Dismemberment in the Fiction of Toni Morrison investigates the motif of dismemberment in Morrison’s fiction from multiple perspectives—historical, psychological and cultural. My first chapter on A Mercy focusses on the aspect of historical dismemberment in the context of colonialism and slavery. I look at the forced separation of African Americans from their families and motherland in terms of originary experiences of racism and dismemberment. This entailed fragmentation for African Americans who struggled to develop strategies of survival in the New World.ududMy second chapter on Jazz focuses on the impact of transgenerationally transmitted trauma. I argue that experiences of dismemberment – such as feelings of amputation and phantom limbs – arise not from physical amputation but from traumatic experiences and the unconscious of preceding generations as the result of trasgenerational hauntings. I borrow from the psychoanalytic insights of Nicolas Abraham and Maria Torok in my explanation of phantom limbs in Jazz.ududThe third section of my project looks at how social order is brought about in the fictive community of Sula through the scapegoating mechanism. I define the scapegoating principle in Sula in terms of cultural dismemberment because of the ways the community members symbolically cut a pariah figure, like Sula, off by performing symbolic acts of violence. The characterization of Sula emphasizes the psychological need for a scapegoat figure who can give an outlet to the defensive tendencies of the community following discrimination.ududMy final chapter focusses on Morrison’s most recent novel Home, which is about homecoming. In this novel, Morrison continues with her project of imagining a space of domestic and social comfort which is physically and psychically safe in the broad sense of a homeland for African Americans. Home offers a place of salvation from social, historical and psychic fragmentation or the traumas of racism which result in experiences of disruption, amputation and dismemberment.
展开▼
机译:《托尼·莫里森小说中的肢解》从历史,心理和文化等多个角度研究了莫里森小说中的肢解主题。我关于怜悯的第一章重点讨论殖民主义和奴隶制背景下的历史肢解。我从种族主义和肢解的原始经验来看,非洲裔美国人被迫与家人和祖国隔离。这为努力制定新世界生存策略的非洲裔美国人带来了分化。 ud ud我的第二章爵士乐集中在跨代传播创伤的影响上。我认为,肢解的经验(例如截肢和幻肢的感觉)并非来自肢体截肢,而是来自创伤经历和前代无意识,这些都是由于代代相传的困扰。在解释爵士乐中的幻肢时,我借鉴了尼古拉斯·亚伯拉罕(Nicolas Abraham)和玛丽亚·托洛克(Maria Torok)的精神分析见解。 ud ud我的项目的第三部分探讨了如何通过替身机制在苏拉的虚拟社区中实现社会秩序。我通过文化肢解来定义苏拉的替罪羊原则,因为社区成员通过执行象征性的暴力行为象征性地削减了像苏拉这样的贱民形象。苏拉(Sula)的性格强调了替罪羊人物的心理需求,这些人物可以在歧视后为社区的防御倾向提供出路。 ud ud我的最后一章着眼于莫里森的最新小说《回家》。在这部小说中,莫里森继续她的项目,设想了一个家庭和社会舒适的空间,在非洲裔美国人的家园的广泛意义上,这在身体和心理上都是安全的。家庭为社会,历史和心理上的分裂或种族主义的创伤提供了救赎的场所,种族主义的创伤导致了破坏,截肢和肢解的经历。
展开▼