Abstract:
This thesis explores Gwendolyn Brooks' A Street in Bronzeville through the lens of Dialogical Self Theory (DST), focusing on the I-positions of Blackness, Whiteness, and Womanhood. Drawing on the theoretical frameworks of William James, Mikhail Bakhtin, and Hubert Hermans, the study examines how these multiple, often conflicting identities are articulated within Brooks' poetry. The analysis considers three main aspects where these I-positions emerge: content, formality, and poetic form. The study argues that Brooks’ work not only reflects her inner self but also the multifaceted nature of Black identity, contributing to a broader understanding of the intersectionality of race, gender, and poetic form.
