princeton, Morrison was asked by a student "who she wrote for." She swiftly replied, "I want to write for people like me, which is to say black people, curious people, demanding people -- people who can't be faked, people who don't need to be patronized, people who have very, very high criteria." To this day, Toni Morrison continues to employ her "very, very high criteria" to challenge herself as both an educator and a writer.∙Bookso The Book of Mean People (2002)o The Big Box (2002)o Paradise (1998)o The Dancing Mind (1997)o Playing in the Dark: Whiteness and the Literary Imagination (1992)o Jazz (1992)o Beloved (1987)o Tar Baby (1981)o Song of Solomon (1977)o Sula (1974)o The Bluest Eye (1970)∙Play Productiono Dreaming Emmett (1986)∙Other Publicationso Arguing Immigration: The Debate over the Changing Face of America, edited by Nicolaus Mills. (1994)o Birth of Nationhood: Gaze, Script, and Spectacle in the O.J.Simpson Case, edited by Toni Morrison and Claudia Brodsky Lacour.(1997)o The Black Book, compiled by Middleton Harris, edited by Morrison.(1974)o"Rootedness: The Ancestor as Foundation," in Black W omen Writers (1950-1980): A Critical Evaluation, edited by Mari Evans. (1984) o Race-ing Justice, En-Gendering Power: Essays on Anita Hill, Clarence Thomas, and the Construction of Social Reality, edited byMorrison. (1992)o To Die for the People: The Writings of Huey P. Newton, edited by Morrison. (1995)Do you read your reviews?Oh, yes.What did you think of Michiko Kakutani's strongly negative review of "Paradise" in the New York Times?Well, I would imagine there would be some difference of opinion on what the book is like or what it meant. Some people are maybe more invested in reading it from a certain point of view. The daily review in The New York Times was extremely unflattering about this book. And I thought, more to the point, it was not well written. The unflattering reviews are painful for short periods of time; the badly written ones are deeply, deeply insulting. That reviewer took no time to really read the book.You don't feel you need to protect yourself from listening to critics?You can't.You need to know what's being said?I know there are authors who find it healthier for them, in their creative process, to just not look at any reviews, or bad reviews, or they have them filtered, because sometimes they are toxic for them. I don't agree with that kind of isolation. I'm very much interested in how African-American literature is perceived in this country, and written about, and viewed. It's been a long, hard struggle, and there's a lot of work yet to be done. I'm especially interested in how women's fiction is reviewed and understood. And the best way to do that is to read my own reviews, for reasons that are not about how I write. I mean, it doesn't have anything to do with the work. I'm not entangled at all in shaping my work according to other people's views of how I should have done it, how I succeeded at doing it. So it doesn't have that kind of effect on me at all. But I'm very interested in the responses in general. And there have been some very curious and interesting things in the reviews so far."Paradise" has been called a "feminist" novel. Would you agree with that?Not at all. I would never write any "ist." I don't write "ist" novels.Why distance oneself from feminism?In order to be as free as I possibly can, in my own imagination, I can't take positions that are closed. Everything I've ever done, in the writing world, has been to expand articulation, rather than to close it, to open doors, sometimes, not even closing the book -- leaving the endings open for reinterpretation, revisitation, a little ambiguity. I detest and loathe [those categories]. I think it's off-putting to some readers, who may feel that I'm involved in writing some kind of feminist tract. I don't subscribe topatriarchy, and I don't think it should be substituted with matriarchy. I think it's a question of equitable access, and opening doors to all sorts of things.Because the book has so many women characters, it's easy to label.Yes. That doesn't happen with white male writers. No one says Solzhenitsyn is writing only about those Russians, I mean, what is the matter with him? Why doesn't he write about Vermont? If you have a book full of men, and minor female characters --No one even notices. No one blinks that Hemingway has this massive problem with women.No one blinks at all.Many of the male characters in "Paradise" have severe problems. I was wondering if you yourself identified with any of them as morally strong characters?I suppose the one that is closest to my own sensibility about moral problems would be the young minister, Rev. Maisner. He's struggling mightily with the tenets of his religion, the pressures of the civil rights, the dissolution of the civil rights.And he's worried about the young.And the young. He's very concerned that they're being cut off, at a time when, in fact, he probably was right, there was some high expectations laid out for them, and suddenly there was a silence, and they were cut off.He's like Lev in "Anna Karenina."Right.Struggling with the moral --He's not positive about all of it, but he wants to open up the discussion. He wants to do this terrible thing, which is listen to the children. Twice it's been mentioned or suggested that "Paradise" will not be well studied, because it's about this unimportant intellectual topic, which is religion."Paradise" has also been called a "difficult" book.That always strikes me -- it makes me breathless -- to be told that this is "difficult" writing. That nobody in the schools is going to want to talk about all of these issues that are not going on now.Do they say that about Don DeLillo's "Mao II," because it involves cults?No, there's a different kind of slant, I think. Different expectations. Differe nt yearnings, I think, for black literature.You mean, they want you to step into what they've already heard?And say, once again, "It's going to be all right, nobody was to blame." And I'm not casting blame. I'm just trying to look at something without blinking, to see what it was like, or it could have been like, and how that had something to do with the way we live now. Novels are always inquiries for me.Did you have any relationship to the word "feminism" when you were growing up, or did you have a sense of yourself first as black and then as female?I think I merged those two words, black and feminist, growing up, because I was surrounded by black women who were very tough and very aggressive and who always assumed they had to work and rear children and manage homes. They had enormously high expectations of their daughters, and cut no quarter with us; it never occurred to me that that was feminist activity. You know, my mother would walk down to a theater in that little town that had just opened, to make sure that they were not segregating the population -- black on this side, white on that. And as soon as it opened up, she would go in there first, and see where the usher put her, and look around and complain to someone. That was just daily activity for her, and the men as well. So it never occurred to me that she should withdraw from that kind of confrontation with the world at large. And the fact that she was a woman wouldn't deter her. She was interested in what was going to happen to the children who went to the movies -- the black children -- and her daughters, as well as her sons. So I was surrounded by people who took both of those roles seriously. Later, it was called "feminist" behavior. I had a lot of trouble with those definitions, early on. And I wrote some articles about that, and I wrote "Sula," really, based on this theoretically brand new idea, which was: Women should be friends with one another. And in the community in which I grew up, there were women who would choose the company of a female friend over a man, anytime. They were really "sisters," in that sense.Do you keep the company of female writers? Do you find a need for that?I really have very few friends who are writers. I have some close friends who are writers, but that's because they're such extraordinary people. The writing is almost incidental to the friendship, I think. It was interesting to me that when books by black women first began to be popular, there was a non-articulated, undiscussed, umbrella rule that seemed to operate, which was: Never go into print damning one another. We were obviously free to loathe each other's work. But no one played into the "who is best." There was this marvelous absence of competition among us. And every now and then I'd see a review -- a black woman reviewer take another black woman writer,a critic usually, on -- but usually it's in that field of cultural criticism. Because it was always understood that this was a plateau that had a lot of space on it.。
最蓝的眼睛英文版
最蓝的眼睛英文版The Bluest Eye: notes on history, community, and black female subjectivity by Jane Kuenz.In Toni Morrison's The Bluest Eye, the Breedloves' storefront apartment is graced overhead by the home of three magnificent whores, each a tribute to Morrison's confidence in the efficacy of the obvious. The novel's unhappy convergence of history, naming and bodies--delineated so subtly and variously elsewhere--is, in these three, signified most simply and most crudely by their bodies and their names: Poland, China, the Maginot Line. With these characters, Morrison literalizes the novel's overall conflation of black female bodies as the sites of fascist invasions of one kind or another, as the terrain on which is mapped the encroachment and colonization of African-American experiences, particularly those of its women, by a seemingly hegemonic white culture. The Bluest Eye as a whole documents this invasion--and its concomitant erasure of specific local bodies, histories, and cultural productions--in terms of sexuality as it intersects with commodity culture. Furthermore, this mass culture and, more generally, the commodity capitalism that gave rise to it, is in large part responsible--through its capacity to efface history--for the "disinterestedness" that Morrison condemns throughout the novel. Beyond exempting this, Morrison's project is to rewrite the specific bodies and histories of the black Americans whose positiveimages and stories have been eradicated by commodity culture. She does this formally by shifting the novel's perspective and point of view, a narrative tactic that enables her, in the process, to represent black female subjectivity as a layered, shifting and complex reality.The disallowance of the specific cultures and histories of African-Americans and black women especially is figured in The Bluest Eye primarily as a consequence of or sideline to the more general annihilation of popular forms and images by an ever more all-pervasive and insidious mass culture industry. This industry increasingly disallows the representation of any image not premised on consumption or the production of normative values conducive to it. These values are often rigidly tied to gender and are race-specific to the extent that racial and ethnic differences are not allowed to be represented. One lesson from history, as Susan Willis reiterates, is that "in mass culture many of the social contradictions of capitalism appear to us as if those very contradictions had been resolved" ("I Shop" 183). Among these contradictions we might include those antagonisms continuing in spite of capitalism's benevolent influence, along the axes of economic privilege and racial difference. According to Willis, it is because "all the models [in mass cultural representation] are white"--either in fact or by virtue of their status as "replicants ... devoid of cultural integrity"--that the differences in race or ethnicity (and class, we might add) and thecontinued problems for which these differences are a convenient excuse appear to be erased or made equal "at the level of consumption" ("I Shop" 184). In other words, economic, racial and ethnic difference is erased and replaced by a purportedly equal ability to consume, even though what is consumed are more or less competing versions of the same white image.There is evidence of the presence and influence of this process of erasure and replacement throughout The Bluest Eye. For example, the grade school reader that prefaces the text was (and in many places still is) a ubiquitous, mass-produced presence in schools across the country. Its widespread use made learning the pleasures of Dick and Jane's commodified life dangerously synonymous with learning itself. Its placement first in the novel makes it the pretext for what is presented after: As the seeming given of contemporary life, it stands as the only visible model for happiness and thus implicitly accuses those whose lives do not match up. In 1941, and no less so today, this would include a lot of people. Even so, white lower-class children can at least more easily imagine themselves posited within the story's realm of possibility. For black children this possibility might require a double reversal or negation: Where the poor white child is encouraged to forget the particulars of her present life and look forward to a future of prosperity--the result, no doubt, of forty years in Lorain's steel mills--a black child like Pecola must,in addition, see herself, in a process repeated throughout The Bluest Eye, in (or as) the body of a white little girl. In other words, she must not see herself at all. The effort required to do this and the damaging results of it are illustrated typographically in the repetition of the Dick-and-Jane story first without punctuation or capitalization, and then without punctuation, capitalization, or spacing.。
最蓝的眼睛-莫里森
Toni Morrison and 《The Bluest Eye》I、Toni MorrisonToni Morrison (born Chloe Anthony Wofford on February 18, 1931), is a Nobel Prize-winning American author, editor, and professor. Her novels are known for their epic themes, vivid dialogue, and richly detailed black characters; among the best known are her novels The Bluest Eye, Song of Solomon, and Beloved, which won the Pulitzer Prize for Fiction in 1988. In 2001 she was named one of the "30 Most Powerful Women in America" by Ladies' Home Journal.1、Early life and careerToni Morrison was born in Lorain, Ohio, the second of four children in a working-class family. As a child, Morrison read constantly; among her favorite authors were Jane Austen and Leo Tolstoy. Morrison's father, George Wofford, a welder by trade, told her numerous folktales of the black community (a method of storytelling that would later work its way into Morrison's writings).In 1949 Morrison entered Howard University to study English. While there she began going by the nickname of "Toni," which derives from her middle name, Anthony. Morrison received a B.A. in English from Howard in 1953, then earned a Master of Arts degree, also in English, from Cornell University in 1955, for which she wrote a thesis on suicide in the works of William Faulkner and Virginia Woolf. After graduation, Morrison became an English instructor at Texas Southern University inHouston, Texas (from 1955-57) then returned to Howard to teach English. She became a member of Alpha Kappa Alpha Sorority, Inc.In 1958 she married Harold Morrison. They had two children, Harold and Slade, and divorced in 1964. After the divorce she moved to Syracuse, New York, where she worked as a textbook editor. Eighteen months later she went to work as an editor at the New York City headquarters of Random House.As an editor, Morrison played an important role in bringing African American literature into the mainstream. She edited books by such black authors as Toni Cade Bambara, Angela Davis and Gayl Jones.2、Writing careerMorrison began writing fiction as part of an informal group of poets and writers at Howard University who met to discuss their work. She went to one meeting with a short story about a black girl who longed to have blue eyes. The story later evolved into her first novel, The Bluest Eye (1970), which she wrote while raising two children and teaching at Howard. In 2000 it was chosen as a selection for Oprah's Book Club.In 1973 her novel Sula was nominated for the National Book Award. Her third novel, Song of Solomon (1977), brought her national attention. The book was a main selection of the Book-of-the-Month Club, the first novel by a black writer to be so chosen since Richard Wright's Native Son in 1940. It won the National Book Critics Circle Award.In 1988 Morrison's novel Beloved became a critical success. When the novel failed to win the National Book Award as well as the National Book Critics Circle Award, a number of writers protested the omission. Shortly afterward, it won the Pulitzer Prize for fiction. Beloved was adapted into the 1998 film of the same name starring Oprah Winfrey and Danny Glover. Morrison later used Margaret Garner's life story again in an opera, Margaret Garner, with music by Richard Danielpour. In May 2006, The New York Times Book Review named Beloved the best American novel published in the previous twenty five years.In 1993 Morrison was awarded the Nobel Prize in Literature, the first black woman to win it. Her citation reads: Toni Morrison, "who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality." Shortly afterwards, a fire destroyed her Rockland County, New York home. Although her novels typically concentrate on black women, Morrison does not identify her works as feminist. She has stated that she thinks "it's off-putting to some readers, who may feel that I'm involved in writing some kind of feminist tract. I don't subscribe to patriarchy, and I don't think it should be substituted with matriarchy. I think it's a question of equitable access, and opening doors to all sorts of things. In addition to her novels, Morrison has also co-written books for children with her youngest son, Slade Morrison, who works as a painter and musician.3、Later lifeMorrison taught English at two branches of the State University of New York. In 1984 she was appointed to an Albert Schweitzer chair at the University at Albany, The State University of New York. From 1989 until her retirement in 2006, Morrison heldthe Robert F. Goheen Chair in the Humanities at Princeton University.Though based in the Creative Writing Program, Morrison did not regularly offer writing workshops to students after the late 1990s, a fact that earned her some criticism. Rather, she has conceived and developed the prestigious Princeton Atelier, a program that brings together talented students with critically acclaimed, world-famous artists. Together the students and the artists produce works of art that are presented to the public after a semester of collaboration. In her position at Princeton, Morrison used her insights to encourage not merely new and emerging writers, but artists working to develop new forms of art through interdisciplinary play and cooperation. At its 1979 commencement ceremonies, Barnard College awarded her its highest honor, the Barnard Medal of Distinction. Oxford University awarded her an honorary Doctor of Letters degree in June 2005.In November 2006, Morrison visited the Louvre Museum in Paris as the second in its "Grand Invité" program to guest-curate a month-long series of events across the arts on the theme of "The Foreigner's Home."She currently holds a place on the editorial board of The Nation magazine.PoliticsMorrison caused a stir when she called Bill Clinton "the first Black President;" saying "Clinton displays almost every trope of blackness: single-parent household, born poor, working-class, saxophone-playing, McDonald's-and-junk-food-loving boy from Arkansas." This opinion was both adopted by Clinton supporters like the Congressional Black Caucus (CBC) and ridiculed by critics. It should be noted that, in the context of the 2008 Democratic Primary campaign, during which Clinton made some remarks that were construed as unsympathetic to African-Americans, Morrison revisited her statement. Morrison stated to Salon magazine: "People misunderstood that phrase. I was deploring the way in which President Clinton was being treated, vis-à-vis the sex scandal that was surrounding him. I said he was being treated like a black on the street, already guilty, already a perp. I have no idea what his real instincts are, in terms of race." However, in the 2008 presidential race, Morrison has endorsed Senator Barack Obama over Senator Hillary Clinton.II、The Bluest EyeThe Bluest Eye is 1970 novel by American author Nobel Prize recipient Toni Morrison. Morrison's first novel, which was written while Morrison taught at Howard University and was raising her two sons on her own, the story is about a year in the life of a young black girl in Lorain, Ohio named Pecola. It takes place against the backdrop of America's Midwest as well as the Great Depression. The Bluest Eye is told from five perspectives: Pecola's, her mother's, her father's, her friend Claudia's, and Soaphead Church's. Because of the controversial nature of the book, which deals with racism, incest, and child molestation, there have been numerous attempts to ban it from schools and libraries. In 2000, the novel became a selection for Oprah's Book Club.1、Plot summaryThe narrator advises the reader not to look at the "why" of the story but at the "how." The novel, with child sex, irresponsible adults, and corrupt society seeks to show the misery of black people living in a white society. When she indirectly refers to Pecola as "dirt" and to the Breedloves as animals, she is exposing the ills to which they are submitted. Soaphead Church's letter to God is a summary of the insanity of the world around him, as the novel could be for the author. The Bluest Eye is the story of eleven-year-old Pecola Breedlove--a black girl who is regarded “ugly” by everyone, including her parents--who prays for her eyes to turn blue: so that she will be beautiful, so that people will look at her, so that her world will be different. She is raped by her drunk father and get pregnant, later she gives birth to a stillborn（夭折的）child. Finally Pecola lose her mind and spend the rest of her life as a madwoman thinking she has the bluest eyes of the world…Pecola's parents' history is examined throughout the novel, showing who they are in three main parts: her father Cholly's background, her mother Pauline's past life, and the couple's conflicted marriage. Cholly was deserted by both his parents, and was rebuked when he tried to contact his father. His son seems to do the same thing later on, running away repeatedly.In the afterword, Morrison explains that she is attempting to humanize all the characters that attack Pecola or cause her to be the way she is; that it is not a matter where one person can be pointed out as being the cause of all this pain.Ideas of beauty, particularly those that relate to racial characteristics, are a majortheme in this book. The title refers to Pecola's wish that her eyes would turn blue. Claudia is given a white baby doll to play with and is constantly told how lovely it is. Insults to the appearance are often given in racial terms. A light-skinned schoolmate is favored by the teachers.There is a contrast between the world shown in the cinema, the one in which Pauline is a servant, the WASP society, and the existence the main characters live in. Most chapters' titles are extracts from a Dick and Jane reading book, presenting a happy white family. This family is contrasted with Pecola's existence.ThemeSource of the tragedy: black people accepted and internalized white values and developed self-contempt and self-hatred for themselves or other black people, making some of their own people victims and scapegoats .The impact of mainstream white culture upon black people, which make them victim of the circumstances.2、CharactersPecola Breedlove - The protagonist of the novel, a poor black girl who believes she is ugly because she and her community base their ideals of beauty on "whiteness". The title The Bluest Eye is based on Pecola's fervent wishes for beautiful blue eyes. She is rarely developed during the story, which is purposely done to underscore the actions of the other characters. Her insanity at the end of the novel is her only way to escape the world where she cannot be beautiful and to get those blue eyes she wanted to get since the beginning of the novel.Cholly Breedlove - Pecola's abusive father, an alcoholic man who rapes his daughter at the end of the novel. Rejected by his father and discarded by his mother as a four day old baby, Cholly was raised by his Great Aunt Jimmy. After she dies, Cholly runs away and pursues the life of a "free man", yet he is never able to escape his painful past, nor can he live with the mistakes of his present. Tragically, he rapes his daughter in a gesture of madness mingled with affection. He realizes he loves her, but the only way he can express it is to rape her.Pauline Breedlove - Pecola's mother. Mrs. Breedlove is married to Cholly and lives the self-righteous life of a martyr, enduring her drunk husband and raising her two awkward children as best she can. Mrs. Breedlove is a bit of an outcast herself with her shriveled foot and Southern background. Mrs. Breedlove lives the life of a lonely and isolated character who escapes into a world of dreams, hopes and fantasy that turns into the motion pictures she enjoys viewing.Sam Breedlove - Pecola's older brother. Sammy is Cholly and Mrs. Breedlove's one son. Sam's part in this novel is relatively low key. Like his sister Pecola, he is affected by the disharmony in their home and deals with his anger by running away from home.Claudia MacTeer - Much of the novel is told from the perspective of Claudia. She is the primary narrator in the book. Claudia is Pecola's friend and the younger sister of Frieda MacTeer. The MacTeer family serves as a foil for the Breedloves, and althoughboth families are poor, Mr. and Mrs. MacTeer are strict but loving parents towards their children - a sharp contrast to the dysfunctional home of the Breedloves.Frieda MacTeer - Claudia's older sister and close companion. The two MacTeer girls are often seen together and while most of the story is told through Claudia's eyes, her sister Frieda plays a large role in the novel.Henry Washington - a man who comes to live with the MacTeer family and is subsequently thrown out by Claudia's father when he inappropriately touches Frieda. Soaphead Church - a pedophile and mystic fortune teller who "grants" Pecola her wish for blue eyes. The character is somewhat based on Morrison's Jamaican ex-husband.Great Aunt Jimmy - Cholly's aunt who takes him in to raise after his parents abandon him. She dies when he is a young boy.Maureen Peal - A light-skinned, wealthy mulatto girl who is new at the local school. She accepts everyone else’s assumption that she is superior and is capable of both generosity and cruelty. She changes her attitude throughout the novel towards Pecola.3、AdaptationThe Steppenwolf Theatre Company in Chicago, Illinois commissioned Lydia R. Diamond to adapt the novel into a full-length stage production. The play was developed through the Steppenwolf for Young Adults and the New Plays Initiative where it received its world premiere in February, 2005. The play was reprised in Chicago at the Steppenwolf Theatre in October, 2006 by popular demand. The Bluest Eye received its off-Broadway premiere at the New Victory Theater in New York in November, 2006.The Bluest Eye written by African American writer Toni Morrison narrates a tragic story about a black girl who longs for a pair of blue eyes owned exclusively by white people. Strongly influenced by white dominated culture, many other black women are also lost in the myth of white beauty. However, in addition to the description of this negative impact, Morrison, in her novel, also explores effective approaches to demystify the myth of white beauty and maintain the real-self of the black people through the voice of a rebellious narrator.4、MotifsMotifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.The Dick-and-Jane NarrativeThe novel opens with a narrative from a Dick-and-Jane reading primer, a narrative that is distorted when Morrison runs its sentences and then its words together. The gap between the idealized, sanitized, upper-middle-class world of Dick and Jane (who we assume to be white, though we are never told so) and the often dark and ugly world of the novel is emphasized by the chapter headings excerpted from the primer. But Morrison does not mean for us to think that the Dick-and-Jane world is better—in fact, it is largely because the black characters have internalized white Dick-and-Jane values that they are unhappy. In this way, the Dick and Jane narrative and the novel provide ironic commentary on each other.The Seasons and NatureThe novel is divided into the four seasons, but it pointedly refuses to meet the expectations of these seasons. For example, spring, the traditional time of rebirth and renewal, reminds Claudia of being whipped with new switches, and it is the season when Pecola’s is raped. Pecola’s baby dies in autumn, the season of harvesting. Morrison uses natural cycles to underline the unnaturalness and misery of her characters’ ex periences. To some degree, she also questions the benevolence of nature, as when Claudia wonders whether “the earth itself might have been unyielding” to someone like Pecola.Whiteness and ColorIn the novel, whiteness is associated with beauty and cleanliness (particularly according to Geraldine and Mrs. Breedlove), but also with sterility. In contrast, color is associated with happiness, most clearly in the rainbow of yellow, green, and purple memories Pauline Breedlove sees when making love with Cholly. Morrison uses this imagery to emphasize the destructiveness of the black community’s privileging of whiteness and to suggest that vibrant color, rather than the pure absence of color, is a stronger image of happiness and freedom.Eyes and VisionPecola is obsessed with having blue eyes because she believes that this mark of conventional, white beauty will change the way that she is seen and therefore the way that she sees the world. There are continual references to other characters’ eyes as well—for example, Mr. Yacobowski’s hostility to Pecola resides in the blankness in his own eyes, as well as in his inability to see a black girl. This motif underlines the novel’s repeated concern for the difference between how we see and how we are seen, and the difference between superficial sight and true insight.Dirtiness and CleanlinessThe black characters in the novel who have internalized white, -middle-class values are obsessed with cleanliness. Geraldine and Mrs. Breedlove are excessively concerned with housecleaning—though Mrs. Breedlove cleans only the house of her white employers, as if the Breedlove apartment is beyond her help. This fixation on cleanliness extends into the women’s moral and emotional quests for purity, but the obsession with domestic and moral sanitation leads them to cruel coldness. In contrast, one mark of Claudia’s strength of character is her pleasure in her own dirt, a pleasure that represents self-confidence and a correct understanding of the nature of happiness.5、SymbolsSymbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.The HouseThe novel begins with a sentence from a Dick-and-Jane narrative: “Here is thehouse.” Homes not only indicate socioeconomic status in this novel,but they also symbolize the emotional situations and values of the characters who inhabit them. The Breedlove -apartment is miserable and decrepit, suffering from Mrs. Breedlove’s preference for her employer’s home over her own and symbolizing the misery of the Breedlove family. The MacTeer house is drafty and dark, but it is carefully tended by Mrs. MacTeer and, according to Claudia, filled with love, symbolizing that family’s comparative cohesion.Bluest Eye(s)To Pecola, blue eyes symbolize the beauty and happiness that she associates with the white, middle-class world. They also come to symbolize her own blindness, for she gains blue eyes only at the cost of her sanity. The “bluest” eye could also mean the saddest eye. Furthermore, eye puns on I, in t he sense that the novel’s title uses the singular form of the noun (instead of The Bluest Eyes) to express many of the characters’ sad isolation.The MarigoldsClaudia and Frieda associate marigolds with the safety and well-being of Pecola’s baby. Their ceremonial offering of money and the remaining unsold marigold seeds represents an honest sacrifice on their part. They believe that if the marigolds they have planted grow, then Pecola’s baby will be all right. More generally, marigolds represent the constant renewal of nature. In Pecola’s case, this cycle of renewal is perverted by her father’s rape of her.。
epistolary novel定义
epistolary novel定义什么是“epistolary novel”（书信体小说）？“Epistolary novel” 是指以书信的形式来叙述故事的一种文学体裁。
通常，这类小说的情节会通过主要人物之间的书信往来来展开。
从十七世纪开始流行起来，直到今天都仍有不少读者喜欢这种文体。
通过采用书信的形式，这类小说不仅能够让情感和思想更为直接地传递给读者，还能够展现出不同人物的独特个性。
这种文学形式最早可以追溯到古希腊和古罗马时期的文学作品，其中一个著名的作品是希腊作家海峡斯著的《露西亚斯的侠盗》。
在近代，许多优秀的文学作品也采用了这种形式，比如英国作家布鲁门塔尔的《汤姆·琼斯》和法国作家勒热的《危险的情感》。
其中，法国作家勒热的《危险的情感》尤为引人注目，该书配有178个书信，通过这些书信展示了两位主要人物之间的矛盾与斗争。
以书信为形式的小说有很多优点。
首先，书信非常适合展现人物之间的情感和思想。
人们在书信中往往会更为直接地表达自己的内心世界，所以读者可以更好地了解作者想要传达的信息。
此外，在书信体小说中，每个角色都有机会以第一人称的视角展示自己的想法，这也让读者更容易理解和同情他们。
书信体小说还可以生成紧密的阅读体验，因为读者不仅可以阅读主要人物之间的书信，还可以了解他们在同一事件或情节下的不同观点。
当然，书信体小说也有一些局限性。
首先，书信体小说通常限制了叙述的广度。
因为故事只能通过书信来叙述，所以作者可能无法在书信中展现出所有的细节和情节。
其次，书信体小说需要作者在人物间频繁往来书信，这也可能导致情节的不连贯或人物的互动不自然。
此外，书信体小说也可能给读者带来一些挑战，因为他们需要通过不同的书信来拼凑出整个故事。
总的来说，尽管书信体小说有一些局限性，但它仍然是一种十分有趣和独特的文学形式。
通过采用书信的形式，这类小说能够更加深入地展示人物的情感和思想，给读者带来全新的阅读体验。
《宠儿》的母爱主题
《宠儿》的母爱主题【论文学科】英语语言文学论文【中文关键词】宠儿论文; 托妮·莫里森论文; 母爱论文; 伤痛论文; 愈合论文【中文题名】《宠儿》的母爱主题【英文题名】On the Maternal Love in Beloved【所属分类】哲学与人文科学,世界文学,各国文学【英文关键词】“Beloved”; “Toni Morrison”; “maternal love”; “trauma”; “healing”【中文摘要】托尼·莫里森,一九九三年诺贝尔文学奖得主,是当代美国文坛一位著名的黑人女作家。
《宠儿》是她最好的作品之一,取材于一篇真实的历史文献报道。
但奴隶主捕捉逃亡的玛格丽特一家时,她手刃自己的亲生女儿。
莫里森被这个故事深深地打动,决心找出慈爱的母亲杀死自己的女儿,却声称这是解脱,是母爱的本质。
在《宠儿》一书中,莫里森着重描写女主角,塞斯的心理状态,讲述了奴隶制下一个奴隶母亲的痛苦经历,探讨了在特定历史条件—奴隶制下的母爱及母爱遭受破坏的程度。
本文试图运用女性主义批评理论,通过对小说文本的分析,解读小说女主人公塞斯的母爱的本质及其母爱对子女的影响。
本论文分为五个部分:概述部分介绍莫里森写《宠儿》的缘由,概述其故事内容,总结评论界对其主题的分析。
简单介绍女性主义文学关于母性的批评理论及母爱的隐喻,为后面章节的分析提供背景资料。
第一章通过分析塞斯的经历及所受的伤痛,探讨了奴隶制是如何影响并扭曲了黑人母爱和(来源:ABCb2论23文网)莫里森如何让黑人母亲们的身体讲述了那不可能讲述的事情,从而总结出塞斯弑婴的深层原因,是被奴隶制剥夺母爱的可怕结果。
第二章分析了小说中其他人物对塞斯受到的母爱的伤痛所起的救治作用。
莫里森强调了黑人社区对个体的帮助。
第三章从奴隶制对伟大母亲的颠覆和母女间过密的关系两方面来分析《宠儿》中的母女关系。
笔者认为莫里森表明了黑人母亲在文化传承中的作用举足轻重,而女儿只有在了解母亲的历史之后,才能治愈自己的伤痛,更好面向未来的生活。
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美国当代著名非裔女作家托尼·莫里森的短篇小说《宣叙》，通过白人特怀拉的叙述,讲述了残疾黑人玛吉
遭受种族和性别歧视的残酷事实，凸显了性别、种族和文化的问题。
独特的叙述者、不同的叙述声音、细
腻的描写手法是这篇小说的特色。
从女性主义批评的角度看,作品刻画了罗伯特重构黑人女性新形象的成长历程。
论题点滴：
1.拒绝删除的记忆幽灵——从托尼·莫里森的《宣叙》谈起
本文试从记忆角度阐明托尼·莫里森短篇小说<宣叙>描写的是自我对负面记忆的主观处理、记忆对友谊的
挑战以及友谊与记忆的合谋,指出该小说的更深主题是借记忆拒绝遗忘、反省自我。
2.试论托尼·莫里森《宣叙》中的不可靠叙述
美国当代著名非裔女作家托尼·莫里森的短篇小说<宣叙>通过白人特怀拉的叙述,讲述了残疾黑人玛吉遭受种族和性别歧视的残酷事实.本文着重分析特怀拉第一人称叙述的不可靠性,旨在揭示不可靠叙述的文本功
能及与小说主题传达。
3.从莫里森的《宣叙》看美国黑人的成长
在《宣叙》中，莫里森展现了当代美国黑人在处理本民族历史与现状问题上的矛盾、挣扎与成长。
此处通
过对主人公罗伯塔的挖掘，揭示了当代美国黑人在面对种族问题和找寻自我道路上所普遍经历的迷失-觉醒-成熟的成长过程，并从中探寻出作者理想中的平等友爱的新种族关系。
韦恩·布斯(Wayne C.Booth)的不可靠叙述是指当叙述者所说所做与作家观念(也就是隐含作者的旨意)
不一致。
本文以美国黑人女作家托尼·莫里森(Toni Morrison)的短篇小说《宣叙》(Recitatif)为例,从种族等角度看叙述者对…玛吉‟的不同的陈述,试图寻找隐含作者的价值观,从而体会不可靠叙述在叙事学理论中,隐含作者的形成是发展的。
布斯指出:“当叙述者所说所做与作家的观念(也就是隐含作者的旨意)
一致的时候,我称他为可靠的叙述者,如果不一致,则称之为不可靠的叙述者。
”布斯之后的主要叙述学理论大致遵从了布斯的定义。
杰拉尔德·普林斯在其《叙述学词典》中认为,不可靠叙述者是这样的叙述者:“他的行为和准则和隐含作者的行为准则不一致;他的价值观念(趣味,判断,是非感)偏离了隐含作者的价值观念;他的叙述的可信性被该叙述的各种特征所打破。
” 很多关于《宣叙》作品的文章都关注的是
种族主义和女性主义,有的评论家为了体现黑人女性的自我觉醒,还将…麦吉‟与成年后的…罗伯塔‟进行比较,认为罗伯塔更好的宣叙了自我价值,追求黑人女性在社会中的自我重构,而…麦吉‟作为一个被剥夺话语权的黑人女性出现,与罗伯塔形成鲜明的对比。
但是从文本自身看来,这一叙述不合符事实,首先,文本在阐述“麦吉”是黑是白并不清楚,在文本的结尾,罗伯塔最后也无法确定“麦吉”是不是黑人,应该说…麦吉‟更多的是一个象征,而不是一个种族的代码。
You think I don’t know what your life is like just because I ain’t living it? I know what ever colored woman in this country is doing.” “What’s that?” “Dying. Just like me. But the difference is they dying like a stump. Me, I’m going down like one of those redwoods. I sure did live in this world.” “Really? What have you got to show for it?” “Show?To Who? Girl, I got my mind. And what goes on in it. Which is to say, I got me.” “Lonely, ain’t it?” “Yes. But my lonely is mine. Now your lonely is somebody else’s. Made by somebody else and handed to you. Ain’t that something? A secondhand lonely
— Sula。