상보적 사유: 토니 모리슨의 인식 체계 고찰

Abstract

This study found that the applause from Cosmopolitan on Toni Morrison as a “Shakespeare singing the blues” was owing to her new thoughts and aesthetics on the African American history. Therefore, this essay showed that at first the ‘incest scene’ from The Bluest Eye does not have common issue with the similar one from Invisible Man by Ralph Ellison. Secondly, it clarified that the consciousness in flux of characters in Sula and the dictions in Beloved contribute the text’s achievement for the meaning as well as the intention of open-ending, which argue powerfully Morrison’s abhorrence of the conservatism having been long spurted by the ‘White Mythology’. Thirdly, the Solomon Song in Song of Solomon and the jazz in Jazz represent themselves for both affirmative and negative needs from the history of African American people, which combines the dichotomical elements to be supplemented functionally and symbolically by their counterparts. In all, this study supports Morrison’s statements of “encompassing the black music” rooted in her belief of depth that the structural dichotomies in her texts such as ‘private thing’ and ‘public consumption’ or ‘centered’ and ‘off-centered’ and ‘gain’ and ‘loss’ appear to be counterparts of no reconciliation at all, but actually they are to be supplements to each other.