Tesi: "African american women – ohio – fiction"

1

Ivey, Adriane Louise. "Rewriting Christianity : African American women writers and the Bible /". view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9987234.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 211-216). Also available for download via the World Wide Web; free to University of Oregon users.

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2

Hebbar, Reshmi J. "Modeling minority women : heroines in African and Asian American fiction /". New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb400508717.

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3

Hancock, Carole Wylie. "Honorable Soldiers, Too: An Historical Case Study of Post-Reconstruction African American Female Teachers of the Upper Ohio River Valley". Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1205717826.

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4

Piper, Gemmicka F. "Black intimacy in the popular imagination: re-examining African American women’s fiction from 1965-2000". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/6622.

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Contemporary African American fiction repeatedly explores intimacy. These explorations have been most sustained in black women’s writing. Although female authors share an interest in romantic interactions, their portrayals reveal wide-ranging attitudes about this theme. Some accounts depict intimacy as a barrier to female advancement. In other texts, feminine success hinges on maintaining a committed relationship. These distinct outlooks not only reflect competing gender discourses within late 20th, early 21st century America but also significant developments in black women’s literature. In this dissertation, I analyze how fictional depictions of heterosexual intimacy reveal crucial facts about black women’s writing. I argue that various subgenres captured under the heading, popular black women’s literature, include narratives about male-female relationships that complicate the efforts celebrated as the black women’s literary renaissance of the 1970s. By focusing on the span from 1965-2000, I suggest that at the same moment when Toni Morrison, Alice Walker, and Gloria Naylor were expressing post-civil rights era black femininity in fictions filled with deteriorating heterosexual intimacy, other black women writers were using popular fiction to expose different possibilities for male-female interconnection. These authors exist in the same socio-cultural milieu as their high modernist peers; however, their writings reflect different reactions to decisions about where intimacy fits in the construction of black identity. My dissertation contains four chapters, and each chapter engages roughly a decade and considers different dimensions of black female popular literature. Looking at the mid-1960s to the mid-1970s roots of this genre’s interest in intimacy, chapter one establishes Toni Cade Bambara as a founding figure. Chapter two studies the black romance novel from the late 1970s to the mid-1980s concentrating on pioneers, Rosalind Welles and Sandra Kitt. Dealing with Terry McMillan’s rise to fame between the late 1980s and the mid-1990s, chapter three examines chick lit, the site where capitalist feminism and black relationship concerns converge. The final chapter uses Terri Woods’ work to interpret ghetto fiction of the late-1990s. Popular black women’s literature notes the dynamic nature of black cultural identity and responds to that dynamism with portraits of intimacy that register shifting intra-racial realities within the broader context of evolutions in inter-racial democracy. By identifying intimacy as a telling theme in post-civil rights era experience, my research points out the variegated textures of black civic exertion in both literary and political terms.

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5

Crowder, Roland H. "Toward a model of ministry to widows at Second Calvary Missionary Baptist Church, Cleveland, Ohio". Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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6

Mears, Mary D. "Choice and discovery an analysis of women and culture in Flora Nwapa's fiction /". [Tampa, Fla.] : University of South Florida, 2009. http://digital.lib.usf.edu/?e14.2845.

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7

Ross-Stroud, Catherine Trites Roberta Seelinger. "Non-existent existences race, class, gender, and age in adolescent fiction; or Those whispering Black girls /". Normal, Ill. Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3106763.

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Thesis (Ph. D.)--Illinois State University, 2003.
Title from title page screen, viewed October 12, 2005. Dissertation Committee: Roberta Seelinger Trites (chair), Karen Coats, Janice Neuleib. Includes bibliographical references (leaves 217-236) and abstract. Also available in print.

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8

Istomina, Julia. "Property, Mobility, and Epistemology in U.S. Women of Color Detective Fiction". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429191876.

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9

Moffler, Kirsten A. ""A Plea for Color:" The Construction of a Feminine Identity in African American Women's Novels". Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/MofflerKA2001.pdf.

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10

Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.

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Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).

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11

Lynch, Sibongile B. "Carnival, Convents, and the Cult of St. Rocque: Cultural Subterfuge in the Work of Alice Dunbar-Nelson". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/136.

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In the work of Alice Dunbar-Nelson the city and culture of 19th century New Orleans figures prominently, and is a major character affecting the lives of her protagonists. While race, class, and gender are among the focuses of many scholars the eccentricity and cultural history of the most exotic American city, and its impact on Dunbar-Nelson’s writing is unmistakable. This essay will discuss how the diverse cultural environment of New Orleans in the 19th century allowed Alice Dunbar Nelson to create narratives which allowed her short stories to speak to the shifting identities of women and the social uncertainty of African Americans in the Jim Crow south. A consideration of New Orleans’ cultural history is important when reading Dunbar-Nelson’s work, whose significance has often been disregarded because of what some considered its lack of racial markers.

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12

Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 6, 2007) Includes bibliographical references.

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13

Derringer, Sherri Lynn. "Women’s Campaign for Culture: Women’s Clubs and the Formation of Music Institutions in Dayton, Ohio 1888-1933". Wright State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=wright1181333969.

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14

Ullrich-Ferguson, Loretta N. "The beauty of her survival : being Black and female in Meridian, The salt eaters, Kindred, and The bluest eye /". View online, 2008. http://repository.eiu.edu/theses/docs/32211131464907.pdf.

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15

Kim, Min-Jung. "Renarrating the private : gender, family, and race in Zora Neale Hurston, Alice Walker, and Toni Morrison /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9926560.

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16

Calabre, Roberta Ventura. "Fighting the Strai(gh)tjacket: black women bonding in Loving Her and The Color Purple". Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2812.

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O objetivo deste trabalho é analisar como as relações lésbicas são retratadas nas obras Loving Her e The Color Purple. Ao analisar as relações entre homens/mulheres e mulheres/mulheres, este estudo também revê e critica o golpe triplo sofrido por lésbicas negras, por serem, ao mesmo tempo, mulheres, afro-americanas e homossexuais. Utilizando fatos históricos para situar as obras em um contexto social, além da teoria do lesbian continuum afim de atestar a riqueza e diversidade do laço afetivo entre mulheres, este trabalho vem por desmistificar as noções simplistas em relação à literatura lésbica Afro-Americana, afugentando a sombra que pairava sobre o tabu e elevando a mulher negra, lésbica ou não, a seu lugar de direito na sociedade
The aim of this work is to analyze how lesbian relationships are portrayed in the fictional works Loving Her and The Color Purple. By analyzing the relationships between men/women and women/women depicted in the chosen literary works, this study also revises and criticizes the triple strike suffered by black lesbians for being females, African-Americans and homosexuals. Using historical facts to place the fictional works in a social frame, and using the theory of lesbian continuum to attest the richness and diversity of women bonding, this work demystifies the simplistic notions of African-American lesbian literature, casting away the shadow upon the unspeakable and elevating black women, lesbians or not, to their rightful place in society

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17

Reeser, Alanna L. ""She believed her ballyhoo" women and advertising in fiction by Edna Ferber, Jessie Redmon Fauset, and Fannie Hurst /". Click here for download, 2007. http://proquest.umi.com/pqdweb?did=1317334401&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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18

Erickson, Stacy M. "Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.

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In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.

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19

Huguley, Piper Gian. "Why Tell the Truth When a Lie Will Do?: Re-Creations and Resistance in the Self-Authored Life Writing of Five American Women Fiction Writers". unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04252006-174728/.

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Thesis (Ph. D.)--Georgia State University, 2006.
Title from title screen. Audrey Goodman, committee chair; Thomas L. McHaney, Elizabeth West, committee members. Electronic text (253 p.) : digital, PDF file. Description based on contents viewed May15, 2007. Includes bibliographical references (243-253).

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20

Jones, Esther. "Traveling discourses: subjectivity, space and spirituality in black women’s speculative fictions in the Americas". The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1155665383.

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21

Piep, Karsten H. "Embattled Homefronts: Politics and Representation in American World War I Novels". Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1109634736.

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22

Smith, Roslyn Nicole. "Medias Res, Temporal Double-Consciousness and Resistance in Octavia Butler's Kindred". unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11242007-230409/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Elizabeth West, committee chair; Layli Phillips, Kameelah Martin Samuel, committee members. Electronic text (52 p.) : digital, PDF file. Description based on contents viewed Jan. 30, 2008. Includes bibliographical references (p. 49-52).

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23

Jones, Esther L. "Traveling discourses subjectivity, space and spirituality in black women's speculative fictions in the Americas /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155665383.

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24

Piep, Karsten H. "Embattled homefronts politics and representation in American World War I novels /". Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1109634736.

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25

Munoz, Cabrera Patricia. "Journeying: narratives of female empowerment in Gayl Jones's and Toni Morrison's ficton". Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210259.

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This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency.

Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.

My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature.

Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination.

In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.

Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).

Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

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26

Melancon, Trimiko C. "Disrupting dissemblance: Transgressive black women as politics of counter-representation in African American women's fiction". 2005. https://scholarworks.umass.edu/dissertations/AAI3179902.

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My dissertation examines post-civil rights novels by Toni Morrison, Ann Allen Shockley, and Alice Walker, and investigates their subversion of myopic representations of black women in the American literary and cultural imagination. More precisely, this study examines these writers' characterizations of black women who not only diverge from stereotypical images imposed by ideologies of “whiteness,” but who also rebel unapologetically against constructions of female identity imposed by nationalist discourse generally and black nationalism particularly. Drawing upon black feminist theoretical frameworks, performance theory, and postmodernist notions, this study analyzes these characters' transgressive behavior, specifically with regards to their sexuality, as, in part, a means to create a modern identity. While these notions have been engaged in non-literary texts that explicate how race and nationalism construct gender roles, they have been largely understudied in black women's fiction. This dissertation seeks to establish, then, a nexus in which literary texts, movement ideologies, and politics of identity and representation meet to provide an interdisciplinary and broad discursive framework. Organized conceptually, this study explores the aesthetics of transgression in an introduction, four representative chapters, and a conclusion. Chapter One introduces and situates transgressive black women characters within both the African American literary tradition and particular socio-cultural, historical, and political contexts. Chapter Two analyzes Toni Morrison's Sula (1973), and examines the protagonist Sula, who emblematizes transgressive behavior, as subverting the “classical black female script.” Foregrounding politics of sexuality, Chapter Three employs Shockley's Loving Her (1974) and investigates the ways Shockley's black female protagonist Renay, via her interracial same-gender loving relationship, transgresses essentialist binaries regarding blackness, same-sex desire, and homosexuality. Exploring the dialectics of transgression and belonging, Chapter Four examines Alice Walker's Meridian and analyzes the ways Meridian Hill transgresses circumscriptions for women, while concomitantly playing a participatory activist role in various communities. And, reemphasizing the potential of this study, the concluding chapter illustrates this project's centrality to African American and American literature, African American and American Studies, and Women's and Gender Studies.

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27

Sood, Abha. "Empowernment of the African American women through the use of myth in Toni Morrison's fiction". Thesis, 2000. http://localhost:8080/xmlui/handle/12345678/5772.

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28

Carey, Cecelia V. "Bildungsroman in contemporary black women's fiction". Thesis, 2001. http://hdl.handle.net/1957/33313.

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Bildungsroman in Contemporary Black Women's Fiction is a study of Toni Morrison's The Bluest Eye and Alice Walker's The Color Purple. Both of these writers implement a newer version of the genre of Bildungsroman to reveal the complexities involved in coming of age for a young woman of color. Both novels have protagonists that struggle with racism, sexism, and classism as barriers to their identity formation. This study aims to reveal the ways in which multiple layers of oppression inhibit the progress of contemporary African-American female heroines in modem Bildungsroman.
Graduation date: 2002

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29

Butler-Evans, Elliott. "Race, gender and desire narrative strategies and the production of ideology in the fiction of Toni Cade Bambara, Toni Morrison and Alice Walker /". 1987. http://catalog.hathitrust.org/api/volumes/oclc/17792361.html.

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30

Cholant, Gonçalo Piolti. "Since Why is Difficult: The Representation of Violence and Trauma in African-American and Afro-Caribbean Literature by Women: Autobiography, Fiction, and Subjectivity in the Bildungsroman". Doctoral thesis, 2019. http://hdl.handle.net/10316/87533.

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Tese de Doutoramento em Línguas Modernas: Culturas, Literaturas, Tradução, no ramo de Culturas e Literaturas, apresentada ao Departamento de Línguas, Literaturas e Culturas da Faculdade de Letras da Universidade de Coimbra
The present work deals with the representation of trauma and violence in coming-of-age stories written by African-American and Afro-Caribbean women authors in the United States. The kinds of violence explored in this work are related to the post-colonial condition the women protagonists experience, in which racism, sexism, classism, among other kinds of discrimination, are co-created in an intersectional experience of oppression. The titles analyzed in this work are: Lucy (1990), written by Jamaica Kincaid; Breath, Eyes, Memory (1994), written by Edwidge Danticat; Bone Black – Memories of Girlhood (1996), written by bell hooks; and God Help the Child (2015), written by Toni Morrison. The Bildungsroman genre serves as the form with which the authors are able to display the different forms of violence experienced during the the process of growing up female and black in the United States, and also in the Caribbean islands of Antigua and Haiti, in the cases of Kincaid and Danticat respectively. The coming-of-age stories written by women, and more specifically by African-American and Afro-Caribbean women, tend to showcase narratives in which the tensions between the protagonists’ self-determination and the influence of social and cultural factors in their development opportunities are negotiated. The genre is adapted and subverted by the authors, deviating from its canonical European origins, becoming a site in which the authors are able to represent different kinds of violence, and the subsequent traumatic consequences caused by it. Through the perspective of the Sociology of Absences (Santos), the analisys focuses on bringing to the fore types of violence that have previously been made invisible by colonialism, as creative work may more clearly see beyond the abysmal line, serving as a form of analysing realities that are often not perceived in their entirety. Literature turns out to be a space of resistance, in which the representation of violence and trauma, to some extent, becomes possible, serving as a tool for the denounciation of violence and trauma, in addition to becoming a tool for the overcoming of trauma.
O presente trabalho lida com a representação do trauma e da violência em narrativas de formação escritas por autoras Afro-Americanas e Afro-Caribenhas nos Estados Unidos. Os tipos de violência explorados pelas neste trabalho estão relacionados com a condição pós-colonial vividas pelas protagonistas, na qual racismo, sexismo, classismo, dentre outras formas de discriminação são co-formadas em uma experiência interserccional de opressão. Os títulos analizados neste trabalho são: Lucy (1990), escrito por Jamaica Kincaid; Breath, Eyes, Memory (1994), escrito por Edwidge Danticat; Bone Black – Memories of Girlhood (1996), escrito por bell hooks; e God Help the Child (2015), escrito por Toni Morrison. O gênero literário Bildungsroman serve como a forma com a qual as autoras são capazes de demonstrar as differentes formas de violência vividas pelas protagonistas durante o processo de crescimento como mulheres e negras nos Estados Unidos, e também nas ilhas Caribenhas de Antígua e Haiti, nos casos de Kincaid e de Danticat respectivamente. As narrativas de fomação escritas por mulheres, e mais especificamente por mulheres afro-americanas e afro-caribenhas, tendem a demonstrar percursos em que as tensões entre a autodeterminação das protagonistas e as influências sociais e culturais que incidem sobre as suas oportunidades de desenvolvimento são negociadas. O gênero literário em questão é adaptado e subvertido pelas autoras, desviando-se de sua forma canônica europeia, tornando-se um espaço em que as autoras são capazes de representar diferentes formas de violência e as subsequentes consequências traumáticas causadas pela mesma. Através da perspectiva da Sociologia das Ausências (Santos), a análise concentra-se em trazer para o primeiro plano tipos de violência que foram previamente construídos como invisívies pelo colonialismo, já que a escrita de cariz criativo é capaz de mais claramente ver além da linha abissal, servindo como uma forma de análise de realidades que frequentemente não são inteiramente percebidas. A literatura acaba por ser uma espaço de resistência, no qual a representação da violência e do trauma, até algum ponto, torna-se possível, servindo como ferramenta para a denúncia da violência e do trauma, além de tornar-se uma ferramenta no processo de superação do trauma.

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