Thematische Bibliographien / Toni Morison

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Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Toni Morison"

Izgarjan, Aleksandra M. „METAPHOR OF FLIGHT IN TONI MORRISON'S NOVEL „SONG OF SOLOMON““. ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 6, Nr. 6 (07.03.2017): 305. http://dx.doi.org/10.19090/zjik.2016.6.305-322.

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Članak se bavi analizom metafore leta u romanu Toni Morison Song of Solomon. Autorka koristi legendu o afričkim robovima koji su mogli da lete kako bi naglasila dualnost metafore leta i njenu subverzivnu ulogu koja omogućava različite interpretacije. Kompleksnost metafore leta u romanu Toni Morison zahteva upotrebu nekoliko književno-teorijskih okvira tako da će se u članku koristiti okvir magijskog realizma, praksa marginalizacije i označavanja pripadnika manjinskih grupa kao Drugog onako kako se tom temom bavio Edvard Said u svom delu Orijentalizam i Jungov koncept arhetipa i putovanja mitskog heroja. Fokus članka je posebno na korišćenju magijskog realizma i spajanju master narativa zapadne civilizacije sa legendama koje potiču iz afroameričke zajednice kako bi se preispitao process konstrukcije istorije i zajednice. Morison u prvi plan stavlja univerzalnost leta kao jednog od ljudskih impulsa koji može da se nađe i u zapadnoj, afričkoj i afroameričkoj kulturi čime pruža validnost svojim likovima i njihovoj sposobnosti da lete.

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Abula, Jelena. „PROBLEMATIKA MAJČINSTVA U ROMANU „VOLjENA“ TONI MORISON“. Lipar 22, Nr. 74 (2021): 187–201. http://dx.doi.org/10.46793/lipar74.187a.

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This paper will examine the concept of motherhood in the light of black feminism in Toni Morrison’s novel Beloved. Morrison, one of the most prominent writers of the 20th century, is trying to present the development of the African- American community and the institution of motherhood in a society characterized by meaningless divisions between race, class and gender. Slavery problematizes the concept of motherhood which represents a connection of conflicting views shaped by different attitudes towards race, gender and class. Therefore, Morrison uses the suppressed voices of African-American mothers to address the problematic concept of motherhood in slavery. The paper explores the complexity of slavery and its influence on motherhood, the powerful ideology through which the Afro-American tradition is transferred, and it also outlines motherhood as a dominant motif that connects the female characters in Beloved.

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Ličen, Branislava, und Vesna Bogdanović. „Kriza identiteta u romanu Toni Morison Katreno Luče“. Philologia 11, Nr. 11 (2013): 79–88. http://dx.doi.org/10.18485/philologia.2013.11.11.8.

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Zamili, Dr Falih Mahdi Jebur Al. „Toni Morison and Inaam Kachachi: A feminist approach“. International Journal of Advanced Academic Studies 5, Nr. 5 (01.05.2023): 22–24. http://dx.doi.org/10.33545/27068919.2023.v5.i5a.987.

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Jovanović Nikolić, Ivana. „SUBVERZIVNA ULOGA MUZIKE U PROCESU REKONSTRUKCIJE IDENTITETA U ROMANU „LJUBAV“ TONI MORISON“. Lipar XXII, Nr. 77 (2022): 123–48. http://dx.doi.org/10.46793/lipar77.123jn.

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Growing up surrounded by music, Toni Morrison “inherits” a family- shared relationship towards this form of art, as a “tool” for preservation of one’s own history as well as of the communal history. Morrison understands the role of music as a valuable tool for the revision and reconstruction of identity in a system ruled by racial differentiation. The author has, on numerous occasions, pointed out that music “informs” her i.e. that her attempts to reconstruct its structure in her writing have led to a rise of literature where there are “more rather than less opportunities” (Stepto, 1977: 488). This literature is: sophisticated, demanding and yet so available. That type of literature, the type that upsets its reader, possesses a one-of-a-kind rhythm; a rhythm whose culmination is a sort of a bang, a unique beat which exists on a level underneath a linguistic one; that beat, so energetic and yet so balanced, must be heard rather than read. This type of literature offers the readers a sort of power – an opportunity to develop and progress i.e. overcome the existing limitations of its being. The novel Love, is, among other things, the author’s attempt to comprehend the why and how of love betrayal. She also deals with the issue of female identity and position of women at times when the African-American community was “doing its best” to “imitate” the patriarchal model of family life of white men. By bringing in the rhythm, repetition and musical patters as those appearing in jazz and blues, the author is transforming the language of its novel so that the characters are empowered to independently talk about their experi- ence. By changing the “stale” narrative forms, the author is “securing” the unity of African-American community and the right to their own identity. Furthermore, she is “reinforcing the idea of love as a space where one could negotiate freedom” (Schappell, 1992:83).

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Mohammed, Ali Baram, und Latef Saeed Noori Berzenji. „“They Took My Milk”: A Psychoanalytic Study of Toni Morrison’s Beloved“. Journal of University of Human Development 9, Nr. 3 (03.07.2023): 18–21. http://dx.doi.org/10.21928/juhd.v9n3y2023.pp18-21.

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Although slavery has ended, the African-American people remained the object of oppression, violence, and racism in the white countries, particularly America, which is the setting of the novel. Beloved, which was written in 1987 by Toni Morison, depicts the multiple sorts of oppression that black people have experienced in America by their white oppressors. On the other hand, Fanon argues that black people in white societies are reduced to mere objects and exploited endlessly, therefore, they develop identity crises and wear white masks to win the approval or equal rights and recognition of the white people. However, regardless of their efforts and endeavors, the black people cannot change white man’s perception about them and remain an alien to them. This paper aims at representing the adversities black people encounter in white societies by applying Fanon’s ideas of psychoanalysis to Toni Morrison’s novel, Beloved. The paper is a psychoanalytic study, where the reasons behind the actions of the characters are explained and analyzed. Sethe, the main character in the novel, is exploited and treated like an animal, therefore she turns into a murderer and kills her own daughter.

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Harpin, Tina. „Écrire l’inceste en « contre-fiction » et en paradoxes : The Bluest Eye de Toni Morisson“. Sociétés & Représentations 42, Nr. 2 (2016): 97. http://dx.doi.org/10.3917/sr.042.0097.

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Tuduri, Claude. „Toni Morisson , Home , Trad. de l’anglais (États-Unis) par C. Laferrière. Christian Bourgois Éditeur, 2012, 151 pages, 17 €“. Études Tome 418, Nr. 1 (01.01.2013): V. http://dx.doi.org/10.3917/etu.4181.0114e.

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Barrington, Robert. „Two houses both alike in dignity: Reginald Pole and Edmund Harvell“. Historical Journal 39, Nr. 4 (Dezember 1996): 895–913. http://dx.doi.org/10.1017/s0018246x00024699.

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ABSTRACTIn the period 1520–50 there was a large English community in the Veneto. This has traditionally been associated with the household of Reginald Pole, who is believed to have dispensed learning and patronage to those who went to the University of Padua in search of a continental education. However, an examination of both primary and secondary sources for the life of Pole suggests that he was only one of a number of reference points for young English scholars and travellers. Of equal, and perhaps greater, importance was the household of Edmund Harvell, a merchant who became English ambassador to the Republic. His household was philo-protestant in tone, and linked to Venetian dissenters and literary circles. These two central figures presented English scholars with the chance to experience the varying strands of Venetian political and religious philosophy at a time of great intellectual vitality. Men such as Richard Morison and Thomas Starkey returned home to write books about English government and society. When their work is set against the Venetian milieu of Harvell and Pole, we can gain a greater understanding of those Venetian influences which underpinned English political thought in the Tudor period and beyond.

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Dissertationen zum Thema "Toni Morison"

Mukhopadhyay, Susmita. „The Novels of Toni Morison : rewriting black women`s history“. Thesis, University of North Bengal, 2008. http://hdl.handle.net/123456789/1496.

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Carlsson, Patrik, und Nina Lindekrantz. „Den enda olycka som finns i världen är de vita : En studie i symboler och intertextualitet i Toni Morissons Älskade“. Thesis, Högskolan Kristianstad, Sektionen för Lärarutbildning, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-867.

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Syftet med den här studien är att ta reda på hur symboler och intertextualitet kan tolkas i romanen Älskade, skriven av Toni Morrison. Metoden som använts har varit närläsning, där texten har granskats ingående för att finna symboler. Även en läslogg har upprättats, där reflektioner angående symbolerna och intertextualitet nedtecknats. Utifrån detta och med hjälp av passande litteratur har symbolerna tolkats i de sammanhang de dyker upp i. Symbolerna har även förknippats med romanens karaktärer för att få fram deras personlighet. Resultatet av detta visar att två teman har hittats: förtryckta känslor och längtan efter något annat. Teman som förknippas med den situation som slavarna levde under, när romanens handling utspelar sig i 1800-talets Amerika, då slaveriet var mycket utbrett i Södern. Nutid i romanen är 1874, med analepser som sträcker sig upp till 25 år tillbaka i tiden. Intertextualiteter som har framkommit har tolkats från författarnas egna litterära bagage. Det som framkommer är att det är mycket i romanen som ekar från andra romaner och filmer. Omvänt är det också en del som tyder på att andra texter och filmer är influerade av Älskade. Detta medför att romanen sätts in i ett större perspektiv.

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Lin, Pei-Chi. „A Performance Guide to Se Enkhbayar's Choral Tone Poem Önchin Botog (A Lonely Baby Camel) for SATB Soloists and SATB Chorus (with Divisions) A Cappella“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157562/.

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Se Enkhbayar (b. 1956) is one of the most important contemporary Mongolian composers in China. His choral tone poem, Önchin Botog, integrates the traditional Mongolian musical elements Urtiin Duu (long song) and Khöömii (throat singing) with modern choral music and is one of the most representative works in the genre of modern Mongolian choral music. The purpose of this study is to provide a performance guidance for non-Mongolian musicians on Se Enkhbayar's work, Önchin Botog, by presenting his biographical and cultural backgrounds, discussing the use of traditional Mongolian singing styles, special rhythmic patterns (horse-step rhythm) and Chinese pentatonic scales. For conductors, this guide can shorten preparation time by providing musical analysis for artistic interpretation and practical points for sound effect creation. For solo singers, this guide will enable a Bel Canto singer to sing Urtiin Duu in Mongolian singing style. For Khöömii singers, this guide provides supplementary practical suggestions.

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Bücher zum Thema "Toni Morison"

1953-, Kiuchi Tōru, Hrsg. Toni Morisun. Tōkyō: Nichigai Asoshiētsu, 2000.

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Buchteile zum Thema "Toni Morison"

Keller, Morton, und Phyllis Keller. „“Lesser Breeds”“. In Making Harvard Modern. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195144574.003.0008.

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When Conant became president, Harvard College students were male, almost all white, primarily Unitarian, Congregationalist, or Episcopalian in religion, predominantly from New England. Brahmin Harvard sought to restrict the number of Jewish students and faculty; indeed, that issue often was the outlet for opposition to the effort to make Harvard a more meritocratic university. Even more pervasive was the desire to shield Harvard men and Radcliffe women from the perils of coeducation. Catholics were scant, but for different reasons: hostility to godless Harvard in Catholic churches and schools kept their numbers small during the 1920s and 1930s. As for African Americans, there were so few that it was safe to accept (if not to welcome) them—if they met academic standards for admission and had the money to pay for their education. Under Eliot’s benign lead, turn-of-the-century Harvard was more receptive to Jewish students than were other Eastern universities. Undergraduates from well-off German-Jewish families combined with a growing number of commuters from the Boston area to become a substantial presence. By the early 1920s, an estimated 20 to 25 percent of the undergraduate student body was Jewish. This was cause for concern by alumni, faculty, and not least President Lowell. In 1922 he proposed a formal Jewish quota of 12 percent. This was the limiting device traditionally used in European universities, now much in the American public mind because of the movement for quota-based immigration restriction laws. Harvard historian Samuel Eliot Morison, looking back on the controversy fifty years later, ascribed the emotional strength of the Jewish reaction to the fact that Lowell’s 12 percent quota was the same as the numerus clausus of the Russian imperial universities. Lowell’s biography, published in 1948, rather laboriously tried to exonerate him: “the poor, hard-working student, native-born or immigrant, Gentile or Jew, white or black, never had a warmer friend, although many excellent persons criticized at times his way of showing friendship.” But it is clear that Lowell shared in full measure the prejudices of his caste. Jews, he thought, lowered the moral tone of the College.

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Vieira, Gabriella Bertrami, Vanda Fortuna Serafim, Mariane Rosa Emerenciano da Silva und Pablo Vinicius Napoli. „CINEMA, EDUCAÇÃO E ANTIRRACISMO: UM OLHAR SOBRE O DOCUMENTÁRIO SANTO FORTE E SOBRE O BRASIL“. In Práticas Educativas Antirracista: desafios, perspectivas e estratégias em pesquisa, 62–79. Editora Científica Digital, 2023. http://dx.doi.org/10.37885/230212205.

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Este artigo aborda possibilidades de construção de uma prática educativa antirracista a partir do documentário brasileiro Santo Forte (1999), de Eduardo Coutinho. Buscou-se compreender o movimento do diretor na mencionada obra fílmica e suas formas de representar as religiões de matriz africana no Brasil, bem como, discutir sobre narrativa e alteridade na produção do conhecimento. Para tanto, trazemos à tona a discussão em diálogo com os discursos presentes tanto no documentário, como também as narrativas presentes no contexto analisado, sobretudo ligadas ao catolicismo. O trabalho é pautado metodologicamente em Marcos Napolitano e Edgar Morin, que versam sobre os usos do cinema e suas possibilidades de tencionar e refletir as práticas socioculturais. A partir da recusa ao pensamento disjuntivo, que polariza e distorce os fenômenos históricos e suas manifestações, trabalhamos metodologicamente com uma possibilidade de abordagem mais ampla, que visa estimular e trazer à superfície análises que revelem o caráter complexo dos fenômenos. Acenando, assim, para as possibilidades variáveis da relação entre cinema e prática educativa. Podemos concluir que a obra de Coutinho traz, dentro de suas possibilidades, a perspectiva da escuta sensível da alteridade, e portanto, retoma memórias e tradições culturais da população afro-brasileira apagadas pela colonização. O documentário abre margem para pensarmos maneiras de construir, nesse sentido, uma prática educativa antirracista.

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