Relevant bibliographies by topics / Walker, Alice, 1944- The color purple

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Academic literature on the topic 'Walker, Alice, 1944- The color purple'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Walker, Alice, 1944- The color purple"

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KOYUNCU CANİŞ, Fatma. "THE COLOR PURPLE BY ALICE WALKER IN TERMS OF FEMINIST CRITICISM." Journal Of History School 7, no. XX (January 1, 2014): 429–39. http://dx.doi.org/10.14225/joh646.

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Anderson, Tiffany M. B. "Alice Walker – The Color Purple: A Reader’s Guide to Essential Criticism." European Legacy 18, no. 3 (June 2013): 371–72. http://dx.doi.org/10.1080/10848770.2013.773497.

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Sun, Lei. "Extolling Blackness: The African Culture in The Color Purple." English Language and Literature Studies 7, no. 1 (January 20, 2017): 13. http://dx.doi.org/10.5539/ells.v7n1p13.

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Alice Walker, advocates African cultures in her epistolary novel The Color Purple. Underscoring the fact that quilt-making has an ancient history in the black community and presents the African tradition of folk art and the rich legacy of visual images in African culture, Walker employs the image of quilts and quilt-making to associate with the symbolic meaning of sisterhood, family history and self-creation. Also, she depicts Shug as the most popular character as a blues singer in the novel, to indicate that she acknowledges her mode of thinking that blues as one secular African tradition can deliver its spiritual power to African Americans.
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Arpita Sawhney. "The Role of Self-discovery in Alice Walker’s The Color Purple." Think India 22, no. 3 (September 28, 2019): 2218–24. http://dx.doi.org/10.26643/think-india.v22i3.8695.

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Alice Walker was an American writer whose novels, short stories, and poems are noted for their insightful treatment of African American culture. Her novels, most notably The Color Purple (1982), are focused on the struggles of black people, particularly women, and their lives in a racist, sexist, and violent society. Walker’s Pulitzer prize and American Book award-winning novel, The Color Purple, marks the apex of her career. It gained international prominence, as the writer did herself. Her novels, short stories, poetry and essays are all about a search for truth. The Color Purple is unique in its pre-occupation with spiritual survival and with exploring the oppressions, insanities and triumphs of black women.
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Peteghem-Rouffineau, Isabelle Van. "Alice Walker ou l’écriture de la résilience." Études littéraires 38, no. 1 (March 19, 2007): 25–36. http://dx.doi.org/10.7202/014819ar.

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Résumé Les romans d’Alice Walker (Possessing the Secret of Joy, The Color Purple, The Temple of My Familiar) témoignent de la capacité qu’ont les vaincus, ces anti-héros, à résister à l’oppression et à en inverser les signes. En tant que femme africaine américaine, elle a su transformer l’héritage de l’aliénation originelle de l’esclavage en victoire ultime, celle de la survie d’une voix puissante envers et contre tous. Le sujet « walkérien » affirme tout d’abord sa parole en se dissociant du discours idéologique fanatique du Black Power. Les héroïnes prennent corps en s’opposant au mirage archaïque de la fonction paternelle. Enfin, l’humour permet de se jouer de l’arbitraire du signe en se réappropriant le langage.
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Wu, Lianghong. "Reading The Color Purple from the Perspective of Ecofeminism." Theory and Practice in Language Studies 9, no. 8 (August 1, 2019): 965. http://dx.doi.org/10.17507/tpls.0908.11.

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Alice Waker is one of the most influential black female writers in modern America. The summit of her literary achievements, The Color Purple, wins her three awards since its publication and becomes a milestone in the black literature. This paper sums up the three stages of the relationship between human, women in particular, and nature---fragmentation, over-sewing and wholeness. In this novel, Walker attempts to arouse black women’s self-consciousness by showing the fragmentation state of black women and nature under oppressions. She looks for ways of oversewing the broken souls to realize the wholeness of survival. Advocating people to attach importance to the problems of women and environment, Walker expresses her ecofeminist consciousness to establish a harmonious society where human and nature, men and women could co-existent peacefully.
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Veronesi, Raquel Barros. "A REESCRITURA DE THE COLOR PURPLE NO CINEMA:." Belas Infiéis 4, no. 1 (August 19, 2015): 169–80. http://dx.doi.org/10.26512/belasinfieis.v4.n1.2015.11319.

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Neste trabalho, analisamos a tradução das personagens Celie e Shug do romance de Alice Walker, The Color Purple (1982), para sua adaptação fílmica de 1985, dirigido por Steven Spielberg. Especificamente, investigamos a reescritura do relacionamento homoafetivo entre as personagens, no cinema, uma vez que se trata do amor entre duas mulheres negras no início do século XX. Diante de aspectos suscitadores de discussões polêmicas – ser mulher, ser negra, ser homossexual – percebemos a dificuldade de adaptar tais personagens para o meio cinematográfico. Acreditamos, portanto, que, devido a exigências mercadológicas diferentes das que regem a Literatura e considerando a época em que foi lançado, o filme suaviza algumas cenas em que Celie e Shug demonstram o amor que sentem uma pela outra. Assim, utilizando os Estudos Descritivos da Tradução (TOURY, 2012), objetivamos investigar quais estratégias foram utilizadas no processo de tradução de situações que demonstram esta relação afetiva, observando como o filme lida com a proposta de Walker, que busca evidenciar a mulher negra e sua trajetória de luta contra a discriminação gênero-racial.
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Yusak, Nailil Muna. "GOD IN ALICE WALKER�S THE COLOR PURPLE; A PARADOX OF THE DIVINE." EduLite: Journal of English Education, Literature and Culture 1, no. 2 (August 31, 2016): 129. http://dx.doi.org/10.30659/e.1.2.129-142.

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Over time, as secularization took root in Black churches during the CivilRights era, the prevalent framework in understanding African Americanspirituality discourse has shifted from theology to sociology. This paper triesto discern this major shift from the black literature perspective. It aims todiscuss the main charachers� paradoxical state of mind in understandingGod in the novel The Color Purple. The 1982 Pulitzer Prize for fiction winneris organized around an intimate conversation between two femalecharacters, Celie and Shug Avery, whose understanding of God werechallanged by complexity of sexism and racism in the black family.Sociological approach is adopted to understand the characters� dynamicconcept of God. Discussion in this paper suggested that Alice Walker�snaturalist theology is embodied in Celie and Shug Avery�s conceptualizationof God in the novel.Keywords: Black Theology, The Color Purple, God in Black Literature.
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Arıkan, Arda. "An ecocritical reading of flowers in Alice Walker’s The Color Purple." International Journal of Human Sciences 12, no. 2 (July 8, 2015): 1. http://dx.doi.org/10.14687/ijhs.v12i2.3342.

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<p>Flowers are one of the most popular motifs in verse as well as in prose. Many critics have noted that nature is at the core of Alice Walker’s epistolary novel <em>The Color Purple</em> (1983) in which depicting or writing about flowers requires special attention. However, in Alice Walker’s <em>The Color Purple</em>, flowers are depicted and written about to convey strong negative emotions as well as positive ones. In this study, how flowers are depicted or written about in the novel is studied through an ecocritical lens. I argue that Walker’s use of flowers provides examples of the vitality of a hopeful existence especially when various flowers mentioned in the novel are considered along with the seasonal changes organically affecting such floral richness. I equally argue that Walker uses flowers to show the change experienced by the major character, Celie. In that sense, Walker’s flowers are in direct coexistence with the major character, Celie. </p>
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Priestley, Sue. "Reviews : The Color Purple ALICE WALKER The Women 's Press, 1982; £3.95, pb; pp 245." Probation Journal 32, no. 1 (March 1985): 31. http://dx.doi.org/10.1177/026455058503200116.

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Dissertations / Theses on the topic "Walker, Alice, 1944- The color purple"

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Keaton, Hetty. "Whole because of, not in spite of, our fragments: holistic survival in Walker's The color purple and The temple of my familiar." Scholarly Commons, 1991. https://scholarlycommons.pacific.edu/uop_etds/2223.

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In this thesis, I will argue that the characters and groups in Walker's The Color Purple and The Temple of My Familiar, who practice holistic survival, remain or become whole, which is the key to living a meaningful life. For Walker, holistic survival entails embracing the fragments of our past, present, and future experiences. The past is made up of knowing about our personal experiences and remembering our heritage. The present is made up of healing the past by taking responsibility for the pain we have caused and valuing fellow life, and the future is made by using the past and present to create hope. It is not enough to merely survive, to continue breathing;rather, in order to survive whole, we must also successfully paste together the fragments that make up our past, present, and future. However, the consequences of neglecting any fragment can cause us to become lost. We can either collect and come to terms with our many fragments in order to become whole, or our experiences will remain scattered, leaving us fragmented beings.
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Veronesi, Raquel Barros. ""A Reescritura das Personagens 'womanistas' de The Color Purple para o Cinema"." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/11178.

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VERONESI, Raquel Barros. A reescritura das personagens 'womanistas' de The Color Purple para o Cinema. 2015. 160f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.
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The present dissertation analyses the translation of womanism in The Color Purple (1982), by Alice Walker, into its homonymous film adaptation in 1985, directed by Steven Spielberg. The term womanism, although it also refers to the black feminism, relates to a movement that transcends the social aspect; it is, therefore, a spiritual movement, committed to the survival and welfare of all people, independent on race, sex, religion, among others. The novel The Color Purple tells Celie’s story, a semi-illiterate black teenager who writes letters to God, telling situations about her life. Through friendship with other women and, consequently, the discovery of new ways of being and feeling, the character tries to overcome the trauma caused by the separation of her sister and her children, and the physical and psychological rapes she had suffered. In this research, we investigate, specifically, the rewriting of four female characters – Celie, Nettie, Sofia and Shug – since we perceive them as the main representative of womanism in the novel. Our hypothesis is that some womanist aspects, such as religion and homosexuality, were softened in the translation, due to contextual issues, whereas others were emphasized because they were adapted into both the poetics of the cinema of the 80’s, and of the director. As theoretical background, we take Even-Zohar’s postulates (1990), about the polysystem theory, and Toury’s assumptions (2012), which understand the studies of translation emphasizing the cultural factor, and considering the influence that the target culture has on the translation process. We also take Lefevere’s concept of rewriting (2007), which emphasizes the historical and cultural nature of the translated texts. Concerning the translation of literary works into the cinema, we use the studies by Cattrysse (1992), and the considerations of authors, such as Stam (2008; 2011) and Hutcheon (2013), who discuss the relationship between the two language systems. Finally, about womanism, the reflections by Maparyan (2012) and Walker (1983) are critical in conducting the analysis. The results showed that the strategies of softening and emphasis on the translation of the female characters’ womanist traits concern the translators’ poetic, as well as the specificities of the cinematic system. Therefore, in the adaptation, they reflect much more the poetics of Hollywood cinema of the 80’s, and of the director, than the womanism observed in the literary work.
A presente dissertação analisa a tradução do “womanismo” em The Color Purple (1982), da escritora Alice Walker, para o filme homônimo de 1985, dirigido por Steven Spielberg. O termo womanism, embora se refira também ao feminismo negro, diz respeito a um movimento que transcende o social; ele é, portanto, um movimento espiritual, comprometido com a sobrevivência e o bem-estar de todas as pessoas, independente de raça, sexo, religião, entre outros aspectos. O romance The Color Purple narra a história de Celie, uma adolescente negra semiletrada, que escreve cartas a Deus, contando sobre sua vida. Por meio da amizade com outras mulheres e, consequentemente, da descoberta de novas formas de ser e sentir, a personagem tenta superar os traumas causados pela separação da irmã e de seus filhos e pelos estupros físicos e psicológicos que sofreu. Nesta pesquisa, investigamos, especificamente, a reescritura de quatro personagens femininas – Celie, Nettie, Sofia e Shug – uma vez que as percebemos como as principais representantes do “womanismo” no romance. Partimos da hipótese de que alguns aspectos “womanistas”, tais como religião e homossexualidade, foram suavizados na tradução, devido a questões contextuais, enquanto outros foram enfatizados porque se adequavam à poética, tanto do diretor, quanto do cinema da década de oitenta. Como fundamentação teórica, recorremos aos postulados de Even-Zohar (1990), sobre a teoria dos polissistemas, e aos pressupostos de Toury (2012), que entendem os estudos da tradução com ênfase no fator cultural, considerando a influência que a cultura de chegada exerce sobre o processo tradutório. Baseamo-nos também no conceito de reescritura, de Lefevere (2007), que enfatiza o caráter histórico e cultural dos textos traduzidos. Sobre as questões de tradução de obras literárias para o cinema, empregamos os estudos de Cattrysse (1992), e as considerações de autores, tais como Stam (2008; 2011) e Hutcheon (2013), que discutem sobre a relação entre os dois sistemas de linguagem. Por fim, no que se refere ao “womanismo”, as reflexões de Maparyan (2012), bem como da própria Walker (1983) são fundamentais na condução da análise. Os resultados mostraram que as estratégias de suavização e ênfase na tradução dos traços “womanistas” das personagens femininas dizem respeito à poética dos tradutores, bem como às especificidades do sistema cinematográfico. Por isso, na adaptação, elas refletem muito mais a poética do diretor e do cinema hollywoodiano dos anos oitenta, do que o “womanismo” observado na obra literária.
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Grüdtner, Carla Denise. "Sewing and quilting in alice walker the color purple "and everyday use"." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/129515.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2014
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Mulheres e escravos não tinham acesso à educação formal nos Estados Unidos no século XIX. Por outro lado, costurar era uma atividade obrigatória até mesmo para meninas da mais tenra infância. O exercício da costura proporcionava também resultados subjetivos, sendo prescrito para acalmar as mulheres quando se irritavam com os deveres domésticos. No entanto, as mulheres transformaram o peso das obrigações em oportunidade. Enquanto se encontravam para fazer quilts, elas se fortaleciam como grupo, discutindo tanto assuntos domésticos quanto públicos, como a confecção de uma colcha de núpcias ou o direito das mulheres ao voto. Assim, elas encontraram nas agulhas o meio de expressão negado na leitura e na escrita. À época do bicentenário da independência dos Estados Unidos, os quilts foram redescobertos pelos historiadores e pelo mundo da arte, e adquiriram o status de arte. O passo seguinte foi a descoberta da relação entre quilts e a escrita feminina, bem como a aplicabilidade dos quilts como metáfora da textualidade. Na segunda metade do século XX, o movimento feminista foi criticado por não contemplar as necessidades de todas as mulheres, mas dirigir-se a um grupo específico: mulheres brancas, da classe média e com educação formal. Em resposta, surgiu o conceito de interseccionalidade. Com relação à arte, Alice Walker tem abordado a questão da criatividade das mulheres negras nas gerações anteriores ao indagar como elas mantiveram viva a criatividade sem ler e escrever, e sem ter consciência da própria criatividade. As narrativas de Walker analisadas neste trabalho, The Color Purple e "Everyday Use", tratam a costura e o fazer quilts principalmente como atividades favoráveis ao fortalecimento dos relacionamentos interpessoais. Além disso, considera-se que essas atividades constituem instrumentos de expressão que contribuem para a descoberta da criatividade, das subjetividades e das identidades das personagens, e consequentemente, de seus respectivos processos de emancipação.

Abstract: Women and slaves had no access to writing or reading in the United States in the nineteenth century. However, sewing was a mandatory activity even for very young girls. More than bedcovers, sewing also provided subjective results, being prescribed to compose women when they got irritated with their duties in domestic life. However, women turned the burden of duty into opportunity. While they met to quilt, they grew stronger as a group. They discussed domestic as well as public issues, ranging from the confection of a bridal quilt to women's suffrage. Then, they found in their needles the medium for the expression they lacked in writing and reading. At the event of the Independence Bicentennial, quilts were rediscovered by historians and the art world, and acquired status of art. The next step was the discovery of the relationship between quilting and women's writing, as well as its applicability as a metaphor for textuality. Together with the rediscovery of quilts, the feminist movement in the second half of the twentieth century was criticized for not addressing all women's needs, being directed to a specific group: white, middle class, educated women. As a response, the concept of intersectionality emerged. Concerning art, Alice Walker has approached the issue of creativity of black women in the previous generations by asking how they could keep alive their creativity, once they could not read or write. Walker also states that these black women were not aware of their own creativity. Alice Walker's The Color Purple and "Everyday Use" analyzed in this research deal mainly with sewing and quilting as a favorable circumstance for the strengthening of interpersonal relationships. Also sewing and quilting act as instruments for the discovery and expression of the characters' own creativity and identity, and consequently, for their emancipation.
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Janusiewicz, Anna. "A Product of Womanism: Shug Avery in Alice Walker's The Color Purple." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-19243.

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Feminism in the early 1980's in the United States revolved much around social and cultural matters such as sexual liberation, self- definition and self- realization for women. Derived from these ideas within feminism comes Alice Walker's Womanism, that is the writer's own definition of the strong and independent woman of color. This paper investigates the character Shug Avery, in The ColorPurple (1983), in relation to feminism and Womanism. It is argued that she is an empowered female because of the characteristics and attributes that come along with being a Womanist, despite moral,cultural and societal conditions that indicate marginalization for Shug and all women.
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Nguyen, Catthuan L. "A Joint Reading of the Color Purple and the Awakening: From Feminism to Womanism and the Significance of Authentic Feminine Space." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/87.

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Alice Walker’s The Color Purple and Kate Chopin’s The Awakening fundamentally share the universal feminist yearning for personal freedom and independence within an oppressive, patriarchal society. With regards to the texts’ stylistic differences and disparate social contexts, their heroines seek to ideologically oppose social rules and conventions for women without achieving the same results. This difference lies in the fact that Chopin’s text fosters the traditional feminism embraced by the majority culture, while Walker’s text makes use of womanism. The availability and authenticity of feminine space for the generation of women’s culture also determine the extent of changes achieved.
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Fargher, Margaret May. "Bridge across silence: journal writing as a means towards understanding the color purple and addressing the silences around multi-cultural experience in a classroom." Thesis, 1998. http://hdl.handle.net/10539/23005.

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A Research Report submitted in partial fulfilment of the requirements for the degree of Master of Arts in English Education at the University of the Witwatersrand Johannesburg, November 1998
With the emergence of South Africa as a new democracy and the concomitant new constitution there has been interesting and subtle change in the context in which I teach. The composition of my classrooms has changed and thus I have used journal writing by the students to try to deal meaningfully and transformatively with these changes. My classroom had within a relatively short space of time, become a multi-cultural one in which silences, different from those I had previously noticed, emerged. [No abstract provided. Information taken from introduction].
MT2017
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Jackson, Linda Carol 1949. "Who we are and will be." Thesis, 1994. http://hdl.handle.net/1957/35729.

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The protagonists in the fiction of Paule Marshall, Alice Walker, and Toni Morrison illuminate American cultural perceptions of black women and illustrate how the creators of these characters hope to change those perceptions. I studied Paule Marshall's Daughters, Alice Walker's Meridian and The Color Purple, and Toni Morrison's The Bluest Eye to learn what the writers of these novels have to say about the women they hope black girls can grow up to be and to learn what potential for self-development they see for black women. For example, in order to become whole people, what do black girls and black women need from their parents and their community? What do black women need from their intimate relationships? "Part One: Political, Historical and Religious Identity " surveys politics, religion and history for views of black women. Politically, they appear disenfranchised; historically they were property. In reference to religion, I found that a white male religion does not serve black women well. Walker sees god within her female protagonist Celie, and Marshall has a belief in a Caribbean/African diaspora that provides a sense of spiritual and cultural continuity. "Part Two: Childhood Identity" explores childhood and the community's role. Childhood appears as a critical time for self-development. The adults in the community contribute to the child's self-awareness. Mistreatment of girls causes them harm throughout their lives. How well the community safeguards its children is a measure of how highly these children are valued. These authors want to see girls more highly regarded. Toward this end, they expose the abuse that takes place in the community. Morrison shows not only the abuse, but also the love. By showing concerned parents as well as neglectful ones, Morrison offers a fuller portrait of the community she knows. The Color Purple also tells a story of sexual abuse of a girl, but this abuse is overcome by the inner strength of the victim combined with the loving support of Shug Avery and the supportive community context of the juke where Celie is accepted. The portrayal of childhood in Daughters involves a Caribbean island culture where the roles of the women that the child Ursa observes offer few role models. "Part Three: Adult Relational Identity" looks at the dilemma in communication between the sexes and across the generations from mother to daughter. Step-fathers and husbands are abusive characters in Walker's writing, while Morrison shows a loving father and an incestuous father in The Bluest Eye. "Part Four: Language Identity" discusses Black English, orality and dialect, looking at the role of language as an aspect of self-definition. James Baldwin's view of language is presented: rejecting a child's language is rejecting the child himself. Baldwin's view supports the attitude toward language as self-defining that appears in the writing of Marshall, Morrison, and Walker. These authors show pride in Black English, and they demonstrate their ability with edited English through their own writing.
Graduation date: 1994
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Carey, Cecelia V. "Bildungsroman in contemporary black women's fiction." Thesis, 2001. http://hdl.handle.net/1957/33313.

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Bildungsroman in Contemporary Black Women's Fiction is a study of Toni Morrison's The Bluest Eye and Alice Walker's The Color Purple. Both of these writers implement a newer version of the genre of Bildungsroman to reveal the complexities involved in coming of age for a young woman of color. Both novels have protagonists that struggle with racism, sexism, and classism as barriers to their identity formation. This study aims to reveal the ways in which multiple layers of oppression inhibit the progress of contemporary African-American female heroines in modem Bildungsroman.
Graduation date: 2002
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Yang, Tsai-Ching, and 楊采晴. "Development of Self-Identity: A Reading of Alice Walker''s The Color Purple." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/31657728081543798461.

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碩士
淡江大學
英文學系碩士班
95
Sexism and racism are more serious in the South of America than in other parts of America. This thesis applies psychological theories to the development of Celie''s self-identity in order to present how sexism and racism affect black women. This thesis contains five parts. The introduction presents Alice Walker''s background and characteristics of slave narratives contributing to The Color Purple. Chapter One discusses definitions and theories of development of self-identity. Because The Color Purple depicts Celie’s life from her adolescence to adulthood, I mainly focus on development of adolescents and adults to examine how Celie constructs her self-identity. Chapter Two exhibits how incest and negative self-concept affect Celie''s identity formation. I will argue the occurrence of incest and its impact on Celie’s arrested development of self-identity. Being a double minority, negative self-concept imposed on her is not only her sex but also her skin color. Therefore, ethnic identity is important for Celie to construct her confidence as a black woman. In Chapter Three, I present how Celie construct her self-identity with help of female bonding, androgynous qualities. Furthermore, women cannot truly emancipate themselves from subjugation without their economic independence. In my conclusion, I briefly synthesize previous chapters. My thesis intends to shed light on the importance of ethnic origin, economic independence, androgynous qualities and female bonding which help not only Celie but also other black women construct their self-identity and then create a utopia without sexism and racism.
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Chang, Yu-ching, and 張妤菁. "A Corpus-based Study of the Chinese Translations of African-American Vernacular English in Alice Walker''s The Color Purple." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/39909094174365140057.

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碩士
國立高雄第一科技大學
應用英語所
95
This paper aims to adopt a bilingual parallel corpus-based approach to investigate the choices made by translators on the Chinese rendering of African-American Vernacular English. In this study, the English-Chinese Parallel Corpus of African-American Vernacular English (PCAAVE) consists of Alice Walker’s use of African-American Vernacular English in The Color Purple and its three Chinese translations in Taiwan by Hui-qian Chang (張慧倩), Zu-wei Lan (藍祖蔚) and Ji-qing Shi (施寄青). WordSmith Tools version 4.0 is first employed to examine the textual length of each translation. Both Chang (52,709) and Lan’s translations (59,869) are longer than the original (52,145). Because of her omission of passages about homosexual relationship, Shi’s translation is shorter than the original. If the passages Shi has omitted are also deleted from Walker’s original, there contains more words in Shi’s translation (50,910) than in the source text (47,944). In order to examine how the three Chinese translators deal with the unique syntactic features of African-American Vernacular English, ParaConc is then utilized to investigate the renderings of seven syntactic features of African-American Vernacular English in the three Chinese translations. The result shows that the three Chinese translators tend to produce a fluent translation with Chinese idiomatical expressions or adverbial phrases, due to the syntactic disparities between African-American Vernacular English and Chinese. The three Chinese translators fail to represent Celie’s African-American Vernacular English. Lawrence Venuti indicates that the domestication strategy often results in a phenomenon that the foreignness of the source text is often minimized. This study suggests that if the characteristics of African-American Vernacular English cannot be manifested in the Chinese translation, translators should inform Chinese readers of the linguistic uniqueness of the fiction in translation preface or postscript.
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Books on the topic "Walker, Alice, 1944- The color purple"

1

1944-, Walker Alice, ed. The color purple: Notes ... Lincoln, Neb: Cliffs Notes, 1986.

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Rose, Gloria. CliffsNotes on Walker's The Color Purple. New York: John Wiley & Sons, Ltd., 2002.

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Alice, Walker. The same river twice: Honoring thedifficult : a meditation on life, spirit, art, and the making of the film The color purple ten years later. London: Women's Press, 1996.

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Alice, Walker. Same river twice: Honoring the difficult : a meditation on life, spirit, art, and the making of the film, The color purple, ten years later. New York: Washington Square Press, 1997.

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Alice, Walker. The same river twice: Honoring the difficult : a meditation on life, spirit, art, and the making of the film, The color purple, ten years later. New York: Scribner, 1996.

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Alice, Walker. The same river twice: Honoring the difficult : a meditation of life, spirit, art, and the making of the film, The color purple, ten years later. Rockland, MA: Wheeler Pub., 1996.

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Alice, Walker. The same river twice: Honoring the difficult : a meditation of life, spirit, art, and the making of the film, the color purple, ten years later. Rockland, MA: Wheeler Pub., 1996.

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Barbara, Kramer. Alice Walker: Author of The color purple. Springfield, N.J., U.S.A: Enslow Publishers, 1995.

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Donnelly, Mary. Alice Walker: The color purple and other works. New York: Marshall Cavendish Benchmark, 2009.

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The voices of African American women: The use of narrative and authorial voice in the works of Harriet Jacobs, Zora Neale Hurston, and Alice Walker. New York: P. Lang, 1998.

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Book chapters on the topic "Walker, Alice, 1944- The color purple"

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Lister, Rachel, and Nicolas Tredell. "Introduction: The Color Purple." In Alice Walker, 1–6. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_1.

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Lauret, Maria. "The Color Purple (1982)." In Alice Walker, 90–118. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-1-137-26755-9_4.

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Lister, Rachel, and Nicolas Tredell. "The Color Purple: Feminist Text?" In Alice Walker, 104–22. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_8.

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Lister, Rachel, and Nicolas Tredell. "Reading Race in The Color Purple." In Alice Walker, 74–88. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_6.

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Lister, Rachel, and Nicolas Tredell. "Language and Subjectivity in The Color Purple." In Alice Walker, 61–73. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_5.

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Lister, Rachel, and Nicolas Tredell. "Class and Consumerism in The Color Purple." In Alice Walker, 89–103. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_7.

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Lister, Rachel, and Nicolas Tredell. "Gender and Sexuality in The Color Purple." In Alice Walker, 123–40. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_9.

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Lister, Rachel, and Nicolas Tredell. "The Conception and Reception of The Color Purple." In Alice Walker, 7–26. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_2.

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Lister, Rachel, and Nicolas Tredell. "Defining The Color Purple: The Question of Genre." In Alice Walker, 27–47. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_3.

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Lister, Rachel, and Nicolas Tredell. "Language and Narrative Poetics in The Color Purple." In Alice Walker, 48–60. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12398-5_4.

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