即便如此，埃利森并不仅仅依靠看不见的人来传达W。贝尔称这是“美国黑人在一个传统同时激发和抑制他们追求自由和自我实现的冲动的社会中对身份的历史性追求”。像《真爱如血》这样的角色。虽然他犯了乱伦罪，但真血不允许他的罪束缚他。他转向布鲁斯寻求指导和忏悔。我们甚至可以说，真正的血液转向内心，审视自己，审视是什么定义了他作为一个个体。W。贝尔说:“Trueblood在布鲁斯音乐中发现的勇气和纪律是英雄必须通过承认自己的民间传统来学习的基本价值观。”主人公后来在纽约遇到的拾荒者的角色也强化了布鲁斯是黑人社区文化遗产的一部分的观点。爵士乐和蓝调的思想以及它们所能传播的力量在于它们能够与当时的黑人生活相媲美。在生活与音乐的埃里森援引的生活很艰辛,响亮而错误的希望,但他们生活完全当他们表达了他们对世界的态度与流体风格,降低了生活的混乱形成的这个想法通过会议加强了看不见的人的拾破烂者与Trueblood不是最终被主角,“他我咧着嘴笑,尽管我自己。我喜欢他说的话，因为我不知道答案。我从小就知道这些东西，但已经忘记了;在学校里就学会了……”当真实血液的肮脏过去导致看不见的人把他扔到一边，垃圾商的古怪表现让他抓住自己的遗产。不久之后，从街头小贩那里买一个烤山药的简单行为强化了这一观念。“我就是我”。正是这些对传统的把握和对本国人民争取自由的接受，使看不见的人必须认识到，这是他追求个人个性和自由的基本组成部分。因为他们是，他是谁的组成部分。还必须注意的是，贯穿小说和这些事件，看不见的人似乎有某种类型的计划，每次他努力实现。然而，随着小说的发展，计划发生了变化。它从仅仅是想要毕业的愿望转变为像Bledsoe一样受到白人社区高度尊重的愿望。想要努力学习，能够回到学校，想要在兄弟会中维护自己。最后在他的洞里，只想维护自己的人性。
英国伦敦论文代写:追求自由
Even so Ellison does not rely on merely the invisible man to convey the W.Bell calls the portrayal of ‘the historical quest of black American for identity in a society whose traditions simultaneously inspire and inhibit their impulse toward freedom and self-realization’.Characters like Trueblood immerge. Although he has committed the sin of incest, trueblood does not allow his guilt to bind him. He turns towards the blues for guidance and repentance. One can even say that trueblood turns inward, looking to himself and to what defines him as an individual. W.Bell says that ‘the courage and discipline that Trueblood discovers in the blues are essential values that the hero must learn by acknowledging his folk heritage’. The character of the junkman that the hero meets later in New York is also a reinforcement of the idea of the blues as being part of the cultural heritage of the black community. The idea of jazz and the blues and the power that they were able to distribute lies in their ability to parallel the then black life. Writing in ‘Living with music’ Ellison is quoted as saying ‘life could be harsh, loud and wrong if it wished, but they lived it fully and when they expressed their attitude toward the world it was with a fluid style that reduced the chaos of living to form’ This idea is reinforced through the meeting of the invisible man with the junkman who unlike Trueblood is not ultimately dismissed by the protagonist, ‘he had me grinning despite myself. I liked his words through I didn’t know the answer. Id known the stuff from childhood, but had forgotten it; had learned it back of school….’.Where as the tainted past of Trueblood causes the invisible man to cast him aside the quizzical performance of the junkman allows for him to grasp at his own heritage. A notion reinforced through the simple act of buying a baked yam from the street vendor soon afterwards.’ I yam what I am’. It is these grasps at heritage and the acceptance of his own peoples strive for freedom that the invisible man must realise is the essential makeup of his quest for personal individuality and freedom. For they are, part of the make-up of who he is. What must also be noted is that throughout the novel and these incidents, the invisible man seems to have a certain type of plan that each time he strives to achieve. Yet as the novel progresses the plan changes. It is transformed from the mere wish of wanting to graduate and become as highly respected by the white community as Bledsoe. To wanting to work hard and be able to return to his school, to wanting assert himself within the brotherhood. To finally whilst in his hole, wanting only to assert his own humanity.
