However, the characters’ habitual identification of whites as the oppressors and blacks as the oppressed does not always prove accurate. Indeed, in Beloved, the black community’s reluctance to trust whites amounts to a survival strategy. Black and whiteĢ The binary opposition between black and white certainly represents an important mental framework in a racially divided culture and it functions on both sides of the color line. The importance of Morrison’s treatment of color seems to lie in the way she makes colors coexist, how she stitches them together on the model of quilts or clothing, or combines them on the model of Sethe’s garden (motifs which can be seen as metafictional emblems) in order to put colors into relation with one another. Yet it is not enough to study colors in isolation. Looking at the way colors are associated with different events, moods or settings allows us to better understand Morrison’s color symbolism. In fact, a much wider spectrum is present in Beloved where color comes to constitute a kind of language. They tend, paradoxically, to efface rather than sharpen color distinctions as well as to complexify the racial opposition that they conventionally stand for. Though the novel contains numerous references to black and white, they have unexpected connotations. The novel invites readers to follow the example of Baby Suggs and to “ponder color” in order to discover how Morrison reconfigures color references into a far more complex scheme than the ideologically determined black and white opposition.
In the case of Morrison’s novels, though, it would be inaccurate to presume that this opposition might obliterate the rest of the color spectrum, and perhaps nowhere more so than in Beloved. Du Bois saw as central to the twentieth century looms large in African American writing. Certainly, the problem of the “color line” that W.E.B.
Beloved « n’est pas une histoire à transmettre », comme un héritage familial, mais une histoire à reprendre et à relire.ġ Studying color in Toni Morrison’s Beloved in a historical context might seem at first to place readers in the position of contemplating the opposition between black and white that has divided American society since the days of slavery. Finalement, Morrison délaisse ces modèles métafictionnels au profit de la narration. L’importance des couleurs chez Morrison réside dans la façon dont elle les laisse coexister : elle les associe comme s’il s’agissait d’un « patchwork » ou d’une étoffe bariolée elle les combine comme les plantes dans le jardin de Sethe (toutes ces images sont des icônes métafictionnelles) de façon à ce que les couleurs entrent en relation les unes avec les autres.
#Differentes couleurs rose plus#
L’étude des associations entre les différentes couleurs, événements, modalités et cadres du roman permet de cerner avec plus de précision le symbolisme des couleurs chez Morrison. En fait, dans Beloved, on découvre un spectre beaucoup plus large. Paradoxalement, elles tendent à effacer plutôt qu’à renforcer les oppositions raciales, tout en complexifiant les référents raciaux auxquels elles sont traditionnellement associées. Bien que l’on trouve de nombreuses références au blanc et au noir, les deux extrêmes du spectre revêtent des connotations inattendues. L’étude des couleurs dans Beloved montre la façon dont Toni Morrison reconfigure les diverses couleurs dans des ensembles plus complexes que l’opposition, idéologiquement marquée, entre le blanc et le noir.
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