This dissertation aims to map the black female subject in Toni Morrison¡¦s six fictions¡XThe Bluest Eye, Sula, Song of Solomon, Tar Baby, Beloved, and Jazz¡Xby exploring the dialectic between space, which produces power, and the body, which receives or/and resists the power. Since subjectivity relies on the interrelationship among mentality, space, and social power, I use psycho-geopolitical viewpoints about space and the body, which combine Henri Lefebvre¡¦s psycho-spatial concept of ¡§abstract space¡¨ reigned by a logic of visualization and Nigel Thrift¡¦s theory of ¡§personality¡¨ and ¡§socialization¡¨ referring to the individual¡¦s constant negotiations with power relations within space. The introductory chapter presents the motivation of this study, the historical context of the fictions, literature reviews on relative issues, and finally the methodology and organization of the whole thesis. Chapter Two, by explaining the sites of power, the body as the site for articulating the power, and the ensuing strategies of resistance, elaborates how the subtitle of my dissertation¡Xspace, body, and resistance¡X would work in Morrison¡¦s works. Then in each following chapter, two novels would be discussed. In Chapter Three, ¡§Positionality and Self-Love in Beloved and Jazz,¡¨ I study how Lefebvrezian spatial abstractions, through slavery and capitalism, present black female characters a deprived or distorted mirror image and consequently deny or corrupt their positionality and self-love. They then undergo a series of Thriftian socialization by first internalizing the white discourse and the urban mores, then by unearthing and letting go the historical repressed, and finally by recovering their love for self and others in order to reconstruct their subjectivities. They thus gain a budding sense of self. In Chapter Four, ¡§The Failure of Subjectivity in The Bluest Eye and Song of Solomon,¡¨ I would examine, in terms of Lefebvre¡¦s ¡§visualization¡¨ within space, how the urban discourse in the Northern setting influences the reading of the body and subordinates the female youngsters to a capitalist and patriarchal hierarchy of power. Chapter Five, ¡§Subjectivity with-out the Community: Sula and The Tar Baby,¡¨ is an attempt to analyze the black female characters¡¦ subjectivity construction upon claiming difference from the community, which confronts spatial abstraction by the phallic power embodied in racial colonization, patriarchy, and capitalism. The heroines thus take marginality or shift locations through journeys as strategies for resistance. The final chapter is a conclusion of the whole thesis.

Thesis (Ph.D.)--Brown University, 2001. / Available in film copy from University Microfilms International. Vita. Thesis advisor: Lewis R. Gordon. Includes bibliographical references (leaves 242-266). Also available online.

Thesis (M.S.)--Brigham Young University. Dept. of Geological Sciences, 2006. / Includes bibliographical references.

Thesis (Ph. D.)--University of Virginia, 2003. / Includes bibliographical references (leaves 239-246). Also available online through Digital Dissertations.

Thesis (M.C.S.)--Regent College, 2005. / Abstract and vita. Includes bibliographical references (leaves 113-118).

Universiẗat, Diss., 2003--Bonn.

This dissertation examines the imaginative ways in which three postcolonial writers overcome a fractured collective past by creating a double-voiced discourse narrative framework that allows them to envision a reality that might-have-been while acknowledging the presence of dominant discourses that are. Morrison, Condé, and Farah overlap contradictory forms in order to show that narrative boundaries are self-imposed, mythical, and arbitrary. Intersection among these differing narratives in each text creates dialogism--a balance between dominant and counter-discourse. Because the contrasting viewpoints of dominant and counter-discourse both have a historical perspective, Morrison, Condé, and Farah work to retain a delicate intertextual fabric in their novels--a fabric woven from several narratives to create a text that rests paradoxically on the task of revealing the narrative contradictions while also showing that they can't be completely separated from each other as the singular hegemonic voice argues.

Toni Morrison's novel The Bluest Eye from 1970, shows how the upbringing and society's norms can affect a young girl in an African-American society, where racism and a feeling of inferiority is the standards. Pecola's wishes for blue eyes since that may make her part of a world where she has never belonged. Her wish is not only a futile attempt to be looking differently but also a wish for a better life.

No description available.

A North Carolina Presbyterian minister and founder of Davidson College, Robert Hall Morrison was also a slave owner and father-in-law to three Confederate generals; yet he opposed slavery and often spouted anti-secessionist rhetoric. He preferred living in the Northern states. However, at the time of North Carolina's secession, he opted to stay in the South. Morrison expressed sentiments in letters written to family and close friends that together reveal no less than a paradoxical man. This thesis attempts to explore the contradictions expressed by Morrison in a series of letters, written primarily to a cousin and fellow Presbyterian minister, James Morrison, in the four decades leading to the Civil War. The letters unveil the contradictions that shaped Morrison and his views on slavery, secession and his society. In so doing, the thesis intends to flesh out an historic figure in North Carolina education and southern religion, and provide insights into various and similar contradictions and social issues in the antebellum South through the case study of one man. It examines paths he selected, and reveals Morrison as a fallible man who made strides in the name of education while questioning the inherently southern institution of evangelical religion. / Master of Arts