跪求research paper on Toni Morrison,英文的,如果要钱也可以!2天时间要关于the bluest eye的相关评论的research paper on Toni Morrison，不要别的，什么belove的，sula的都不要，只要the bluest eye的，她的第一个

跪求research paper on Toni Morrison,英文的,如果要钱也可以!2天时间要关于the bluest eye的相关评论的research paper on Toni Morrison，不要别的，什么belove的，sula的都不要，只要the bluest eye的，她的第一个
跪求research paper on Toni Morrison,英文的,如果要钱也可以!2天时间
要关于the bluest eye的相关评论的research paper on Toni Morrison，不要别的，什么belove的，sula的都不要，只要the bluest eye的，她的第一个作品，也是得到诺贝尔的那个，

跪求research paper on Toni Morrison,英文的,如果要钱也可以!2天时间要关于the bluest eye的相关评论的research paper on Toni Morrison，不要别的，什么belove的，sula的都不要，只要the bluest eye的，她的第一个
The Bluest Eye Toni Morrison
Context
Toni Morrison was born Chloe Anthony Wofford in 1931 in Lorain,Ohio.Her mother's family had come to Ohio from Alabama via Kentucky,and her father had migrated from Georgia.Morrison grew up with a love of literature and received her undergraduate degree from Howard University.She received a master's degree from Cornell University,completing a thesis on William Faulkner and Virginia Woolf.Afterward,she taught at Texas Southern University and then at Howard,in Washington,D.C.,where she met Harold Morrison,an architect from Jamaica.The marriage lasted six years,and Morrison gave birth to two sons.She and her husband divorced while she was pregnant with her second son,and she returned to Lorain to give birth.She then moved to New York and became an editor at Random House,specializing in black fiction.During this difficult and somewhat lonely time,she began working on her first novel,The Bluest Eye,which was published in 1970.
Morrison's first novel was not an immediate success,but she continued to write.Sula,which appeared in 1973,was more successful,earning a nomination for the National Book Award.In 1977,Song of Solomon launched Morrison's national reputation,winning her the National Book Critics' Circle Award.Her most well-known work,Beloved,appeared in 1987 and won the Pulitzer Prize.Her other novels include Tar Baby (1981),Jazz (1992),and Paradise (1998).Meanwhile,Morrison returned to teaching and was a professor at Yale and the State University of New York at Albany.Today,she is the Robert F.Goheen Professor in the Council of Humanities at Princeton University,where she teaches creative writing.In 1993,Morrison became the first -African-American woman to receive the Nobel Prize in literature.
The Bluest Eye contains a number of autobiographical elements.It is set in the town where Morrison grew up,and it is told from the point of view of a nine-year-old,the age Morrison would have been the year the novel takes place (1941).Like the MacTeer family,Morrison's family struggled to make ends meet during the Great Depression.Morrison grew up listening to her mother singing and her grandfather playing the violin,just as Claudia does.In the novel's afterword,Morrison explains that the story developed out of a conversation she had had in elementary school with a little girl,who longed for blue eyes.She was still thinking about this conversation in the 1960s,when the Black is Beautiful movement was working to reclaim African-American beauty,and she began her first novel.
While its historical context is clear,the literary context of The Bluest Eye is more complex.Faulkner and Woolf,whose work Morrison knew well,influenced her style.She uses the modernist techniques of stream-of-consciousness,multiple perspectives,and deliberate fragmentation.But Morrison understands her work more fundamentally as part of a black cultural tradition and strives to create a distinctively black literature.Her prose is infused with black musical traditions such as the spirituals,gospel,jazz and the blues.She writes in a black vernacular,full of turns of phrase and figures of speech unique to the community in which she grew up,with the hope that if she is true to her own particular experience,it will be universally meaningful.In this way,she attempts to create what she calls a “race-specific yet race-free prose.”
In the afterword to The Bluest Eye,Morrison explains her goal in writing the novel.She wants to make a statement about the damage that internalized racism can do to the most vulnerable member of a community—a young girl.At the same time,she does not want to dehumanize the people who wound this girl,because that would simply repeat their mistake.Also,she wants to protect this girl from “the weight of the novel's inquiry,” and thus decides to tell the story from multiple perspectives.In this way,as she puts it,she “shape[s] a silence while breaking it,” keeping the girl's dignity intact.

Biography / Criticism
Toni Morrison was born Chloe Anthony Wofford, the second of four children, to George and Ramah Wofford on February 18, 1931. Both of her parents came from sharecropping famil...

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Biography / Criticism
Toni Morrison was born Chloe Anthony Wofford, the second of four children, to George and Ramah Wofford on February 18, 1931. Both of her parents came from sharecropping families who had moved North in pursuit of better living conditions in the early 1900s, and her father’s family had faced a great deal of discrimination. Due to these bitter memories and the racial troubles he endured during his childhood, he maintained a strong distrust of whites throughout his lifetime. Morrison’s parents instilled the value of group loyalty, which they believed was essential to surviving the harsh realities of racial tension during that era. As an African-American in a town of immigrants, she grew up with the notion that the only place she could turn to for aid and reassurance would be within her own community in Lorain, Ohio. Here, Morrison had "an escape from stereotyped black settings -- neither plantation nor ghetto".
She grew up in a lively household and was surrounded by songs, fairy tales, ghost stories, myths, music, and the language of their African-American heritage. A common practice in her family was storytelling; after the adults had shared their stories, the children told their own. The importance of both listening to stories and creating them contributed to Morrison's profound love of reading.
Morrison’s parents encouraged her passion for reading, learning, and culture, as well as a confidence in her own abilities and attributes as woman. They educated Morrison before she was sent to school, and as an adolescent she became enthralled by classic literature, including Jane Austen, Fyodor Dostoevsky, and Leo Tolstoy. In an interview with Jean Strouse, Morrison described her childhood experiences with literature: "Those books were not written for a little black girl in Lorain, Ohio, but they were so magnificently done that I got them anyway -- they spoke directly to me out of their own specificity.” Morrison was especially impressed by the ability of her favorite authors to identify with and present their own cultural roots.
Morrison graduated high school with honors in 1949 and went on to attend Howard University in Washington D.C. It was during this time that Morrison changed her name from ‘Chloe’ to ‘Toni’, (derived from her middle name, Anthony) so that her name would be easier to pronounce. Morrison was also a member of the Howard Repertory Theatre; their trips to perform gave her the opportunity to observe the African-American experience in the South. In 1953, she graduated from Howard University with a bachelor’s degree in English and a minor in Classics. Morrison went on to pursue graduate studies at Cornell University in Ithaca, New York. In 1955, she completed her master's thesis on the works of Virginia Woolf and William Faulkner and received a Master of Arts.
Following her graduation, Morrison began her teaching career at Texas Southern University. She returned to Howard in 1957 as an English instructor and began working on her own writing. There she met and married Harold Morrison, a Jamaican architect and fellow faculty member. The couple had two sons: Harold Ford and Slade Morrison.
During this period, Morrison joined a small writer’s group as a temporary escape from an unhappy marriage. She needed to be around people who appreciated literature as much as she did. For discussion, each member was required to bring a story or poem. After one week, Morrison had brought nothing so she quickly wrote a story based on a girl she knew during childhood who had prayed to God for blue eyes. Although her group enjoyed the story, Morrison put it away, thinking she was done with it. Over that same period the marriage deteriorated, culminating in divorce in 1964. After her divorce, Morrison left Howard University and began working as an associate editor for Random House in Syracuse, New York.
While working during the day, her housekeeper took care of her two sons. In the evening, Morrison cooked dinner and played with her sons until their bedtime, when she would start writing. She found writing exciting and challenging; she found everything else boring by comparison with the exception of partenting. In an interview with Nellie McKay, when asked how she manages these responsibilities, her response was, “Well, I really only do two things… It only looks like many things. All of my work has to do with books. It’s all one thing. And the other thing that I do is to raise my children which, as you know, I can only do one minute at a time” (McKay 140). In 1967, she was transferred to New York where she became a senior editor for Random House.
It was during this time when Morrison began to develop the story she had presented at her literature group. For several years, she tried to get the novel published, but after many rejections, Holt, Rinehart, and Winston accepted The Bluest Eye for publication in 1970. From 1971-1972, Morrison became the associate professor of English at the State University of New York while continuing her job at Random House. During this time, Morrison mentored African-American women writers, including Toni Cade Bambara and Gayl Jones and compiled and anthologized the works and histories of African-Americans. She also spent her spare time writing her second novel, Sula, a story focused on a friendship between two adult black women. It was published in 1973 and was nominated for the 1975 National Book Award in fiction.
Sula is the story of two women from a poor African-American community called ‘the Bottom’ in Ohio. Nel is the only daughter of Helene Wright, a socially conscious and conservative woman. Sula is the only daughter of Hannah Peace and lives in a large and mysterious house with her grandmother Eva Peace. Nel comes from a very restrictive household whereas Sula is raised not so much with a sense of freedom as without boundaries. Her mother has had relations with many of the men in the Bottom and is considered to be quite beautiful. This seems to influence Sula’s sense of freewill and spirit later in the novel. Nel and Sula become fast friends and are inseparable through much of their childhood. Helene is initially apprehensive of her daughter’s friendship with Sula because of her mother’s reputation. However, Sula is a polite houseguest and Helene easily dismisses her fears. Each child prefers the others’ home to their own because of the significant difference in atmosphere.
After high school, Nel and Sula’s paths diverge and do not intersect for another ten years. Nel stays in the Bottom and marries Jude Greene, a waiter at the local hotel and a member of the church choir. Sula leaves the Bottom and goes off to college, and like her mother, has many affairs with men. When she returns to the Bottom, she and Nel immediately pick up where they left off. However, Sula and Jude have an affair and Nel walks in on them. This incident ends the friendship between Sula and Nel, as well as the marriage of Nel and Jude. After Jude leaves her, Nel raises her two children alone, and has no communication with Sula for three years. The next time they speak is when Sula has become very sick and is near death. The novel takes a more explicitly philosophical turn as the two friends have their final conversation about what it means to be good or bad and how one knows the difference. Sula dies soon after this conversation and is buried in the town cemetery. In the final scene of the novel, Nel visits Sula’s grandmother, Eva, in a nursing home. Eva is quite old and appears to be forgetful of the memories Nel seeks to retell. Saddened by her conversation with Eva, Nel walks home; she finds herself at the town cemetery and realizes that she misses Sula, her one and only friend. This novel focuses mainly on the struggles of womanhood as faced by African-American women within their own communities and white communities as well. Morrison also concerns herself with what it means to be good and bad and how these very concepts are indefinable. The final scene between Nel and Sula is both touching and sad, as both come to question the other’s opinion and knowledge. Morrison also introduces several characters and scenes which challenge the reader’s sense of good and evil, especially the scene in which Chicken Little (a young boy who lives in the Bottom) is climbing a tree with the help of Sula and then falls into the river and dies. Nel and Sula do not know what to do, and neither one tells anyone what has happened. Definitions of good and evil are also challenged when Eva struggles to survive as a woman on her own with three children. Eva made many sacrifices and was able to sustain her family; however, later on in the novel she kills her own son after he returns from war with an addiction to drugs. The novel also questions American society as well as the choices made by those who live in it. After all is said and done, is it necessary for one to defend one’s actions? What is the point of a life lived for anyone else? Are sacrifices important to lead a ‘good and true life’? Sula raises these questions through the examination of two women who live out their own unique idea of a just life.
The article, “Toni Morrison’s Sula: a Satire on Binary Thinking” by Rita A. Bergenholtz argues that Toni Morrison’s novel Sula should be considered a novel in the tradition of satire. Bergenholtz begins by stating that Sula has been read in a variety of different contexts as a “black woman’s epic, a study of ‘female friendship’, an ‘antiwar novel,’ a ‘fable,’ and an exploration of the ‘feminine psyche’” (Bergenholtz 1). However, in selecting one definition against others, it becomes clear that Morrison’s novel is indeed written with the sense of binary in mind, which, Bergenholtz argues, is what Morrison’s novel is “about”.
According to Bergenholtz, Sula should be read as a satire because Morrison is successful in causing the reader not only to rethink common societal problems, but also to reach a sense of catharsis in the process. The novel is engaging and humorous, as well as extremely tragic. One feels almost torn between these two opposing emotions and unsure of how to categorize the novel, which is exactly how Bergenholtz begins her argument. Bergenholtz continues by mentioning the theme of binary oppositions in the novel, most evident in the beginning of the novel in which Morrison begins with a joke about the town being named the “Bottom” even though it is on top of a mountain. Bergenholtz briefly analyzes each character to show that Morrison uses binaries in their descriptions and actions. Satire is a genre which is well paired with the notion of binary since satire, generally, is a subtle critique of accepted norms and mores.
Bergenholtz makes a strong case for the number of opposites that appear throughout the novel. One of the novel’s central themes of good and evil (the problem of dissociating one from the other) is also a compelling argument in her favor since good and evil are binaries. Nevertheless, despite this evidence, one can’t help but take a somewhat existentialist view of the novel. Given the complex nature of good and evil, it seems unlikely that Morrison is seeking a strict definition of either term. This is reflected in the complexity of the characters found in the novel, whose human flaws and various decisions defy categorization as merely good or evil. Just as the “Bottom” is actually the top of the mountain but, as white people begin to move to it, it becomes the “top”; these arbitrary definitions and terms seem to prove only that language is an imprecise tool at best, which lacks the ability to objectively define these abstract concepts. Bergenholtz does mention the difficulty with language towards the end of her argument; however, this brief passage begins what could be a much larger discussion, which is unrealized. Indeed, the end of the novel seems to be the most compelling evidence for the inability to truly understand human actions and justify right against wrong, as Nel breaks down and cries after the death of Sula. Despite the fact that Nel and Sula are “binary characters” who think and have opposing actions, Morrison concludes her novel with the sadness of the loss of the seemingly “amoral character” as viewed by the morally strong-willed character, Nel.
The publication of these first novels opened up new pathways for Morrison and encouraged her to write even more. From 1976-1977, she was a visiting lecturer at Yale University in New Haven, Connecticut, while also writing her third novel, Song of Solomon. Unlike Sula, this novel would focus on strong male characters, an interest she developed while watching her two sons start to grow up. This third novel was published in 1977 and won both the National Book Critic’s Circle Award and the American Academy and Institute of Arts and Letters Award. President Jimmy Carter nominated Morrison to the National Council on the Arts. By 1981, she published her fourth novel, Tar Baby, where she explored the interaction between black and white society.
After working at Random House for almost twenty years, Morrison left her position there in 1983. She was named the Albert Schweitzer Professor of the Humanities at the State University of New York in Albany in 1984. While living in Albany, she started writing her first play, “Dreaming Emmett”. It was based on the true story of a black teenager, Emmett Till, killed by racist whites in 1955 after being accused of whistling at a white woman. The play’s first performance opened on January 4, 1986 at the Marketplace Theater in Albany. Soon after, she began work on her fift

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