急！请好心人帮忙从成长角度分析下everyday use 中Dee对黑人文化遗产的态度。

急啊！请高手帮我分析下，一定从成长角度来分析Dee对黑人文化遗产的态度。或者帮忙给点提示哈。感谢万分！

To understand Dee’s attitude towards heritage, one has to understand Dee’s attitude towards her family first. Dee thinks of herself as being superior to her mother and her little sister. This gets palpable when she reproaches her mother with not understanding her heritage, but it can already be assumed when Mrs. Johnson remembers how Dee read to her and Maggie “without pity; forcing words, lies, other folks’ habits, whole lives upon us two, sitting trapped and ignorant underneath her voice”. She shoved them away at just the moment, like dimwits, we seemed about to understand. This attitude also gets clear when Mrs. Johnson has a short kind of discussion with Dee and her boyfriend about her new name. Every once in a while he and Wangero sent eye signals over my head. But this is not the only way Dee mistreats her family; she dislikes them and her origins. This includes her mother, who she would like to be “a hundred pounds lighter, her skin like an uncooked barley pancake with hair that glistens in the light and a quick and witty tongue. It includes the old house and, following Mrs. Johnson’s judgment, probably also the new one which she doubtlessly want to tear down as soon as her eyes get hold of it. And it includes “the way Maggie and Mama still live. It may be assumed that Dee’s attitude towards Maggie is also disturbed, because Mrs. Johnson used to think she hated Maggie, too. But that was before we raised money to send her to Augusta to school. Her dislike roots so deep that she once wrote she was never going to bring any friends when she comes home. This is the exact point where one finds the first serious flaw in Dee’s attitude: in the story she brings her friend Hakim-a-barber - against her intention not to bring anybody ever. As Dee cares a lot about style, one could assume that she regards her family as much as Hakim-a-barber regards the “beef-cattle peoples down the road”. But as it is “a new day” for the blacks now and as it becomes fashionable in the Black Power Movement to return to one’s roots, it suddenly becomes fashionable for her, too. From this perspective, coming home is simply a station on the road that she already stepped on when she changed her name to “Wangero Leewanika Kemanjo”. She merely wants to come home to collect some pieces of family history she can superficially identify with, take some photos as a kind of proof and leave.
It all adds up to a very shallow image of her concept of heritage. Dee seems to be riding on the latest wave of fashionable Africanism, confusing the real nature of her heritage with something which can be inherited like property. And while her original name, already carried by several generations of female ancestors, can be traced back beyond the Civil War, the new African name is not related to her personal history at all and dissociates her from her family and therefore from her true heritage. Now she neither belongs to her family anymore nor to her newly created identity. Not only was her search for a new heritage in vain, she also lost her real roots. This feeling is typical of the blacks of that time.

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