Bücher von José Endoença Martins

"Fictionalizing Signifyin(g) in Toni Morrisons Romanen" umfasst fünf miteinander verbundene Artikel, die sich mit der Frage befassen, wie Gates' Konzept des Signifyin(g) die Erfahrungen schwarzer Frauen mit Hendersons Begriff der Selbstreflexivität im schwarzen Schreiben zusammenführt. Aus der Perspektive der schwarzen dialogischen Intertextualität und des Call-and-Response-Phänomens erweitert dieses Buch meine frühere Diskussion über die spirituelle und politische Bekehrung schwarzer Frauen in Jarena Lees spiritueller Erzählung und Harriet Jacobs' Sklavenerzählung. (Siehe Martins, 2018) Meine Entscheidung, diese Publikation als eine Folge der vorherigen Arbeit vorzuschlagen, verbindet Toni Morrisons Erfahrungen schwarzer Frauen mit Lees spirituellem Leben, zusammen mit Linda Brents politischem Leben, durch einen methodologischen Apparat von fünf analytischen Elementen: antagonisierendes Setting und Agent, unterstützender Agent, die Ziele der Frauen und das Ergebnis der Erzählungen. Die methodische Organisation ermöglicht die Feststellung der Gültigkeit von Hendersons Selbstreflexivität und Gates' Signifyin(g), die beide als konversationeller oder dialogischer Klebstoff die Texte durch ihren rassischen Inhalt und ihre erzählerische Entwicklung miteinander verbinden.

"Fictionalizing Signifyin(g) in Toni Morrison's Novels" comprende cinque articoli interconnessi su come il concetto di Signifyin(g) di Gates amalgama le esperienze delle donne nere con la nozione di autoriflessività nella scrittura nera di Henderson. Dal punto di vista dell'intertestualità dialogica nera e del fenomeno del call-and-response, questo libro amplifica la mia precedente discussione sulla conversione spirituale e politica delle donne nere nel racconto spirituale di Jarena Lee e nella narrazione di schiavi di Harriet Jacobs. (La mia decisione di proporre questa pubblicazione come una sequenza al lavoro precedente associa le esperienze delle donne nere di Toni Morrison con la vita spirituale di Lee, insieme alla vita politica di Linda Brent, attraverso un apparato metodologico di cinque elementi analitici: setting e agente antagonizzante, agente di supporto, scopi delle donne e risultato delle narrazioni. L'organizzazione metodologica rende possibile stabilire la validità dell'autoriflessività di Henderson e del Signifyin(g) di Gates, entrambi come collante conversazionale o dialogico che unisce i testi attraverso il loro contenuto razziale e lo sviluppo narrativo.

"Signifyin(g) upon Toni Morrison¿s Postblackness" is a collection of academic texts on the novels of African-American novelist Toni Morrison, who has been awarded the 1993 Nobel Prize of Literature. Her novels ¿ The Bluest Eye, Song of Solomon, Tar Baby ¿ are critically discussed under the auspices of three distinct concepts: Negriceness, Negritude and Negriticeness. These concepts work as theoretical attempts to measure both interracial and intrarracial proximity of the novels¿ major characters with both black and white cultural worlds and values. Thus, regarding The Bluest Eye, its Pecola Breedlove is studied from the perspective of Negriceness, which explains her wish to possess blue eyes. Concerning Song of Solomon, Milkman Dead is evaluated from the point of view of Negritude, which justifies a personal search for his family¿s ancestors and the legend of the flying slave, in the Southern US. Finally, as for the gaze of Negriticeness, Tar Baby's Jadine Childs associates her double-voiced blackness with her life between both the black Childs and the white Streets. In the end, Morrison's postblackness signifies upon the sum of all our blacknesses.

The book "Slave Women¿s Conversion in Spiritual and Political Black Narratives" situates black writers¿ autobiography within the theoretical and practical contours of Nihilism and Love, two aspects of the black experience all over the world, since slavery. It highlights West¿s (1994) perception that Nihilism ¿ as meaningless, hopeless and loveless life ¿ can only be defeated by Love ¿ as self-love and love of others. In the three personal accounts discussed, the black writers¿ self-displacement from Nihilism to Love is vastly documented by the narrators. Firstly, Martins¿s (2016) movement between these polarized aspects of the black experience leads him from Ariel to Calibán to Eshu. Secondly, Lee¿s (1849) tale conducts the spiritual narrator from sin to public preaching after conversion. Finally, Brent¿s (1861) discourse shows how the slave narrator moves from bondage to political activism as an abolitionist, after fleeing from slavery. These three self-narrators of their own overcoming of Nihilism encompass personal connections to specific modalities of Love and Self-Love, due to individual and collective conversion, within literary, spiritual and political discourses.

Ksi¿¿ka "Slave Women's Conversion in Spiritual and Political Black Narratives" sytuuje autobiografie czarnych pisarzy w ramach teoretycznych i praktycznych konturów Nihilizmu i Mi¿o¿ci, dwóch aspektów czarnego do¿wiadczenia na cäym ¿wiecie, od niewolnictwa. Podkre¿la zachodnie postrzeganie (1994), ¿e nihilizm - jako ¿ycie bez znaczenia, beznadziejne i bez mi¿o¿ci - mo¿e zostä pokonany jedynie przez Mi¿o¿¿ - jako mi¿o¿¿ do siebie i mi¿o¿¿ do innych. W trzech osobistych relacjach, o których mowa, czarni pisarze w du¿ym stopniu dokumentuj¿ samoograniczenie si¿ Nihilizmu i Mi¿o¿ci. Po pierwsze, ruch Martina (2016) pomi¿dzy tymi spolaryzowanymi aspektami czarnego do¿wiadczenia prowadzi go od Ariel do Calibána do Eshu. Po drugie, opowie¿¿ Lee (1849) prowadzi duchowego narratora od grzechu do publicznego g¿oszenia po nawróceniu. Wreszcie, dyskurs Brenta (1861) pokazuje, jak narrator niewolniczy, po ucieczce z niewoli, przechodzi z niewoli do aktywizmu politycznego jako abolicjonista.

"The Wrong Color of Shakespeare" to zbiór fikcyjnych opowie¿ci czarnych ludzi w mäej brazylijskiej spo¿eczno¿ci imigrantów niemieckich i w¿oskich, zwanej Jararacumbach, z¿o¿ona nazwa sugeruj¿ca hybryd¿ brazylijskiego w¿¿a (Jararaca) i niemieckiej rzeki (Bach). Od narodzin do ¿mierci te afrykäskie przedmioty brazylijskie ucz¿ si¿, jak radzi¿ sobie z imigrantami, jak je¿¿ ich jedzenie, jak mówi¿ ich j¿zykami, jak uczy¿ si¿ lekcji w ich seminarium, aby w miar¿ mo¿liwo¿ci zachowä ich rasistowskie zachowania i dyskryminuj¿ce postawy na zatoce. Kiedy nie by¿o to mo¿liwe, poddaj¿ si¿ surowym warunkom ¿ycia lub pokonuj¿ je, nie zawsze pokojowo. Czarny Bento jest g¿ównym bohaterem m¿skim w wi¿kszo¿ci opowie¿ci.