A history of the Harlem Renaissance:
"Essays such as W. E. B. Du Bois's "Criteria of Negro Art," Langston Hughes's "The Negro Artist and the Racial Mountain," and George Schuyler' "The Negro-Art Hokum"--which make respective cases for art as propaganda, the cultural distinctiveness of b...
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge, United Kingdom
Cambridge University Press
2021
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Essays such as W. E. B. Du Bois's "Criteria of Negro Art," Langston Hughes's "The Negro Artist and the Racial Mountain," and George Schuyler' "The Negro-Art Hokum"--which make respective cases for art as propaganda, the cultural distinctiveness of black American art, and the absence of any fundamental differences between black and white American art--lay bare some of the key disagreements that continue to animate debates about the politics of representation. Marita Bonner's 1925 Crisis essay "On Being Young, a Woman, and Colored," with its eloquent insistence that any examination of the relationship between art and politics must attend to questions of sexuality and gender, anticipates critical approaches developed by pioneering black feminists, including Barbara Christian, Akasha (Gloria) Hull, Deborah E. McDowell, Claudia Tate, and Cheryl A. Wall, from the 1970s. Indeed, an enduring tendency to sideline Bonner and other black women writers in critical accounts of Harlem Renaissance debates about "art or propaganda" signals the continuing salience of the black feminist project of "engendering the Harlem Renaissance [by] undoing perimeters that exclude women and their writing""-- |
| Beschreibung: | xviii, 432 Seiten Illustrationen |
| ISBN: | 9781108493574 |
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| 520 | 3 | |a "Essays such as W. E. B. Du Bois's "Criteria of Negro Art," Langston Hughes's "The Negro Artist and the Racial Mountain," and George Schuyler' "The Negro-Art Hokum"--which make respective cases for art as propaganda, the cultural distinctiveness of black American art, and the absence of any fundamental differences between black and white American art--lay bare some of the key disagreements that continue to animate debates about the politics of representation. Marita Bonner's 1925 Crisis essay "On Being Young, a Woman, and Colored," with its eloquent insistence that any examination of the relationship between art and politics must attend to questions of sexuality and gender, anticipates critical approaches developed by pioneering black feminists, including Barbara Christian, Akasha (Gloria) Hull, Deborah E. McDowell, Claudia Tate, and Cheryl A. Wall, from the 1970s. Indeed, an enduring tendency to sideline Bonner and other black women writers in critical accounts of Harlem Renaissance debates about "art or propaganda" signals the continuing salience of the black feminist project of "engendering the Harlem Renaissance [by] undoing perimeters that exclude women and their writing""-- | |
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Datensatz im Suchindex
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| adam_text | Contents List ofIllustrations Notes on Contributors Acknowledgments page x xii xix Introduction: Revising a Renaissance Rachel Farebrother and Miriam Tbaggert PART I. RE-READING 1. 2. i THE NEW NEGRO I9 Cultural Nationalism and Cosmopolitanism in the Harlem Renaissance Daniel G. Williams 21 Making the Slave Anew: History and the Archive in New Negro Renaissance Poetry Clare Corbould 38 3. The New Negro among White Modernists Kathleen Pfeiffer 55 4. The Bildungsroman in the Harlem Renaissance Mark Whalan 72 5. The Visual Image in New Negro Renaissance Print Culture Caroline Goeser 89 PARTII. EXPERIMENTING WITHTHENEW NEGRO 6. Gwendolyn Brooks: Riot after the New Negro Renaissance Sonya Posmentier 7. Romans à Clefof the Harlem Renaissance Sinead Moynihan vii IO9 hi 125
ѵш 8. 9. Contents Modernist Biography and the Question of Manhood: Eslanda Goode Robeson’s Paid Robeson, Negro Fionnghuala Sweeney Modernism and Women Poets of the Harlem Renaissance Maureen Honey 144 159 10, Children’s Literature of the Harlem Renaissance Katharine Capshaw 175 PART III. RE-MAPPING THE NEW NEGRO І93 и. London, New York, and the Black Bolshevik Renaissance: Radical Black Internationalism during the New Negro Renaissance James Smethurst 12. Island Relations, Continental Visions, and Graphic Networks Jak Peake 13. “Symbols from Within”: Charting the Nation’s Regions in James Weldon Johnson’s God’s Trombones Noelle Morrissette 195 211 233 14. Rudolph Fisher: Renaissance Man andHarlem’s Interpreter Jonathan Munby 252 PART IV. 269 PERFORMING THE NEW NEGRO 15. Zora Neale Hurston’s Early Plays Mariel Rodney 271 16. Zora Neale Hurston, Film, and Ethnography Hannah Durkin 290 17. The Pulse of Harlem: African American Music and the New Negro Revival Andrew Wames 307 18. The Figure of the Child Dancer in Harlem Renaissance Literature and Visual Culture Rachel Farebrother 325
Contents 19. Jazz and the Harlem Renaissance įx ^ Wendy Martin 20. Alain Locke and theValue of the Harlem Renaissance 361 Shane Vogel Afterword շ Deborah £. McDowell Bibliography index 394 424
|
| adam_txt |
Contents List ofIllustrations Notes on Contributors Acknowledgments page x xii xix Introduction: Revising a Renaissance Rachel Farebrother and Miriam Tbaggert PART I. RE-READING 1. 2. i THE NEW NEGRO I9 Cultural Nationalism and Cosmopolitanism in the Harlem Renaissance Daniel G. Williams 21 Making the Slave Anew: History and the Archive in New Negro Renaissance Poetry Clare Corbould 38 3. The New Negro among White Modernists Kathleen Pfeiffer 55 4. The Bildungsroman in the Harlem Renaissance Mark Whalan 72 5. The Visual Image in New Negro Renaissance Print Culture Caroline Goeser 89 PARTII. EXPERIMENTING WITHTHENEW NEGRO 6. Gwendolyn Brooks: Riot after the New Negro Renaissance Sonya Posmentier 7. Romans à Clefof the Harlem Renaissance Sinead Moynihan vii IO9 hi 125
ѵш 8. 9. Contents Modernist Biography and the Question of Manhood: Eslanda Goode Robeson’s Paid Robeson, Negro Fionnghuala Sweeney Modernism and Women Poets of the Harlem Renaissance Maureen Honey 144 159 10, Children’s Literature of the Harlem Renaissance Katharine Capshaw 175 PART III. RE-MAPPING THE NEW NEGRO І93 и. London, New York, and the Black Bolshevik Renaissance: Radical Black Internationalism during the New Negro Renaissance James Smethurst 12. Island Relations, Continental Visions, and Graphic Networks Jak Peake 13. “Symbols from Within”: Charting the Nation’s Regions in James Weldon Johnson’s God’s Trombones Noelle Morrissette 195 211 233 14. Rudolph Fisher: Renaissance Man andHarlem’s Interpreter Jonathan Munby 252 PART IV. 269 PERFORMING THE NEW NEGRO 15. Zora Neale Hurston’s Early Plays Mariel Rodney 271 16. Zora Neale Hurston, Film, and Ethnography Hannah Durkin 290 17. The Pulse of Harlem: African American Music and the New Negro Revival Andrew Wames 307 18. The Figure of the Child Dancer in Harlem Renaissance Literature and Visual Culture Rachel Farebrother 325
Contents 19. Jazz and the Harlem Renaissance įx ^ Wendy Martin 20. Alain Locke and theValue of the Harlem Renaissance 361 Shane Vogel Afterword շ Deborah £. McDowell Bibliography index 394 424 |
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| spelling | A history of the Harlem Renaissance edited by Rachel Farebrother, University of Swansea ; Miriam Thaggert, SUNY-Buffalo Cambridge, United Kingdom Cambridge University Press 2021 xviii, 432 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier "Essays such as W. E. B. Du Bois's "Criteria of Negro Art," Langston Hughes's "The Negro Artist and the Racial Mountain," and George Schuyler' "The Negro-Art Hokum"--which make respective cases for art as propaganda, the cultural distinctiveness of black American art, and the absence of any fundamental differences between black and white American art--lay bare some of the key disagreements that continue to animate debates about the politics of representation. Marita Bonner's 1925 Crisis essay "On Being Young, a Woman, and Colored," with its eloquent insistence that any examination of the relationship between art and politics must attend to questions of sexuality and gender, anticipates critical approaches developed by pioneering black feminists, including Barbara Christian, Akasha (Gloria) Hull, Deborah E. McDowell, Claudia Tate, and Cheryl A. Wall, from the 1970s. Indeed, an enduring tendency to sideline Bonner and other black women writers in critical accounts of Harlem Renaissance debates about "art or propaganda" signals the continuing salience of the black feminist project of "engendering the Harlem Renaissance [by] undoing perimeters that exclude women and their writing""-- Harlem renaissance (DE-588)4159116-1 gnd rswk-swf American literature / African American authors / History and criticism American literature / 20th century / History and criticism African American arts / 20th century African Americans in literature African Americans / Intellectual life / 20th century Harlem (New York, N.Y.) / Intellectual life / 20th century Harlem Renaissance African American arts African Americans / Intellectual life American literature American literature / African American authors Intellectual life New York (State) / New York / Harlem 1900-1999 Criticism, interpretation, etc (DE-588)4143413-4 Aufsatzsammlung gnd-content Harlem renaissance (DE-588)4159116-1 s DE-604 Farebrother, Rachel ca. 20./21. Jh. (DE-588)1229715509 edt Thaggert, Miriam ca. 20./21. Jh. (DE-588)122971586X edt Erscheint auch als Online-Ausgabe 978-1-108-65631-3 Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032548523&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | A history of the Harlem Renaissance Harlem renaissance (DE-588)4159116-1 gnd |
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| title_auth | A history of the Harlem Renaissance |
| title_exact_search | A history of the Harlem Renaissance |
| title_exact_search_txtP | A history of the Harlem Renaissance |
| title_full | A history of the Harlem Renaissance edited by Rachel Farebrother, University of Swansea ; Miriam Thaggert, SUNY-Buffalo |
| title_fullStr | A history of the Harlem Renaissance edited by Rachel Farebrother, University of Swansea ; Miriam Thaggert, SUNY-Buffalo |
| title_full_unstemmed | A history of the Harlem Renaissance edited by Rachel Farebrother, University of Swansea ; Miriam Thaggert, SUNY-Buffalo |
| title_short | A history of the Harlem Renaissance |
| title_sort | a history of the harlem renaissance |
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| topic_facet | Harlem renaissance Aufsatzsammlung |
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