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Cilj istraživanja ove disertacije je da ukaže na subverzivni karakter elemenata poput muzike i smeha koje Toni Morison često i obilato koristi u svojim delima. Od mnogobrojnih funkcija koje muzika ima u delima Toni Morison izdvajamo i posebno analiziramo njenu upotrebu u dekonstrukciji nametnutih i izgradnji novih identiteta afro-američkih likova a koja se ostvaruje na različite načine (nazivi dela, likovi, scene, ton pripovedanja, upotreba džez tehnike poziv i odgovor i dr.). Smeh se takođe posmatra kao sredstvo subverzije koje likovima izabranih dela omogućava oslobađanje od naizgled „večite” hijerarhije. Smeh, znatno složeniji od suza, na određeni način pročišćava pojedinca i daje priliku za pretvaranje jednostranog u višestrano, za rađanje celovitosti koja, iako nije konačna, ipak daje nadu za sadašnjost i budućnost. Smeh u delima Toni Morison otklanja traumatične efekte procesa konstrukcije identiteta i daje priliku za isceljenje a onda i ponovno stvaranje identiteta koji svoje korene ima u individualnoj i kolektivnoj prošlosti afro-američke zajednice. Oslanjajući se na postavke postmodernizma, dekonstrukcije i teorije karnevala pristupamo analizi romana Voljena, Džez, Ljubav i Solomonova pesma, i u njima dokazujemo da je identitet pojedinaca važan, potreban ali i pokretan, višeslojan, bezgraničan i neuhvativ. Identitet pojedinca u XXI veku lako podleže dominantnom diskursu ukoliko ne postoji spona sa konkretnim kulturno-istorijskim nasleđem te ukoliko potisnuta emotivna stanja iz prošlosti ne nađu svoje razrešenje u sadašnjosti. „Uznemireni“ čitalac dela ove autorke, izvodi zaključak da je važno postati aktivni „proizvođač“ zvuka (muzike i smeha) naspram pasivnog konzumenta sadržaja koji se pak interpretiraju na načine nametnute od strane dominantne kulture. This research aims at pointing out the subversive character of elements such as music and laughter, elements which are often and to a great degree, used by Toni Morrison, literary author. Out of the numerous roles music has in the works of Toni Morrison, this paper particularly touches on its role in the deconstruction of imposed and reconstruction of new identities of African-American characters; this role is achieved in different ways (novel titles, characters, scenes, narration, use of call-and-response techniques, etc.). Laughter is also observed as a means of subversion which enables the characters of selected novels to break free from, what seems to be, „eternal“hierarchy. Laughter, substantially more complex than tears, is a sort of a cleanser which provides an individual with an opportunity to transform that which is one-sided into multifaceted, to develop a whole, which although not final, still provides hope for both present and future. Laughter in the works of Toni Morrison removes the traumatic effects of the process of identity construction and provides an opportunity to heal and recreate an identity rooted in both collective and individual past of African- American community. Relying on postmodernism, deconstruction and carnival theory, we approach the analysis of novels Beloved, Jazz, Love and Song of Solomon to demonstrate that an individual’s identity is important, necessary but also fluid, multilayered, non-finite and elusive. An individual’s identity in the 21st century easily succumbs to the dominant discourse if there is no link to the particular culturalhistorical heritage i.e. if the suppressed past emotions are not resolved in the present. The „alarmed“ reader of the works of this author, understands that instead of being a passive consumer whose interpretation of any matter is controlled by the dominant culture, one should become an active „producer“ of sound (music and laughter). |
