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Black people, and blackness as a general symbol, has traditionally occupied a marginal or disadvantaged position in American literature, as opposed to representations of white people and whitness as a general symbol. Morrison's fiction in effect reverses this representation and positions white people in the position of the Other.

In this essay, the novel Beloved, by Toni Morrison is observed using a working psychoanalytical approach. Story is observed as an important factor in engaging the reader on a personal level with the experience of trauma. By surveying Morrison’s use of imagery and language, this essay will examine how Morrison employs literary methods that imitate the psychological processes regarding how trauma is communicated to the waking state from the unconscious. The resulting testimony of the novel that arises as the result of these processes is also observed. This essay concludes that Morrison’s use of these literary methods functions to obligate the reader to involve themselves in the process of trauma and its resolution.

This study argues that Catholicism informs a major genre of African American literature in ways and with a significance that has gone largely unrecognized. Since their emergence in the 1960s and 1970s, contemporary narratives of slavery have challenged the traditional historiography of American slavery, radically revising how we remember that "peculiar institution." These fictional works disrupt the form and content of slave autobiography, suggesting that the conventions of Enlightenment rationalism to which antebellum texts were bound could not adequately represent the experience of enslavement. Scholarship on the genre has thus tended to focus on the way it undermines the rationalizing impulse of Enlightenment discourse, which in the U.S. as well as in Europe was determined by the ideals of the Protestant Reformation. But while the scholarly attention to Protestantism has yielded valuable insights regarding the contemporary slave narrative’s critique of the "unreason" of slavery, it cannot account for the striking presence of the Catholic themes and images at the margins of these texts that this dissertation uncovers, nor for the way that the religion is imaginatively linked to radical moments of historical revision. I argue that Catholicism undergirds the imaginative ways the genre expresses the inexpressible horror of enslavement and the legacy of those horrors in the present day. Because of its historical association with irrationality, superstition, and an aberrant supernaturalism, Catholicism is thus marshaled—with justified political hesitation—in the contemporary slave narrative as an oppositional category of discourse through which African American authors break with the historiographical methods of the Enlightenment and, in particular, with the rationalization of slavery characterizing the period. Chapter One analyzes two novels by Toni Morrison, Beloved and A Mercy, and her concept of "rememory." In Chapter Two, I examine the trope of spirit possession in Ernest Gaines's The Autobiography of Miss Jane Pittman and Leon Forrest’s Two Wings to Veil My Face. My final two chapters address temporal disjuncture in contemporary narratives of slavery: Chapter Three comprises readings of Phyllis Alesia Perry’s Stigmata and Charles Johnson’s Oxherding Tale, while in Chapter Four I focus on Edward P. Jones’s The Known World. / 2017-11-18T00:00:00Z

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Toni Morrison reinterprets and reconstitutes American history by placing the lives, stories and experiences of African Americans in a position of centrality, while relegating white American history and cultural traditions to the margins of her narratives. She rewrites American history from an alternative - African American woman's - perspective, and subverts the accepted racist and patriarchally inspired `truths' about life, love and women's experiences through her sympathetic depiction of murderous mother love and complex female relationships in Beloved. She writes about oppression, pain and suffering, and of the need for the acknowledgement and alleviation of the various forms of oppression that scar human existence. Morrison's engagement with healing in Beloved forms the central focus of this short dissertation. The novel is analysed in relation to Mary Douglas's `Two Bodies' theory, John Caputo's ideas on progressive Foucaultian hermeneutics and healing gestures, and Julia Martin's thoughts on alternative healing practices based on non-dualism and interconnectedness. Within this interdisciplinary context, Beloved is read as a `small start' to `creative engagement' with alternative healing practices (Martin, 1996:104). / English / M.A. (English)

A presente pesquisa tem como objetivo analisar, do ponto de vista descritivo, como foram realizadas as traduções de marcadores culturais presentes em duas obras da escritora afro-americana Toni Morrison: The Bluest Eye, traduzida por Manoel Paulo Ferreira como O Olho Mais Azul, e Beloved, traduzida por José Rubens Siqueira como Amada. Pretende-se analisar as escolhas e tendências tradutórias de cada tradutor diante das diferenças culturais entre a cultura fonte e a cultura meta. Para a realização deste estudo, apoiamo-nos no arcabouço teórico-metodológico dos Estudos da Tradução Baseados em Corpus (BAKER, 1993, 1995, 1996, 2000; CAMARGO 2005, 2007) e da Linguística de Corpus (BERBER SARDINHA, 2004).Para a investigação de marcadores culturais nos baseamos na reformulação realizada por Aubert (1981, 2006) a partir do trabalho sobre domínios culturais de Nida (1945). Para a extração e análise dos termos utilizamos o software WordSmith Tools versão 7.0. O presente estudo contém análises descritivas de 14 marcadores culturais selecionados a partir da lista de palavraschave gerada pelo WordSmith Tools, descrevendo as tendências e padrões tradutórios presentes nos textos meta e considerando, no âmbito da tradução, a especificidade dos romances e as diferenças culturais e históricas entre os Estados Unidos e o Brasil nos contextos históricos dos romances. / In this research, we intend to analyse, from the descriptive point of view, how the translations of cultural markers were held in two novels written by the Afro-American writer Toni Morrison: The Bluest Eye, translated by Manoel Paulo Ferreira as O Olho Mais Azul, and Beloved, translated by José Rubens Siqueira as Amada. We intend to analyse the choices and the translation tendencies of each translator before the cultural differences between the source culture and target culture. Our theoretical basis for the development of this research study is the theoretical and methodological approach of Corpus-Based Translation Studies (BAKER, 1993, 1995, 1996, 2000; CAMARGO 2005, 2007) and Corpus Linguistics (BERBER SARDINHA, 2004). We are also based on the study of cultural domains developed by Nida (1945) and reformulated by Aubert (1981, 2006). For term extraction and analysis, we used the WordSmith Tools software, version 7.0. So, this study contains descriptive analyses of 14 cultural markers selected from the keywords list created by WordSmith Tools, describing translation tendencies and patterns in the target texts and considering, in the scope of translation, the specificity of the novels and the cultural and historical differences between the United States and Brazil in the historical contexts of the novels.

Par l’écriture, Toni Morrison cherche à rendre leurs voix à ceux qui ont été interdits de mots. Auteure engagée, elle veut redonner à la minorité noire sa place centrale dans l’Histoire des États-Unis. Elle propose ainsi une ré-écriture de l’Histoire au travers de sa trilogie historique, composée de Beloved, Jazz et Paradise, ré-écriture déjà en germe dans son second roman, Sula. À travers l’étude de ces quatre romans, cette thèse se propose de mettre au jour la généalogie de l’indicible dans l’œuvre de Toni Morrison, mais aussi d’analyser le lien dynamique entre minoration et écriture chez cette auteure qui revendique son statut de romancière noire américaine. Les femmes occupent une place centrale dans notre corpus car, à la minoration raciale qui relègue déjà les Africains-Américains en marge de la société américaine, s’ajoute pour les femmes noires la minoration sexuelle qui les réduit à un corps-objet. Mais chez Toni Morrison, cette double minoration, et la fragmentation qu’elle entraîne, deviennent des lignes de fuite, au sens deleuzien du terme, qui (dé-)structurent son écriture. La minoration ne s’entend alors plus comme soustraction, mais comme création. Toni Morrison trace ainsi dans ses textes des lignes de fuite créatrices qui s’échappent du cadre de la page vers un en-dehors du langage où se dit le désir de résister et de survivre du mineur. / Toni Morrison’s writing aims at giving their voices back to those who were deprived of words. As a committed writer, Toni Morrison wants to highlight the central role of the black minority in the History of the United States. She then offers a new version of History as she rewrites it through her historical trilogy comprising her novels Beloved, Jazz and Paradise, to which can be added her second novel, Sula, where the seeds of the rewriting of History can already be found. Through the analysis of these four novels, the objective of this doctoral thesis is to excavate the genealogy of the unspeakable in Toni Morrison’s work, and to analyze the dynamic relationship between minoration and writing for an author who’s « insisted – insisted ! – upon being called a black woman novelist. » Women play a central part in the four novels we are studying because, to the racial minoration that already marginalizes African-Americans in the American society must be added for black women the sexual minoration which turns them into a mere body-object. But this double minoration, and the fragmentation it leads to, become in Toni Morrison’s work “lines of flight”, according to Gilles Deleuze’s terminology, which (de-)construct her writing. Minoration is therefore no longer to be understood as subtraction but as creation. Thus, Toni Morrison draws in her texts the lines of flight of creation which leak out of the page towards the outside of language where one can hear the desire for resistance and survival of the minor.