Добірка наукової літератури з теми "Tony (1931-...)"

Em pleno século XXI, assistimos ao surgimento do romance A Mercy (2008), da norte-americana Toni Morrison, que invoca o passado de povos que estiveram historicamente às margens da cultura nacional norte-americana. A Mercy retorna a história da colonização anglo-saxõnica do século XVII, para contar, a partir dos viés do trauma, a história de Florens, que ainda menina é oferecida pela mãe, no lugar de seu irmão menor, para pagamento de dívidas do dono da plantação. O romance marca o envolvimento por parte de Toni Morrison em um projeto estético-político que visa resgatar a história das relações raciais nos Estados Unidos pelo viés do trauma. Este estudo apontacomo, a partir do redirecionamento do foco para a interioridade da experiência histórica - a história como trauma -, Morrison possibilita um encontro diferenciado com um passado historicamente silenciado, através de estratégias textuais que mobilizam não apenas a razão, a percepção crítica do leitor, mas que transformam o ato da leitura numa experiência vivida revelando o potencial da literatura para transformar as relações humanas.<br>Toni Morrison’s latest novel A Mercy (2008), evokes the past of peoples that were historically confined to the margins of the American culture. Morrison goes back to the period of the Anglo-Saxon colonization in the 17th century to tell the story of Florens, who is offered by her mother as the payment of a debt by the plantation owner. Florens’ story is narrated from the point of view of trauma, an aspect that highliths Toni Morrison’s commitment to a political-aesthetical project to recover the history of racial relations in the United States from an inner perspective. This thesis shows how Morrison’s text allows for a different encounter with a historically silenced past, focusing on the interiority of historical experience – i.e., on history as a trauma. Through multiple textual strategies, Morrison’s novel mobilize not only the reader’s critical perception but transform the act of reading into a living experience, one that can reveal the power of literature to change human relations.

Lors d'un entretien avec Nellie McKay en 1983, Toni Morrison lui confiait alors les propos suivants : “I'm interested in survival―who survives and who does not, and why […] It's the complexity of how people behave under duress that is of interest to me―the qualities they show at the end of an event when their backs are up against the wall.ˮ Ainsi dans ses œuvres qui se caractérisent par une force de vision et une puissance poétique qui a rendu ses écrits célèbres partout dans le monde, la romancière aspire à rectifier les erreurs ainsi que les omissions de l'Histoire officielle sur une période qui s'étend d'avant l'arrivée du premier navire négrier en Virginie au XVIIe siècle à une époque plus contemporaine qui va au-delà de la lutte des Noirs américains pour obtenir la déségrégation et l'égalité des droits civiques dans les années soixante. Dans des textes qui se veulent parfois elliptiques, parfois ostentatoires, Toni Morrison veut redonner la parole à des personnages marginalisés, vulnérables et souvent meurtris dans leur chair afin de mettre un terme au silence de plusieurs décennies de discrimination raciale qui entravent leur quête identitaire. C'est donc par le biais de sa plume que Morrison révèle les déchirures, les tribulations, mais aussi les passions, les espérances, et les stratégies de survie qui animent ses personnages qui s'efforcent de se libérer des chaînes de l'oppression et du poids du passé. Par le biais d'un langage qui fut tout à tour un instrument d'oppression et un instrument de rédemption, Morrison fait de la parole un mode d'expression qui réinvestit le texte par des voies/voix typiquement afro-américaines créant de la sorte un espace symbolique où le Noir peut désormais faire face à l'oppression dont il a autrefois été victime et se reconstituer enfin une subjectivité qui lui est propre<br>During an interview with Nellie McKay in 1983, Toni Morrison confided to her the following words: “I'm interested in survival―who survives and who does not, and why […] It''s the complexity of how people behave under harshness that is of interest to me―the qualities they show at the end of an event when their backs are up against the wall.” Therefore, in her works which are characterized by a force of vision and a poetic power which has made her writings famous all over the world, the novelist aspires to rectify the errors as well as the omissions of the official History over a period which extends from before the arrival of the first slave ship in Virginia in the 17th century to more contemporary times that go beyond the struggle of black Americans for desegregation and equal civil rights in the 1960s. In her texts that are sometimes elliptical, sometimes ostentatious, Toni Morrison wants to give a voice to marginalized, vulnerable and often “fragmented” characters who are deeply wounded in the flesh in order to put an end to the silence of several decades of racial discrimination which hinder their quest for identity. It is therefore through her pen that the writer reveals the struggles, the tribulations, but also the passions, the hopes, and the strategies of survival which animate her characters who strive to free themselves from the chains of oppression and from the weight of the past. By means of a language which was in turn an instrument of oppression and an instrument of redemption, Morrison makes out of language a mode of expression which reinvests the text with typically Afro-American ways/voices thus creating a symbolic space where Black people can now face the oppression of which they were once a victim and finally reconstitute their own subjectivity

La remise en question de l'histoire par les ecrivains afro-americains (ici, toni morrison, a travers the bluest eye, beloved et jazz) et caribeens (v. S. Naipaul a travers the enigma of arrival et a way in the world) repond a un devoir d'exhumation du passe pour remedier a l'histoire mutilee de la communaute et opposer a l'histoire officielle, partielle et partiale, la memoire qui permet a l'individu de restaurer la parole interdite et d'enclencher un processus identitaire qui l'ancre dans un espace-temps ou il peut s'appartenir. L'espace est d'abord le lieu de l'absence, ou l'individu issu des colonies ou de l'esclavage est exile a lui-meme : la litterature coloniale dit en effet le desir impossible d'appropriation et de mimetisme. Ceci amene l'ecrivain de couleur contemporain (par exemple, e. K. Brathwaite, wilson harris ou david dabydeen pour les caraibes, ou encore chinua achebe pour l'afrique, en sus des deux auteurs etudies plus en profondeur) a dire le sensible, a exhumer les corps absents, le regard disant l'absence de l'autre. Ainsi, chez naipaul francisco miranda est pris comme l'exemple de l'echec du regard exotique qui aboutit a une image de l'indescriptible. Ceci conduit a une perception eclatee du sujet qui, en dejouant une esthetique occidentale au depart source d'alienation, va doter son regard d'une perspective. Si dans beloved la memoire retrouvee vient parfois nourrir le present, il n'en demeure pas moins qu'elle achoppe sur les traumatismes de l'histoire, et que le passe (celui des humiliations et de l'horreur) reste alors a jamais dans le domaine de l'indicible. Seul naipaul semble proposer une vision prismatique du sujet caribeen, caracterise par sa multiplicite, et se logeant dans un espace-temps non plus confine a une geographie, mais celui, esthetique, des "temps flottants"<br>The veracity of historical texts is called into question by afro-american and caribbean writers. For instance, toni morrison's the bluest eye, beloved and jazz and v. S. Naipaul's the enigma of arrival and a way in the world are attempts to recover the past. Morrison and naipaul contrast official, partial historical texts with memory which enables the individual and his community to restore speech and does away with censorship. He may then decolonize the space he lives in by developing a poetics of identity. At first colonials are strangers to themselves and are confined within a dialectics of western mimicry. This leads contemporary postcolonial writers such as e. K. Brathwaite, wilson harris or david dabydeen in the caribbean or chinua achebe in nigeria to question the nature of western/postcolonial worldvision by re-telling parts of the past. Thus to naipaul francisco miranda's blind gaze exemplifies the caribbean fate, and his life is one of chaos and confusion. Finally, a postcolonial scattered perspective emerges. In beloved recovered memory feeds the present. However historical traumas remain for ever unsaid and are obstacles to the emergence of the subject within his community. Naipaul offers a prismatic, plural vision of the caribbean subject - he evolves in a space and time which is not geographically defined, but which elaborates subjective aesthetics, that of "floating times"

Arraches a leur terre d'origine et rejetes par ceux qui causerent cet exil, les afro-americains existent dans le neant de l'exclusion. Vivre, pour eux, va donc signifier tenter de forger une identite qui resolve l'antithese culturelle qu'ils incarnent. Cet effort caracterise le mouvement litteraire afro-americain, essentiellement mene par des femmes, qui s'est developpe depuis les annees soixante-dix. Toni cade bambara et toni morrison sont deux personnalites majeures de ce mouvement. Utilisant des techniques narratives tres differentes, les deux auteurs s'efforcent de depasser le manicheisme materialiste propre a la societe dominante, et qui, impose a la communaute noire, provoqua une tres profonde crise identitaire. Resumee par le concept de double conscience forge par du bois, cette crise est entendue au sens etymologique du terme, comme une distinction, une separation, exprimant la rupture d'un ordre originel caracterise par l'unite. Le but de ce travail est donc d'etudier dans quelle mesure une structure de crise et de regeneration, entendue comme le passage d'un dualisme destructeur a une unite qui donne vie, peut etre degagee des oeuvres de fiction ecrites par toni cade bambara et toni morrison. L'analyse s'attache a demontrer que le militantisme de bambara et son<br>Torn from their motherland and rejected by those who caused their exile, afro-americans live in a place where they have no recognised identity. Hence, for them, existing will mean bridging the gap between their african and american identities. Since the 1970s, this is precisely what afro-american women writers have been aiming at doing. Toni cade bambara and toni morrison, particularly, have tried to go beyond the imperialist-derived secularism of western culture that fragments reality and caused afro-americans, in du bois' terms, to experience "double-consciousness, this sense of always looking at one's self through the eyes of others". The crisis undergone by the afro-american psyche is thus studied in the etymological sense of the word, i. E. "separation", as reflected by bambara's and morrison's fiction. As a matter of fact, both writers have tried to substitute a regenerating sense of unity for the destructive dualism imposed by the ruling part of the american society. In their progression from a state of existential and stylistic crisis to a unified whole, their fictional writings demonstrate an equal urge to go beyond words in an attempt to grasp the essence of life, far beyond the limited and fragmenting vision conveyed by any ideology

Avant de partir a la recherche de l'autre, il faudra tout d'abord voyager au fond de soi. Les ecrits de trois femmes dites "noires" - toni morrison, afro-americaine, maryse conde, antillaise, et mariama ba, africaine - aideront le chercheur a atteindre l'autre rive et a revenir a lui-meme, mais transforme par son experience, tel saint paul sur le chemin de damas. Car la litterature dite americaine n'existerait pas sans la presence du peuple noir, comme l'affirme de toni morrison, et sans les ecrits de cet auteur, la quete de l'autre aux antilles ou en afrique n'aura pas lieu. Les trois romancieres auront accompli une telle recherche. Quant a leurs personnages, tres peu arriveront a surmonter les entraves et embrasser l'element autre en eux-memes et a retrouver leur reflet chez l'etranger. Ceux qui feront le pont avec l'autre reussiront dans le cadre de leur communaute ou de leur groupe racial culturel, ce qui est deja un pas en avant<br>Before undertaking the search for the other, it is necessary to travel to the farthest depths of oneself. The works of three so-called "black" women toni morrison, african-american, maryse conde, west indian, and mariama ba, african will help the researcher to reach the other shore and to come back to himself, but transformed by the experience, like saint paul on the road to damascus. For what is called american literature would not exist without the presence of black people, as toni morrison asserts, and without this author's works, the quest for the other in the west indies and in africa would not take place. These three women, as novelists, will have accomplished such a search. As for their characters, very few will manage to overcome obstacles and embrace the "other" element in themselves and find their mirror image reflected in the stranger. Those who finally build a bridge with the other will succeed in doing so in their own community or within their racial cultural group, which is already a step forward

Parce qu’elle louvoie constamment entre les extrêmes, surprenant son public là où il ne s’y attend pas, la poésie de Tony Harrison est inclassifiable. A l’instar de l’ironie, son mode d’écriture privilégié, elle est à la fois iconoclaste et traditionaliste, populaire et élitiste, pudique et publique, inclusive et exclusive. Tony Harrison imprime sa marque dans le canon, entre résistance et rébellion, fidélité et originalité, grâce à des traductions audacieuses de textes dramatiques classiques. De même, il revisite la forme sonnet, confronte la langue poétique aux théories sur l’hégémonie culturelle et invite la problématique galvaudée du scholarship boy dans l’Angleterre thatchériste. Dans sa quête d’une poésie publique, ce trouble-fête socioculturel s’approprie des media, ainsi que des lieux de production et de représentation non-conformistes. Brouillant les frontières génériques entre poésie, théâtre et cinéma, entre art et reportage, Tony Harrison impose les rimes et les formes strictes, apparaissant paradoxalement comme le plus traditionaliste des poètes anglais contemporains. Il revisite ainsi l’esthétique tragique pour que la poésie survive aux traumas du vingtième siècle, tout en exhibant une tendance irrépressible à l’ironie. De la ritualisation de la représentation théâtrale à la mise en scène de la littérarité, la poésie de Tony Harrison s’offre en spectacle, écumant les poètes, les langues, les dialectes et les idiolectes pour célébrer les plaisirs de l’écriture<br>Since the 1970s, Tony Harrison has constantly played with expectations and relished paradoxes. His poetry, like irony, his favourite mode of writing, defies categories. It is both iconoclastic and traditionalist, popular and elitist, self-conscious and public, inclusive and exclusive. Starting his career with the translation and modernisation of dramatic classics, he has made his mark in the poetic canon with his appropriation of the sonnet form. Half-way between resistance and rebellion, homage and originality, he confronts poetic language with theories of cultural hegemony, and invites the outmoded scholarship boy debate into Thatcherist Britain. In his quest for public poetry, he appropriates non-conformist media and cultural venues. While blurring the traditional distinctions between poetry, theatre and cinema, between art and reportage, Tony Harrison imposes rhymes and strict poetic forms, thus paradoxically appearing to be the most traditional of contemporary English poets. He revives Greek tragedy so that poetry might survive the traumas of the twentieth century, but demonstrates an irrepressible tendency for irony. Thus, he endows the theatrical performance with a ritual quality while, at the same time, debunking the artificiality of poetic language. Tony Harrison’s poetry exhibits texts, poets, languages, dialects and idiolects to celebrate the pleasures of poetry

Although Schoenberg viewed his twelve-tone method as an extension of the Germanic musical evolution from Bach to Brahms, one group of writers in America identified twelve-tone antecedents with Medieval and Renaissance polyphony. Such a correlation of Schoenberg's practice with this textural orientation of the past was part of a larger movement (what I term "neopolyphony") recognizing twentieth-century musical developments as the genesis of a polyphonic epoch reviving both the technical and aesthetic concerns of the former era. With Schoenberg's practice applied to this analogical context, other writers (Hill, Krenek, Perle) advanced certain modal theories based in various degrees on the internal organization and functional role of the Church modes.

Ce travail tourne essentiellement autour de l'œuvre de l'écrivain afro-américaine Toni Morrison. Il s'agit de voir en quoi son écriture des corps noirs et de l'héritage afro-américain, ainsi que son élaboration d'une voix tragique propre, font de sa voix une voix interdite, une voix littéraire de la mémoire et de la souffrance, s'élevant contre la censure et contre l'oubli. A chacun des trois thèmes-corps, héritage, pathos-correspond un chapitre. Les explications de textes occupent une part importante de mon analyse, pour mieux mettre en valeur et saisir dans ses subtilités le travail littéraire de l'écrivain. Tout au long de ces trois premiers chapitres, d'autres écrivains font également l'objet d'analyses approfondies, soit parce qu'ils entrent en écho avec l'œuvre Morrison (qu'ils soient ou non des écrivains noirs américains) ou, au contraire, parce que leur voix est emblématique de ce contre quoi Morrison écrit, ou ce que son écriture révise. L'idée est de souligner l'identité ou la proximité des thèmes abordés et de marquer ensuite, grâce à la comparaison ou la confrontation, le travail particulier, tant sur le plan littéraire qu'idéologique de chacun des écrivains cités. Le quatrième et dernier chapitre pose la question "existe-t-il une voix noire?" de manière à ne pas éluder le débat concernant l'ethnicité de la littérature noire. En évitant toute réduction de la littérature noire à une spécificité linguistique ou sociologique, il s'agit de souligner dans ses grands traits une tradition littéraire fertile de la voix noire, une tradition qui, grâce aux écrivains étudiés ici, est plus que jamais en marche<br>This study focuses mainly on the work of the African-American woman writer Toni Morrison. Its aim is to show how Morisson's writing of black bodies and of the African-American heritage, as well as her creation of a unique tragic voice, make hers a forbidden voice, a literary voice of memory (or rememory) and pain, struggling to be heard against the forces of suppression and oblivion. To each of these three themes-the body, the Afro-American heritage, the tragic voice a chapter of this study is devoted. The literary commentary of long extracts from the novels is the main feature of this dissertation, my hope being that such literary analyses may more specifically highlight the subtlety of Toni Morrison's work on language. Throughout these three chapters, other authors (African-American or not)are also the object of textual analysis, either because their voices enter in a call-response pattern with Morrison’s or, on the contrary, because they are emblematic of what Morrison writes against, of what she revises. In singling out writers who have chosen very similar themes, my point is to underline the marked differences in literary or ideological treatment that appear when their work is read in parallel with Morrison’s texts. The last chapter asks the question: "is there such a thing as a black voice?" in order not to avoid the question of the ethnicity of black literature. Without reducing black literature to the linguistic or sociological features it comprises, this chapter attempts to chart the already rich literary tradition that the black voice has behind it, a tradition which, thanks to the writers studied here, arches likes a rainbow from the fertile past into a glorious future

Originally presented as the author's Thesis (Ph. D.--Nankai da xue).<br>"Ha'erbin shi fan da xue you xiu xue shu zhu zuo ji jin zi zhu xiang mu ; Heilongjiang Sheng jiao yu ting ren wen she hui ke xue yan jiu xiang mu bian hao 10542062." 880-05 Includes bibliographical references (p. [311]-324).

Cette étude porte sur les modalités de l'écriture dans les six romans de Toni Morrison. Elle s'attache d'abord au découpage du texte et à la structure profonde comme stratégie allusive de signification, ou bien miroir des relations entre personnages, trajet plein d'énigmes et fausses pistes ou parfois la linéarité éclate et dont la fin reste ouverte. L’espace de l'homme se distingue des lieux de la femme : maison et foyer, géographie comme théâtre de la mobilité, lieux de tradition et espaces de modernité, territoires de la ville et pôles de la grande migration jalonnent les récits mais on assiste aussi au brouillage des repères. Les cadres et niveaux de la temporalité incitent à proposer une théorie du temps féminin et du temps noir vécu linéaire et temps cyclique, retour à l'origine ou dilatation du temporel, remise en mémoire à partir du présent des ressassements, personnages vivant au rythme et à l'heure de leur époque. Le nom a une grande importance comme vecteur d'identité, signe de l'appartenance au groupe enracinement dans la généalogie mais il apparait parfois comme parodie du symbolisme chrétien ou marque de l'indétermination tandis que la nomination, fonction de puissance, devient synecdoque du roman. L’étude de la narration relevé l'inégalité des narrateurs, les réflecteurs multiples, le récit polyphonique. Surtout dans jazz le narrateur à part entière prend la parole et figure les intrusions de l'artiste. Par-delà la narration se font entendre la voix du texte et la voix de l'auteur. Enfin, l'étude aborde l'expression créatrice et les métaphores de l'écriture. Les thèmes récurrents de l'"artiste manquée" et l'expression collective de la communauté, l'envol et l'essor créateur, la pratique du conte et du chant la musique-métaphore. Soulignant le refus du cliché et l'œuvre ouverte, la conclusion débouche sur le recours assez constant à la différance et à la coexistence des sens possibles<br>This dissertation deals with the writing techniques in Toni Morison’s six novels. First it applies to the division of the different sections of the text and its deep structure. This structure is depicted on the one hand, as a strategy alluding to "signification" and on the other hand as a mirror reflecting relationships between characters. This relationship, in turn, is considered as a path full of riddles and false tracks where sometimes linearity breaks out and the end remains open. Second, it shows the distinction between male's space and women's places. House, family and home all places, from a geagraphical stand point, are associated to an envionment proper to women as if these places aretheir stage of mobility. Whereas space of modernity, territories of "la grande migration" are supposed to be male's space. Still this study proves, with multiple examples from the novels, the possible discorder of the landmarks. Third, the framework and levels of times put up a theory of women's time and black time. In other words, the linear lived time and the cyclic one, including notions like return to origins, expansion of the temporal, call to memory the notion of transcending the past into the present. The name plays an important role in this study. It is presented as a broad hint to identity that is a sign of belonging to the group and anchored in the genealogy. But, at times, it appears as a parody of the christian symbolism or a mark of indetermination. Naming on the other hand goes beyond its role of power and becomes an indivisible part of the novel. The analysis of the narratives reveals the unequality of the narrators. In fact we find that, in jazz, the narrator is more present, more powerful and can also influence the reader's opinion. In jazz the narrator speaks and illustrates the artistic intrusions. Finally, the study speaks about creative expression, metaphor of working, the reccurents themes of "l'artiste manquée" and the collective expression of the community, including flight, creative expansion and the practice of oral communications (tales, chant, songs. . . ). Emphacising on the refusal of the "cliché" and "l’oeuvre ouverte", the conclusion leads to almost a constant use of the "differance" and to the coexistance of multiple meanings