Relevant bibliographies by topics / Morrison, Toni – Jazz

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Morrison, Toni – Jazz'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Morrison, Toni – Jazz"

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Rice, Alan J. "Jazzing It Up A Storm: The Execution and Meaning of Toni Morrison's Jazzy Prose Style." Journal of American Studies 28, no. 3 (December 1994): 423–32. http://dx.doi.org/10.1017/s0021875800027663.

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The publication of Toni Morrison's new novel Jazz with its insistent jazzy themes and rhythms will have concentrated the minds of critics on the relationship of her work to America's most important indigenous artistic form, jazz music. However, in their headlong rush to foreground the impact of jazz on Toni Morrison's latest novel critics should be wary of isolating this novel as her only jazz-influenced work. All of her novels have been informed by the rhythms and cadences of a black musical tradition and in this article I want to stress the centrality of jazz music stylistically to her whole corpus of work. Morrison herself has acknowledged the centrality of a musical aesthetic to her work in interview after interview long before the publication of Jazz:…a novel written a certain way can do precisely what spirituals used to do. It can do exactly what blues or jazz or gossip or stories or myths or folklore did – that stuff which was a common wellspring of ideas…Morrison is writing out of an oral tradition which foregrounds musical performances as well as other oral forms. Some critics have acknowledged the importance of jazz to her work, notably Anthony J. Berret in his article “Toni Morrison's Literary Jazz”. But, despite some provocative and illuminating comments, his is not a systematic account of the use of a jazz mode in Morrison's fiction and I wish in this paper to attempt a more rigorous analysis of her early novels, outlining her willed use of a jazz aesthetic as a pivotal structural device.
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MUNTON, ALAN. "Misreading Morrison, Mishearing Jazz: A Response to Toni Morrison's Jazz Critics." Journal of American Studies 31, no. 2 (August 1997): 235–51. http://dx.doi.org/10.1017/s0021875897005653.

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Toni Morrison's fiction, we have been repeatedly told, embodies features taken from jazz. Her books have a “jazzy prose style,” express a “jazz aesthetic,” or are “literary jazz.” Critics propose that jazz riffs can be found in her writing, and that she improvises in prose in a manner comparable to an improvising jazz musician. None of this seems to me to be true. To establish a relationship between music and prose fiction would be difficult under any circumstances. It is all the more difficult when the critics concerned show themselves to be unaware of the basic formal structures of jazz. The riff is foregrounded because it is the only feature of jazz that can be compared to prose (because both may include repetitions). It is a more serious objection that Rice, Small-McCarthy, Berrett, and others, including James A. Snead and Henry Louis Gates Jr., consistently ignore structure, harmony, and melody in favour of rhythm. The reason for this is that jazz rhythm can be traced back to its African origins, whereas structure, harmony, and melody require an engagement with European sources. Clearly, an ideology of authenticity is at work here. Yet a parallel argument is willing to relate Morrison's fiction to its European origins. For, if her novel Jazz is, as Rinaldo Walcott indicates, a rewriting of Scott Fitzgerald's version of the “Jazz Age,” then that rewriting or radical revision must occur by reference to a form – the novel – that originated in Europe and is (in the cited instance) a product of white America.
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Auser, Cortland P. "Review: Jazz by Toni Morrison." Explorations in Ethnic Studies ESS-12, no. 1 (August 1, 1992): 41.1–41. http://dx.doi.org/10.1525/ess.1992.12.1.41.

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Small-McCarthy, Robin. "The jazz aesthetic in the novels of Toni Morrison." Cultural Studies 9, no. 2 (May 1995): 293–300. http://dx.doi.org/10.1080/09502389500490391.

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ROYNON, TESSA. "A New “Romen” Empire: Toni Morrison's Love and the Classics." Journal of American Studies 41, no. 1 (March 8, 2007): 31–47. http://dx.doi.org/10.1017/s0021875806002738.

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An important but little-studied feature of Toni Morrison's novels is their ambivalent relationship with classical tradition. Morrison was a classics minor while at Howard University, and her deployment of the cultural practices of ancient Greece and Rome is fundamental to her radical project. Indeed, the works' revisionary classicism extends far beyond the scope of established criticism, which has largely confined itself to the engagement with Greek tragedy in Beloved, with the Demeter/Kore myth in The Bluest Eye and with allusions to Oedipus and Odysseus in Song of Solomon.1 Morrison repeatedly subverts the central role that Greece and Rome have played in American self-definition and historiography. In Paradise, for example, the affinity between the Oven in Ruby and the Greek koine hestia or communal hearth critiques the historical Founding Fathers' insistence on their new nation's analogical relationship with the ancient republics. And in their densely allusive rewritings of slavery, the Civil War and its aftermath, Beloved and Jazz expose the dependence of the “Old South” on classical pastoral tradition. It should come as no surprise, therefore, that in her most recent novel – Love (2003) – Morrison further develops the transformative engagement with America's Graeco-Roman inheritance that characterizes all of her previous fiction.2
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Grandt, Jurgen E. "Kinds of Blue: Toni Morrison, Hans Janowitz, and the Jazz Aesthetic." African American Review 38, no. 2 (2004): 303. http://dx.doi.org/10.2307/1512293.

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Tally, Justine. "The Gnosis of Toni Morrison: Morrison’s Conversation with Herman Melville, with a Nod to Umberto Eco." Contemporary Women's Writing 13, no. 3 (November 2019): 357–76. http://dx.doi.org/10.1093/cww/vpaa011.

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Abstract Long before Toni Morrison was extensively recognized as a serious contender in the “Global Market of Intellectuals,” she was obviously reading and absorbing challenging critical work that was considered “provocative and controversial” by the keepers of the US academic community at the time. While no one disputes the influence of Elaine Pagels’ work on Gnosticism at the University of Princeton, particularly its importance for Jazz and Paradise, the second and third novels of the Morrison trilogy, Gnosticism in Beloved has not been so carefully considered. Yet this keen interest in Gnosticism coupled with the author’s systematic study of authors from the mid-19th-century American Renaissance inevitably led her to deal with the fascination of Renaissance authors with Egypt (where the Nag Hammadi manuscripts were rediscovered), its ancient civilization, and its mythology. The extensive analysis of a leading French literary critic of Herman Melville, Prof. Viola Sachs, becomes the inspiration for a startlingly different reading of Morrison’s seminal novel, one that positions this author in a direct dialogue with the premises of Melville’s masterpiece, Moby-Dick, also drawing on the importance of Gnosticism for Umberto Eco’s 1980 international best-seller, The Name of the Rose.
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Rabbani, Golam. "Discrimination in “the City”: Race, Class, and Gender in Toni Morrison’s Jazz." Advances in Language and Literary Studies 10, no. 5 (October 30, 2019): 128. http://dx.doi.org/10.7575/aiac.alls.v.10n.5p.128.

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Toni Morrison, the African American Nobel laureate author, explores the realities where African American women face multiple discriminations in her novel Jazz (1992). This article, following the qualitative method on the bibliographic study, examines the discriminations entailing race, class, and gender and presents Harlem as a discriminatory space in the novel. Jazz narrates the struggles of African American women who settled in Harlem in the early twentieth-century. Haunted by the memories of slavery, the female African American characters in the novel find themselves subjugated in the society dominated by white Americans and also experience oppression within their black community. Harlem, denoted as “the City” in the novel, identifies itself as the relational space where black women experience the intersecting subjugation and alienation from their race, class, and gender positions.
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Makram, Nardein Maged Makram Dab’e. "A Pragmatic Study of Speech Acts in the Novel “Jazz” by Toni Morrison." Egyptian Journal of English Language and Literature Studies 9, no. 1 (December 1, 2018): 301–22. http://dx.doi.org/10.21608/ejels.2018.134079.

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Moreno Álvarez, Alejandra. "RESEÑA: SONIDOS DE LA DIÁSPORA. BLUES Y JAZZ EN TONI MORRISON, ALICE WALKER Y GAYL JONES. MARÍA ROCÍO COBO PIÑERO." RAUDEM. Revista de Estudios de las Mujeres 4 (December 18, 2017): 351. http://dx.doi.org/10.25115/raudem.v4i0.1747.

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Dissertations / Theses on the topic "Morrison, Toni – Jazz"

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Gustavsson, Jonas. "Subjects Matter : The Subject-Object Dichotomy in Toni Morrison's Jazz." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18196.

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This essay examines the subject-object dichotomy between men and women in Toni Morrison’s Jazz and the thesis of the essay is that this dichotomy develops into subject-object harmony. Through Simone de Beauvoir’s theory regarding the subject-object dichotomy and a close reading of the novel, this essay concludes that Jazz shows the possibility of reciprocal relationships built on friendship. In other words, the dichotomy changes into harmony, which makes it possible for both men and women to reach freedom and fulfilment in transcendence.
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Rosenfeld, Carola. "It´s Hard to be a Saint in the City : Jazz Music and Narrative Form in Toni Morrison´s Jazz." Thesis, Sektionen för humaniora, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-15139.

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This paper deals with the novel Jazz, written by African-American writer Toni Morrison. The paper argues that the novel deconstructs itself. Also, it illustrates how the jazz music in the novel works as a deconstructing force on the characters and the narrative form. The essay begins with a chapter about deconstructive theory.  Next, there is a brief summary of jazz music – its history and features. Then, there is an analysis which focuses on how jazz music affects the characters. Last, the narrative form is investigated, for instance in terms of the narrator’s tendency to shift between various points of view.
Uppsatsen påbörjades vid Halmstad Högskola med Cecilia Björkén Nyberg som handledare, men slutfördes vid Växjö Universitet. Magisterexamen är sedan uttagen vid Högskolan i Halmstad.
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Watson, Khalilah Tyri. "Literature as Prophecy: Toni Morrison as Prophetic Writer." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/50.

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From fourteenth century medieval literature to contemporary American and African American literature, researchers have singled out and analyzed writing from every genre that is prophetic in nature, predicting or warning about events, both revolutionary and dire, to come. One twentieth-century American whose work embodies the essence of warning and foretelling through history-laden literature is Toni Morrison. This modern-day literary prophet reinterprets eras gone by through what she calls “re-memory” in order to guide her readers, and her society, to a greater understanding of the consequences of slavery and racism in America and to prompt both races to escape the pernicious effects of this heritage. Several critics have recognized and written about Morrison’s unique style of prophetic prose. These critics, however, have either taken a general cursory analysis of her complete body of works or they are only focused on one of her texts as a site of evidence. Despite the many critical essays and journal articles that have been written about Morrison as literary prophet, no critic has extensively investigated Morrison’s major works by way of textual analysis under this subject, to discuss Morrison prophetic prose, her motivation for engaging in a form of prophetic writing, and the context of this writing in a wider general, as well as an African-American, tradition. This dissertation takes on a more comprehensive, cross-sectional analysis of her works that has been previously employed, concentrating on five of Morrison’s major novels: The Bluest Eye, Song of Solomon, Beloved, Jazz and Paradise, in an order to assess how Morrison develops and infuses warnings and admonitions of biblical proportions. This investigation seeks to reveal Morrison’s motivation to prophecy to Americans, black and white, the context in which she engages with her historical and contemporary subjects, and the nature of the admonitions to present and future action she offers to what she sees as a contemporary generation of socially and historically oblivious African Americans, using literary prophecy as the tool by which to accomplish her objectives. This dissertation also demonstrates—by way of textual analysis and literary theory—the evolution through five novels of Morrison’s development as a literary prophet.
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Clark, John David. "Finding love among extreme opposition in Toni Morrison's Jazz and Eudora Welty's The optimist's daughter." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11042006-104708/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Audrey Goodman, committee chair; Pearl Mchaney, Christopher Kocela, committee members. Electronic text (99 p.) : digital, PDF file. Description based on contents viewed Apr. 25, 2007. Includes bibliographical references (p. 95-99).
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PINERO, M. R. C. "La influencia del blues y el jazz en tres autoras afro-estadounidenses: Toni Morrison, Alice Walker y Gayl Jones." Universidade Federal do Espírito Santo, 2014. http://repositorio.ufes.br/handle/10/3169.

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Made available in DSpace on 2016-08-29T14:11:01Z (GMT). No. of bitstreams: 1 tese_7657_Tese Maria Rocío.pdf: 12715149 bytes, checksum: 2d3856ee4faa20a0d1db1d244d645f3b (MD5) Previous issue date: 2014-05-27
La presente Tesis parte de un acercamiento poliédrico al blues y al jazz como temas literarios, como ritmos transgresores, como espacios de reivindicación y como estandartes de la música que surgió del contacto cultural en la diáspora. Se explora La influencia de estos géneros musicales en tres obras literarias de cada una las siguientes autoras: Toni Morrison, Alice Walker y Gayl Jones. Estos textos literarios, publicados principalmente entre los años setenta y principios de los ochenta del siglo XX, son uma buena muestra de la influencia del legado de las cantantes de blues, de los ritmos sincopados del jazz y de la cultura vernácula de las personas afro-estadounidenses. Las escritoras rompen con la tradición literaria de vincular el blues y el jazz a autores masculinos y protagonizan el renacer literario femenino negro de los años setenta. Esta investigación aúna la crítica feminista negra, los estudios literarios y lãs historias de la música negra, para determinar el papel del blues y el jazz como testimonios de la resistencia ante la desigualdad de raza, clase y género, esta última visibilizada por las cantantes de blues primero y por las autoras objeto de estúdio después. Asimismo, se hace especial énfasis en el trasfondo social de la música que sonaba en el momento histórico en el que las autoras sitúan la trama de los textos.
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Riseng, Karin Eline. "Toni Morrisons Jazz : En «jazzy» roman om livets blues." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for nordistikk og litteraturvitenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-21667.

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Denne avhandlingen er en studie av hvordan Toni Morrisons Jazz (1992) skiller seg fra tidligere storbyromaner, ved å bryte med den tragiske desillusjonsmodellen, og ved å ha et sterkt fokus på den auditive, polyfone fortellerteknikken. Jazz skildrer afroamerikanernes nye liv i det urbane nord på 1920-tallet, etter «the Great Migration». De befinner seg her på et nullpunkt i historien. De har beveget seg bort fra diskrimineringen i sør, og flyttet til Harlem i nord i en søken etter flere rettigheter og et bedre liv. Romanens hovedmotiv er om ekteparet Joe og Violet, og Joes unge elskerinne, Dorcas. Joe dreper Dorcas da hun forlater ham for en annen. Violet forsøker å hevne seg ved å knivstikke den allerede døde Dorcas i begravelsen. Resten av romanen skildrer perioden frem til drapet, og perioden etter, fra de ulike karakterenes perspektiv. Jeg har valgt å fokusere på fortellerens ulike nivåer, og hennes kamp med karakterene som ønsker å fortelle sine egne historier. Jeg ser også på romanens inspirasjon fra musikkgenrene blues og jazz. Romankarakterene lever et bluesy liv, preget av utroskap, drap og hevnlyst. Og romanformen er som en jazzinspirert komposisjon, der karakterene improviserer over romanens hovedmotiv. Dette innebærer blant annet at romanens form er varierende, repetitiv og leker med temposkifter. Romanens polyfone form gjør at karakterene etter hvert kommer på samme narrative nivå som fortelleren, og de har en pågående dialog mellom seg. Dette resulterer i at romanhandlingen skildres ut fra en desentrert fortellerstemme, som ikke kan kobles tilbake til én forteller, men flere likeverdige. Jeg har valgt å dele avhandlingen opp i tre hovedkapitler: «Byen i litteraturen. Fra eldre til moderne tid», «Jazz og Harlemrenessansen» og «The City». «Byen i litteraturen» tar for seg en kort oversikt over romanens fortellertekniske utvikling fra 1700-tallet til den modernistiske romanen på 1900-tallet. Kapittelet ser på hvordan fortellerteknikkene som utviklet seg i denne perioden, var inspirert av komposisjonsteknikker som har en tydelig visuell, optisk representasjonslogikk. Disse teknikkene ble brukt for å skape et slags sentralisert mangfold. «Jazz og Harlemrenessansen» ser på hvordan Morrison bryter med disse tidligere sentraliserte, litterære formprinsipper, ved å bruke en desentrert fortellerstemme og flere ulike perspektiv. I dette kapittelet ser jeg også på bluesens og jazzens påvirkning på romanens tematikk og form. «The City» har et større fokus på karakterenes improvisasjon over romanens hovedmotiv. Og hvordan jazzens form hjelper til med å bryte med bluesens livspessimistiske stemning, og dermed desillusjonsmodellen som tidligere forfattere brukte i sine storbyromaner.
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Ollende-Etsendji, Tracy. "Littérature et musique : Essai poétique d'une prose narrative musicalisée dans Ritournelle de la Faim de Jean-Marie Gustave le Clézio, Tous les matins du monde de Pascal Quignard, Les ruines de Paris de Jacques Réda et Jazz de Toni Morrison." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2021/document.

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Les concepts de littérature et de musique ont toujours été liés depuis l'antiquité grecque. En effet, cette relation est le fruit de plusieurs affinités d'ordre esthétique qui les coordonnent dans la mesure où l’un structure et l’autre matérialise les données à exposer. Autrement dit, la littérature a toujours servi de structure ou de support au XX ème pour dire les phénomènes de langage qui incluent la mathématique, l’informatique et bien d’autres domaines. Aussi, l’esthétique musicale comportant essentiellement les codes rythmiques notamment les figures de silence, les codes acoustiques (notes de musique, instruments de musique), la fréquence des notes, leur hauteur et surtout leur amplitude; sous la forme musicale de la structure narrative, c’est-à-dire une articulation sémantique et discursive des mots et expressions qui cachent en réalité les codes de l’esthétique musicale se révèle une sorte de débordement de la diégèse....C'(est donc ce travail de correspondanc entre la discontinuité sémantique et discursive du texte du XXème siècle (contaminé par les codes de musique) et la constitution d'une partition musicale qui nous aidera à mieux cerner le lien entre littérature et musique... Notre étude prendra à cet effet appui sur quatre oeuvres : Tous les matins du monde de Pascal Quignard, Ritournelle de la faim de J.M G le Clézio, Les ruines de Paris de Jacques Réda et Jazz de Toni Morrison
Since ancient Greece, the music and literature concepts have always been linked. In fact, this relationship had started from the consequence of several aesthetic affinities that coordinate as much as one structure and one materializes the data to expose. In other words, literature has always served as a structure or support the twentieth century to say the language phenomena including mathematics, data processing and many other fields. Also, the musical aesthetics essentially containing the rhythmic codes including “figures de silence”, acoustic codes (music notes, musical instruments), the frequency of notes, especially their height and amplitude; under the musical form of the narrative structure that’s mean, semantic and discursive articulation of words and phrases that actually conceal codes music, reveals a kind of overflow of the literary text.....So, this work of correspondence between the semantic and discursive discontinuity text of the twentieh century (contaminated by the codes of music) and the creation of a musical game that will help us better understand the link between literature and music.... Our study supports on four works (books) : All the Mornings of the World Easter Quignar Ritournelle Hunger the JMG Le Clezio, The ruins of Paris Jacques Reda and Jazz bu Toni Morrison
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Rice, Alan J. "The structures and meanings of Toni Morrison's jazz prose style." Thesis, Keele University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362163.

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Smith, Whitney Renee. ""Quiet as it's Kept": Secrecy and Silence in Toni Morrison's The Bluest Eye, Jazz, and Paradise." Thesis, 2011. http://hdl.handle.net/1805/2714.

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Indiana University-Purdue University Indianapolis (IUPUI)
Secrets and silence appear frequently in the work of Toni Morrison. In three novels, The Bluest Eye, Jazz, and Paradise, she repeats a specific phrase that acts as a signal to the reader. Morrison three times writes, “Quiet as it’s kept” in her novels to alert readers to the particular significance secrets and silence play in these novels. Morrison portrays this secrecy and silence as a barrier to building strong communities and even a strong self-identity. While the phrase appears in the same form, with each subsequent appearance, Morrison takes the idea a step further. In each novel she demonstrates how breaking the silence and refusing to keep quiet is an act of healing or salvation and she expands this healing to be increasingly inclusive. What begins as a single voice breaking the silence in The Bluest Eye becomes a group of people sharing their secrets in Jazz, and finally an entire town coming to terms with the power of speaking up. This thesis looks at the secrets and their impact on characters in each novel and explores the progression of the power in refusing to keep quiet.
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Hamdi, Houda. "The dialogic and the carnivalesque in Beloved and Jazz by Toni Morrison." Thèse, 2008. http://hdl.handle.net/1866/7979.

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Books on the topic "Morrison, Toni – Jazz"

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Joyner, Louisa. Toni Morrison: The essential guide to contemporary literature : Beloved, Jazz, Paradise. London: Vintage, 2003.

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Bullock, Celeste. Toni Morrison's Jazz. Piscataway, N.J: Research & Education Association, 1996.

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The story of Jazz: Toni Morrison's dialogic imagination. Hamburg, Germany: Lit, 2001.

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Bell, Vikki. Show & tell: Passing, narrative and Tony [sic] Morrison's "Jazz". London, England: Goldsmiths' College, Centre for Urban and Community Research, 1995.

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Brass, Christine. "Will the parts hold?": Erinnerung und Identität in Toni Morrisons Romanen Beloved und Jazz : zwit Thesen = two theses. Tübingen: G. Narr, 1997.

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Wood, Michael. Jazz by Toni Morrison: Review. 1992.

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Morrison, Toni. Toni Morrison: Jazz/Beloved/Song of Solomon. Plume Books, 1994.

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Chronotopes Of The Uncanny Time And Space In Postmodern New York Novels Paul Austers City Of Glassand Toni Morrisons Jazz. Transcript Verlag, Roswitha Gost, Sigrid Noke, 2011.

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Book chapters on the topic "Morrison, Toni – Jazz"

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Peach, Linden. "Jazz (1992)." In Toni Morrison, 112–27. London: Macmillan Education UK, 1995. http://dx.doi.org/10.1007/978-1-349-24176-7_7.

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Swift, Astrid, and Daniel Stein. "Morrison, Toni: Jazz." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12182-1.

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Wagner-Martin, Linda. "Jazz and Morrison’s Trilogy: New York in the 1920s." In Toni Morrison, 80–98. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137446701_5.

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Omry, Keren. "Baldwin’s Bop ’N’ Morrison’s Mood: Bebop and Race in James Baldwin’s Another Country and Toni Morrison’s Jazz." In James Baldwin and Toni Morrison, 11–35. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601383_2.

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Kérchy, Anna. "Narrating the Beat of the Heart, Jazzing the Text of Desire: A Comparative Interface of James Baldwin’s Another Country and Toni Morrison’s Jazz." In James Baldwin and Toni Morrison, 37–62. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601383_3.

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Rubenstein, Roberta. "Haunted Longing and the Presence of Absence: Jazz, Toni Morrison." In Home Matters, 111–23. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780312299750_8.

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Beavers, Herman. "The Housing of Hurt: The Optic of Tight Space in Jazz." In Geography and the Political Imaginary in the Novels of Toni Morrison, 89–126. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-65999-2_4.

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"Jazz and Paradise." In Toni Morrison, 77–97. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118326732.ch4.

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Stave, Shirley Ann. "Jazz and Paradise: pivotal moments in black history." In The Cambridge Companion to Toni Morrison, 59–74. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol052186111x.005.

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Zauditu-Selassie, K. "Tracing Wild’s Child Joe and Tracking the Hunter: An Examination of the Òrìsà Ochossi in Jazz." In African Spiritual Traditions in the Novels of Toni Morrison, 168–88. University Press of Florida, 2009. http://dx.doi.org/10.5744/florida/9780813033280.003.0008.

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You might also be interested in the extended bibliographies on the topic 'Morrison, Toni – Jazz' for particular source types:
Journal articles Dissertations / Theses
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