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for her, her blackness. All things in her are flux and anticipation. But her blackness is static and dread. And it is the blackness that accounts for, that creates, the vacuum edged with distaste in white eyes”. (Morrison, 2000: 43)
Thus Yacobowski defines his white privilege against Pecola’s blackness. She receives his gaze and defines her blackness as “static and dread”. (Morrison, 2000: 43) In defining herself against Mary Jane; Pecola negates her own self and disrupts the previous harmonic relationship she has had with inanimate objects. At the end of the novel, Pecola was crazy; she really thought that she has its own pair of blue eyes. She asked Claudia so many times that whether her blue eyes is very beautiful. When she did not get a positive in the eyes from others, her self-hatred became the self-denial.
 Since her parents moved to the north, they encountered cultural dislocation and had identity crisis. Like Pecola they became the victim of the white’s gaze, they became completely self-denial. Pauline, the mother of Pecola, the change of her tragedy take place only after her moving north into the Lorain city. She succumbs herself to other people’s judgment and opinions and becomes obsessed with her appearance, wishing to be beautiful in other people’ gaze for other people’s acceptance, not in her own eyes and for her own pleasure. With her absorption of the white norm of beauty from the movies, she hates even more her black and deformed body and at the same time fetishes more and more the clean, neat, pure and beautiful white world. White modes of life and white standards of value judgment abound in the movies, which are instilled into her mind and thus influence and even reshape it in an unconscious but strong way. Instead of identifying this cultural domination and making efforts to resist it, she lets herself gradually succumb to the ideas of romantic love and physical beauty propagated in the movies. She absorbs these most destructive ideas in the history of human thought of equating physical beauty with virtue, and at the same time cultivates contempt to the black appearance. Since then, she loves her black self less and less. It is not long before she totally discards it when she finally finds a suitable and satisfactory identity for herself—the ideal servant in her white employer’s home. She could imagine herself a part of the ideal and beautiful white world, and endows herself with a new identity, which she has long craved for. Since then she tries to seek acceptance and success in terms defined by a white power structure that excludes her, and the inevitable result is that she undergoes the process of objectification and split of self, acquiring the identity as an ideal servant as designated by her white masters while at the same time still remaining a poor black woman in reality. The dominant ideology regards eyes as a tool, and depreciates the Breedloves, let them live a hard life in the self-hatred and self-denial.
 2.3 Racist Discourse
 The self-denial should be attributed to the racist discourse in the Breedloves’ living condition, in addition to the responsibility they should assume. Morrison believes, in fact, the worst of the situation has not been the white society’s commercialization of the Anglo-Saxon standard of female beauty but the acceptance and internalization of this standard by blacks
 Racism permeates every fiber of those whom it destroys. Peco本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。