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Laundry now belongs to the young generation. Young people's vitality, enthusiasm and pursuit determine that they are unwilling to be realistic and be instructed by others, so most young people will choose to start a business.
There are also some young people who are very vague about the direction of starting a business and working, because they are afraid of failure after starting a business and nothing after failure, so it is very important to choose a promising industry and a reliable storefront.
Opening a dry cleaner is a way to start a business. Which brand should dry cleaners join? Choosing a brand is the guarantee of profit. For example, Oberson Technology Dry Cleaner, which has a rich store background, walked around the European Union in its early years and later became a brand in the United States. Opening such a dry cleaner will guarantee profits.
Which brand should dry cleaners join? Oberson fully meets people's consumption pursuit. High-tech storefront design can steadily attract people's attention in the street. When people enter the store, intelligent robots will start to say hello.
Intelligent robot housekeeper can have a man-machine conversation, so that customers who have just entered the store can understand the equipment in the store, and guests can also quickly obtain recent preferential activities on the intelligent robot, which is convenient and fast.
Which brand should dry cleaners join? Choose Oberson. Oberson technology dry cleaners also have cloud management terminals in the store. A computer or mobile phone can keep abreast of the store's trends and accurately understand the needs of customers. If you just open a small dry cleaner, you can save unnecessary staff expenses.
Which brand should dry cleaners join? Choosing Oberson, Oberson saw that the dry cleaning industry would not decline in the early years, but the income was single, and it was impossible to maximize the income only by dry cleaning, so it opened different new projects in the store, such as sheet washing, dry cleaning, leather goods, leather shoes care, luxury care, dyeing renovation projects, etc., which completely broke the problem of low profit of traditional dry cleaning.
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The equipment investment is about 30,000 yuan, and a technology dry cleaning is opened, with low cost.
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Gloria Naylor is a famous contemporary African-American woman writer. In the last 20 years of the 20th century, Neller, together with many outstanding contemporary African-American women writers, made outstanding contributions to redefining the new development of American literature and won her a place in the history of American literature. In fact, critics have compared her works with those of Morrison and Walker from the beginning, and she and the latter two writers are called the Trinity in contemporary African-American women's literature. The research achievements on Naylor abroad have been overwhelming, while the research on Naylor in Chinese mainland has just started, with only about 10 journal articles. Most journal articles mainly study the race and gender issues in Naylor's novels; In addition, some articles also discuss the narrative, image analysis and magical realism in Naylor's novels.
"Community" is undoubtedly the theme that black women have been writing, and Neller is no exception. From 1980s to the end of 1990s, Neller published five works: The Woman in Brewster Street, Climbing the Mountain in the Woods, Mother's Day, Bailey Cafe and the Man in Brewster Street. The first four novels are independent and interrelated. "Every novel shows readers a group of black women. In this collective, black women support each other, help each other and enrich each other's lives with their own lives. " Each of her works is written with different stories of black women, which are interrelated and constitute a representative collective story of black women. In such a female-centered community construction, men are marginalized. Until the publication of 1998 "Men on Brewster Street", Neller deconstructed the concept of community centered on black women through the construction of new communities.
In previous studies, the academic circles mainly paid attention to gender, race and class in Naylor's novels, and a few studies involved the community construction in Naylor's novels. In fact, Neller's novels contain abundant accompanying texts. "The attached text determines the way the text is interpreted. These components are accompanied by symbolic text, hidden behind the text, outside the text or at the edge of the text, but actively participate in the composition of the meaning of the text, which seriously affects the interpretation of the meaning. " This paper studies a series of accompanying texts in Women in Brewster Street and Men in Brewster Street from the semiotic perspective, and discusses the development of black women's sexual ideology and the change of community concept by combining the related works of Alice walker and Toni Morrison.
Neller published the novel The Man in Brewster Street on 1998. This novel consists of 10 chapters, including a beginning and an end. In the middle, the second to eighth chapters tell the stories of seven black people respectively, and the ninth chapter brings these black people together as a whole. As the name implies, this is a male-centered story, but the beginning of the novel mainly discusses the relationship between men and women in Brewster Street. The first narrator of the novel even made it clear: "I think any man can't live without a woman, and any woman can't live without a man." This is God's will, and we can't go against it. ""For every man in Brewster Street, no matter who he is, there is always a woman in his story. "The novel then begins with Ben's story, which tells the story of men in Brewster Street growing up in this space isolated from the white world. In every male story, there is indeed a "she", his mother, lover, wife, neighbor and so on. But what makes readers feel strange is that the personal information about women in the novel is basically omitted, and these women hardly appear in the novel, only in the memories or stories of male characters. This makes people have to question that the novel tries to marginalize women, which contradicts the opening of the novel. In addition, the narrator of the novel omits a lot of information in the process of telling the story, but it shows that the reader already knows the tone of this information in advance. For example, Basil tells the story of his growing up. The main plot is that he has been sneaking around his mother, afraid to see her. He deeply regretted what he had done and began to learn to be like his mother. At the same time, he returned to his hometown and found his mother and father who had been waiting for him all his life. In the whole story, the mother Marti only appears in the memory of two men. Who is Marti? What happened to her? What caused Basil, father and mother to separate? Almost all these important information are deliberately omitted by the narrator. After reading the whole novel, readers feel that they only read the second half of each story, but the whole first half is nowhere to be found. In this case, it is impossible to solve many problems encountered in reading only by limiting the text of the novel. At this time, we can only comprehensively examine this novel from the accompanying text outside the text. " Accompanying text controls the generation and understanding of symbols, which is the contact way between text and the world. Any symbolic text carries a lot of social customs and cultural connections, and these elements will actively participate in the formation of the meaning of the text. "This paper will start with the productive accompanying texts and explanatory accompanying texts of Naylor's novels, and discuss the changes of black women's sexual ideology and the development of community concept.
I successive texts and others: gloria Naylor
The Man in Brewster Street is a complete community in the companion piece, which contains a large number of accompanying texts. From the obvious essay, this novel is the masterpiece of Gloria Naylor, and from the title, it is only one word short of Naylor's award-winning work The Woman in Brewster Street. The story in The Man in Brewster Street comes directly from The Woman in Brewster Street, which can be regarded as a sequel to the novel, so the two novels constitute the first/last text. "Symbolically, a text is not only subject to the text that comes out first, but also to the text that comes out later." When the relationship between two texts is continuous, the interpretation of either text will affect the other text, and the interpretation of either text will be subject to the other text. As these two texts are closely related, we must read them together.
In fact, the author and publisher regarded these two books as continuous texts from the beginning, forcing readers to read them together. When you see one of them, you will naturally think of the other. Judging from the characters, before reading the story of the novel, we read a passage specially left by the author:
The author's notes
The author admits that the role of Ben has died in The Woman in Brewster Street. But as a literary creation, she has the right to revive his soul and voice and let him tell most stories of the novel. In this way, before the novel begins to tell the story, the reader must connect the two books. Next, the first page of the novel quotes a passage from Women in Brewster Street, describing the daily life of women in Brewster Street. Readers who have read Women in Brewster Street will strongly feel that all the characters in the previous article jump into their eyes:
Brewster Street has become particularly fond of her dark-skinned daughters, because even though it is declining, these daughters are still trying to make it their home. They supported on the windowsill with dark skin arms, they carried groceries, climbed upstairs step by step with rough ebony thighs, and they hung clothes in the backyard with saffron belts. ...
Of course, with the narrative of the story, readers can also read other words directly quoted from The Woman in Brewster Street. In this way, the characters in the two novels are intertwined. The characters in successive texts know each other and are inextricably linked with each other. First of all, Brewster Street is their natural connection. * * * lives in Brewster Street, a world abandoned by the outside world. In a sense, they share the same fate. Both men and women were forced to come to Brewster Street. They didn't leave because they had no choice. Secondly, all the men in Brewster Street have appeared in Brewster Street Women, except one child. They are the lovers, children and lovers of these women. Judging from the structure of the novel, the first Woman in Brewster Street consists of nine chapters. In the first chapter, the narrator explains the birth of Brewster Street and the background of the story. The next seven chapters describe the individual stories and collective stories of women in Brewster Street. At the end of the novel, Chapter 9 tells us that Brewster Street is dying. Neller believes that "a character cannot represent black women because their experiences are colorful and different". Neller "created seven black women in the novel, thus showing us a miniature black women's world". It can be seen that the structure of women in Brewster Street is basically the same as that of men in Brewster Street. The personal stories of seven women and seven men are told in continuous texts, and they are gathered into a group story featuring female groups and male groups respectively.
Judging from the plot of the novel, the plots before and after are also closely linked, and the stories of men and women are different parts of the same story. The missing information in the two novels is complementary and complete. The first story above, The Woman in Brewster Street, is about Marti. She was abandoned by her lover and son Basil and ended up penniless. What the reader hears is the story told by the narrator from Marti's perspective. Because the story of her lover and son is beyond Marti's perspective, Marti can't know and readers can't understand it. In the first book, the narrator did not give the voice of telling his own story to men, so Marti's son and lover naturally left the image of "sinful" in the reader's mind. In the later version of The Man in Brewster Street, Basil's narrative supplements the earlier version which is beyond Marti's perspective. In the later text, the missing part about mother in Basil's story has been presented in the previous text. Other stories in successive texts also play a complementary role.
As a post-text, The Man in Brewster Street has greatly influenced readers' interpretation of the former text. Readers can't get rid of the influence of the former text when reading the latter text, so the two texts become each other's meta-texts. When reading The Man in Brewster Street, readers will also be influenced by a series of comments on the previous text-linked text; After reading The Man in Brewster Street, readers have to re-examine The Woman in Brewster Street in the same way.
In The Woman in Brewster Street, because the story is told from a female perspective, it is impossible to go deep into men's hearts and see what can only be seen from a male perspective. Because men are deprived of the right to tell, men's stories and history are erased. At the beginning of the novel, readers will hear Ben's emphasis on male subjectivity: "My name is Ben. I waited a long time before I had a chance to say the following: You know, there are not only pregnant women in this street […] ". At the beginning, Ben reminded readers that men were deprived of the right to speak in previous texts, and he waited for the opportunity to tell his story in The Man on Brewster Street. Next, Ben further elaborated the intimate relationship between men and women. Although men sometimes hurt women, they love women. They share the same fate. Living in such a hopeless place as Brewster Street, not every black man prays for a better life, but "as long as there is a woman around him, he must dream of a better life, because she is his other half;" The other arm, the other eye. "
Ben made it clear from the beginning that men and women are the other half of each other, and no one is incomplete. Just like a story, a story without men or women can't be a complete story. In the later text The Man in Brewster Street, Ben's aim is to "tell the whole story". The whole story in this mouth is obviously a complete supplement to the story missed in The Woman in Brewster Street, which combines the stories of men and women to form the whole story. It can be seen that the former has become an indispensable part in the interpretation of the latter, and the latter has also become the driving force for re-understanding the former. Therefore, Women in Brewster Street and Men in Brewster Street, as accompanying texts, have been integrated into each other's texts, and it is impossible for readers to separate them when interpreting them, thus forming a full text. Just as men and women in the text are part of each other's stories, only when both sides have the right to speak and tell their own stories can they get a complete story.
Second, the pre-text contextual pressure: the inclusive community in Alice walker's novels.
Women in Brewster Street and Men in Brewster Street constitute the full text, telling the story that men and women are the same. When the post-text is produced, there is no other text, and the reader can't explain any of them. Successive texts are interdependent, comprehensive and complementary. The relationship between men and women reflected in the article is exactly the same. Women in Brewster Street focus on women, while men are marginalized. The Man in Brewster Street supplements the story of men, making the two communities of men and women merge with each other and become a complete group. The development and transformation of Naylor Thought depended on the whole social, historical and cultural background at that time. In order to understand the change and development of Naylor's thought, it is necessary to consider the pressure of all cultural contexts when Naylor's novels came into being, and the cultural text network before the text came into being, that is, the pre-text.
The expression and formation of meaning are always influenced by social customs. Before 1980s, almost all the communities in black women's novels became the living environment of the protagonists. The community in American black literature is mainly centered on blacks, and the establishment of the community is either forced by the isolation of the external white world or actively United against the oppression of the external white world. Because of their special situation, black women become the center of community construction in the novel. There has always been such a simple binary opposition in the community construction in African-American literature: black and white, women and men. Neller created a female group in each of her early works. They support and encourage each other with sisterhood and resist the oppression from the external male world.
Since 1980s, due to the development of civil rights movement and feminist movement, African-American women have formed a huge creative group and started to make their own voices. Black women's creative groups have gained unprecedented recognition, and even black male writers feel threatened by black women writers. They accuse black women of betraying the black nation, because black women's writing about sex is detrimental to the image and dignity of black men. At the same time, due to the conservative administration of Reagan Administration and Bush Administration since 1980s, the interests of black people in politics, economy, education and other aspects have been threatened, and racial conflicts in the United States have once again become prominent. Under the social background of intensified gender and racial conflicts, black women have re-examined the relations within the black community, between the black community and the white community, and with the big community in the world from their own perspectives.
Since 1980s, contemporary black women have gradually realized that "the construction of any community is all-inclusive. The construction of the community is based on mutual recognition and mutual benefit among members, while the' others' who are different from the members of the community or pose a threat to their interests are excluded as enemies. " Before the publication of Men in Brewster Street, the concept of group construction of black women changed due to the change of social context, and they gradually realized that the relationship between men and women, black and white, and human social and natural was not a simple binary opposition. Under the pressure of the pre-text, Naylor deconstructs the pre-text with his own post-text, and at the same time, through the interpretation of the novel text, readers can get a glimpse of the changes of the whole historical and cultural context.
We can't avoid the influence of Alice walker and Toni Morrison, the two most important female writers in contemporary black women's literature, when we examine the influence of the former text on Neller's novel text.
Walker's feminism has influenced a large number of black feminists and black women writers. She also repeatedly practices and explains this black feminist thought in her novels. The novel Palace published by Walker 1989 is controversial because of its grand theme and complex narrative techniques. In the novel, Walker tries to rewrite the whole human history from the perspective of black women, and tries to build a unique and equal feminist new world in the novel. In this world, humans, animals and the whole ecosystem coexist peacefully.
Palace compresses the geographical space in the novel into a whole, thus compressing the world into a community and presenting it to readers. The emergence and development of stories in novels do not stay in a fixed place, but spread all over the world. The main characters in the novel all live in America, which becomes the main location of the story. With the development of the story, South America, Europe and Africa also entered the readers' sight one by one. Through the story telling, these different places are gradually connected into a whole. In different areas of the palace, you have me and I have you, which are related by various characters through narrative.
Walker unified the whole human race into her community. In this community, regardless of race, gender, class, age, etc. , are tolerated. The novel revolves around three main lines, and the main characters include Lizzie and Hal, carlotta and Abida, Fanny and Suvello. With the development of the story, these three main lines are intertwined; Besides these characters, there are many other important characters in the novel. With the development of the story, these characters are also interrelated and form a huge network of relationships. Among these people, Abida can be said to be a typical "cosmopolitan". He has absorbed blood from all over the world, including Africa, Europe, Mexico, India, the Philippines, China and, of course, the United States where he lives now.
Of course, in Walker's community, human beings are not the only members, and the whole biological world is an indispensable part of this community. At the beginning of the novel, the first thing readers hear is Lizzie's voice: "If they lied when telling stories about me, then they lied about everything." Only after reading the novel can readers understand the meaning of this quotation. If people lie when telling stories about Lizzie, then people will lie about everything, because Lizzie stands for "everything". After countless reincarnation, Lizzie still has memories of every life. Every reincarnation, she lived a different life and had a different identity. In constant reincarnation, she used to be black, white, man, woman, witch, prostitute, dwarf, lion and so on. Before she died, she drew a self-portrait: "There is a big tree in the picture, with black people, different creatures, snakes and different things, and even white people and many lions." Sue Lowe told Hal, "Lizzie painted herself in her last painting." On this tree of life, Lizzie painted every self. After countless reincarnation, she has experienced every life form, and all kinds of life forms have left their marks on her. Black people, white people, men, women and other non-human creatures all constitute a part of her life.
According to the memory in the dream, Lizzie told Sue the story that various creatures in nature once lived in harmony: human beings once lived in a big forest, and trees were everywhere in the forest. "At that time, trees were like cathedrals. Every tree becomes a residence at night. We play under the tree during the day. Our aunt and mother sometimes take us with them, and sometimes they leave us in the big tree to take care of us. When you know every branch, hole and crack of a big tree, there is no safer place than here. When in danger, you can quickly hide in the arms of trees. At the same time, we also share the shelter of big trees with other creatures. " They regard the animals in the forest as cousins, play with them, accompany each other and protect each other. It was not until the emergence of private ownership that human beings broke this harmonious order. They slaughtered animals in the forest, skinned them and cooked them for food. Men in the tribe are also self-reliant and regard women and children with relatively weak natural forces as their own. In another story told by Lizzie, humans and animals used to be friends. A close friend of her mother is a lion. "They are everywhere together. Lions also have their own families. There is frequent contact between the two families. I am always welcome in the lion's house. In these days, people get along with animals in the same way as people do today. Everyone is a neighbor, using the same water source and eating the same food. " Through Lizzie's narration, readers see a world where human beings live in harmony with nature. This world is possible and already exists.
Walker deconstructs the simple binary opposition between men and women, blacks and whites, and even human society and nature through narration. The palace provides us with an opportunity to rethink the world. If human beings want to rebuild such a world, they must care for each other. Whether it is between people or between people and other creatures, it must be a peaceful relationship. Celie has experienced countless painful experiences in her life. When she was injured, she went home to bully her dog and passed on her pain to a weaker creature. However, with Shag's help and inspiration, Celie began to treat everything around her equally: "If you step on an ant in front of Celie and don't apologize, you will never get her invitation again."
Third, the pre-text contextual pressure: the community constantly constructed in Toni Morrison's novels.
In addition to Walker, Toni Morrison has always been concerned about the development of the community, and her community thought gradually matured in the1990s. Her first novel, The Bluest Eye, is a true description of the black community in a specific historical environment. This group completely internalizes the racial discrimination of white people, thus destroying the most marginalized and vulnerable members of the group. The black community in Sula has constructed its own social structure and cultural standards. Members who meet their standards are welcomed, while those who violate their so-called rules are excluded and become scapegoats for community failure. In Morrison's early novels, Bikola and Sula were both rejected by the collective, unable to construct their own identities in the collective, and both ended in death. The collectivity in Song of Solomon 65438-0977 has changed greatly compared with the previous two novels. In the process of growing up, the protagonist Naiwa returned to the south, found her own black community, and thus found her own roots, thus building her own black identity in the black community. Beloved continues the theme of active community in Song of Solomon. Although the Black Group initially rejected Seth, it was this group final gathering who helped Seth drive away his favorite ghost and saved Seth and his daughter in Seth's yard.
In Morrison's early works, "community" exists as the background of the protagonist's life, and it is a relatively stable community with its own social structure and cultural norms. Morrison, on the other hand, broke her previous writing mode of community in Paradise and made a diachronic discussion on the collective. A community consists of different individuals, and every member of the community is constantly creating and enriching history. At the same time, communities and individuals are constantly getting new definitions in the history of self-creation. The monasteries in heaven are constantly being built with the participation of members, each of whom brings a different history and a different voice. Ruby Town, which seems completely closed in the novel, was forced to open because of the existence and influence of the convent. Morrison constantly deconstructs a closed black community with an open community, which has been in the process of development and reconstruction.
The novel creates two completely different communities: Ruby and the monastery. For a community, the same history and experience enable the collective to establish and strengthen cohesion among its members. Ruby Town is a black community completely isolated from the outside world. People in this community come from the same social class and know each other. They have experienced the same history and shared the same past, thus forming a * * * group and establishing a United and friendly relationship with each other. At the same time, they are isolated and even discriminated against by the outside world. These isolated and discriminated people also unite to form a reactive friendly relationship.
Ruby people and their ancestors set up their own communities in marginal areas in order to escape discrimination from the outside world. Ruby town closed its own world and cut off contact with the outside world. Ruby people live in an isolated place. "They are seventeen miles away from a town, and all the towns that leave that town are ninety miles away." There is nothing around Ruby except the monastery. You can't see other towns until you are close to 100 miles away. At the same time, judging from the public facilities in Ruby Town, they are not prepared to receive any outsiders. Ruby is "a sleepy town. There are only three churches less than a mile apart, but none of them provide services for tourists: no catering industry, no police, no gas station, no public telephone, no cinema, no hospital. " Ruby Town is a town forgotten by time in the eyes of ruby people. They live in their own independent time and space, living in the past history, as if the world has never changed. They reject outsiders, new voices and new history.