Analyze the symbolism of the color purple in the novel. What does it represent, and how does it change in significance throughout the story? How does the color purple connect to themes of empowerment and healing?
The Color Purple is a novel originally written in English by an American author Alice Walker. As an American writer, her works mainly novels, poems, and short stories are notable for their treatment of African American culture. The Color Purple among her other books is notable for their focus on women. Published in the year 1982, it came out as one of the best works. It focuses mainly on an African American woman who struggles for empowerment, although she is uneducated and abused. Alice Walker's novel, the color purple praises primarily came from its emphasis on women characters and its use of English vernacular mainly used by blacks. After its publication, the novel won an award in 1983, Pulitzer Prize. This paper aims to point out the differences and similarities among the cultures mentioned in the novel, discuss the gender in the quality of life for people in the various cultures in the novel. The paper also aims at the impact of the modern values on the people in the cultures mentioned in the novel.
The Color Purple Essay Thesis
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The two most engaging essays in this collection involve Korean and Korean-American narratives: Jinhee Kim's elegant discussion of a Korean drama, Please Turn Off the Lights by Man-hee Lee, and Nicole Cooley's compelling analysis of Dictee, an avant-garde narrative by the Korean-American artist and writer, Theresa Hak Kyung Cha. Both authors carefully articulate their understanding of cross-culturalism contextually. For Kim, it is a nuanced question of Western hegemony and "cross-cultural transmission" as she examines the Korean reception of Man-hee Lee's play, on the surface influenced by Western dramatic structures; for Cooley, cross-culturalism regarding Cha's work means seeing her own exile and displacement (from Korea to the United States) as displaced onto her own work (118). What is particularly attractive in Kim's and Cooley's discussions is the need to see cross-culturalism through a complex feminist critique of language, representation, immigration, hybridity, and traditional notions of identity. Kim and Cooley do not allow the readers to romanticize East-West cross-culturalism or see it merely on the level of literary aesthetics experiments. Instead, the readers are reminded how postmodern discourse has been profoundly reworked by transnational feminist theoretical interventions. On this level, both essays evoke Inderpal Grewal's and Caren Kaplan's well-known collection of essays, Scattered Hegemonies: Postmodernity and Transnational Feminist Practices, and their thesis about the need to dislocate the primacy of the Western gaze. [End Page 606]
Many readers may be drawn to this publication expecting an engagement of such critical discourses of the late-twentieth century as, for example, transnationality, neocolonialism, and imperialism. Even though some of the essays are situated within these complex theoretical frameworks, overall, the central thesis of the book about East-West cross-culturalism left me confused. Part of the problem, I believe, is that the introduction, as a conceptual guide for the book does not offer a precise definition of East-West cross-culturalism. Furthermore, although many readers will likely presume "cross-culturalism" to be associated with the experiences of immigration, refugeeism, exile, or dislocation, Hakutani's articulation of "crossing cultures" does not foreground discourses of displacement. Instead, it remains on the level of center-margin rhetoric: "The very margins, which were suppressed in modernism [. . .] have come to gain power in postmodernist writing. Such margins are converted to signs of power, and these signs are... be457b7860
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