The Historiographic Metafictionality of Toni Morrison's Trilogy

Table of Contents

Introduction

Chapter I. Subjectivity / Posmodern Blackness

1. Intersectionality

2. Quest for a self

3. Deconstructing Subjectivity

Chapter II. Palimpsests

1. Paratext

2. Signifyin(g) on Jazzthetics

3. Parody

3.1 Jazz an inverted Gatsby

4. Pastiche

4.1 Beloved vs. Hucklberry Finn

4.2 Paradise vs. On the Road

Chapter III : Magic realism

1. Incredulity towards realism

2. Hauntology

3. Magical realism as a postcolonial counter-discourse

Objectives and Research Themes

The primary objective of this dissertation is to establish the postmodern nature of Toni Morrison's literary work by analyzing her trilogy—Beloved, Jazz, and Paradise—through the lens of Linda Hutcheon's theory of historiographic metafiction, while addressing the neglect of her postmodern and postcolonial contributions in existing scholarship.

• The fragmented nature of postmodern subjectivity and intersectionality.
• The application of intertextuality through paratexts, parody, and pastiche.
• The use of magic realism as a postcolonial counter-discourse.
• The destabilization of historical narratives and traditional notions of truth.
• The integration of literary theory into fiction as a form of postmodern resistance.

Excerpt from the Book

Chapter Summaries

Chapter I. Subjectivity / Posmodern Blackness: This chapter examines the fragmented nature of postmodern selfhood in Morrison's trilogy, employing the concept of intersectionality to analyze how identity is shaped by the convergence of racism, sexism, and classism.

Chapter II. Palimpsests: This chapter investigates intertextuality in Morrison's novels, focusing on how paratexts, parody, and pastiche are used to engage with historical and literary texts, thereby bridging the gap between the past and the present.

Chapter III : Magic realism: This chapter explores how Morrison utilizes magic realism as a postcolonial counter-discourse to subvert traditional realism, highlighting the ontological dimension of her work and the role of hauntology in representing the African American past.

Keywords

historiographic metafiction, subjectivity, intertextuality, parody, pastiche, postmodernism, post-colonialism, magic realism, intersectionality, hauntology, Morrison, discourse, narratology, identity, representation

Frequently Asked Questions

What is the core focus of this research?

The dissertation argues for the postmodernity of Toni Morrison’s trilogy (Beloved, Jazz, and Paradise) by utilizing Linda Hutcheon’s concept of historiographic metafiction as a primary analytical framework.

Which key themes are explored in the analysis?

The central themes include the fragmentation of identity, the use of intertextual literary devices, the subversion of historical master narratives, and the application of magic realism as a postcolonial tool.

What is the primary research goal?

The aim is to counter the critical neglect of Morrison as a postmodern writer and to demonstrate how her novels actively participate in the deconstruction of racial, gender, and colonial power structures.

Which theoretical methods are employed?

The research adopts a multidisciplinary approach, drawing on post-structuralist theories from Derrida, Foucault, and Deleuze, alongside feminist, postcolonial, and Marxist perspectives to analyze Morrison’s narrative techniques.

What does the main body cover?

The main body is divided into three parts: the construction of subjectivity, the use of intertextual "palimpsests" (such as parody and pastiche), and the implementation of magic realism to articulate historical trauma.

Which keywords characterize this work?

Key terms include historiographic metafiction, intersectionality, intertextuality, hauntology, magic realism, and the concept of "rememory" as a means of engaging with the past.

How does the work address the concept of "identity" in Morrison’s characters?

The dissertation posits that identity in Morrison’s trilogy is not a fixed essence but a process of "becoming," heavily influenced by the interplay of discourse and the need to navigate the trauma of history.

How is the concept of "magic realism" uniquely applied?

Unlike traditional magic realism, Morrison uses it as a specific postcolonial counter-discourse that blends historical reality with the spectral presence of the past to challenge totalizing Western narratives.