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This book covers several distinctive moments of the post-civil rights era; the black power period, the affirmative action period, and the neoliberal period. It inspects representative texts and critical approaches associated with each period, covering a variety of authors and genres from Toni Morrison's mythic fiction to Wahida Clark's street lit.
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Originally published in 1984. The Sage in Harlem establishes H. L. Mencken as a catalyst for the blossoming of black literary culture in the 1920s and chronicles the intensely productive exchange of ideas between Mencken and two generations of black writers: the Old Guard who pioneered the Harlem Renaissance and the Young Wits who sought to reshape it a decade later. From his readings of unpublished letters and articles from black publications of the time, Charles Scruggs argues that black writers saw usefulness in Mencken's critique of American culture, his advocacy of literary realism, and his satire of America. They understood that realism could free them from the pernicious stereotypes that had hounded past efforts at honest portraiture, and that satire could be the means whereby the white man might be paid back in his own coin. Scruggs contends that the content of Mencken's observations, whether ludicrously narrow or dazzlingly astute, was of secondary importance to the Harlem intellectuals. It was the honesty, precision, and fearlessness of his expression that proved irresistible to a generation of artists desperate to be taken seriously. The writers of the Harlem Renaissance turned to Mencken as an uncompromising-and uncondescending-commentator whose criticisms were informed by deep interest in African American life but guided by the same standards he applied to all literature, whatever its source. The Sage in Harlem demonstrates how Mencken, through the example of his own work, his power as editor of the American Mercury, and his dedication to literary quality, was able to nurture the developing talents of black authors from James Weldon Johnson to Richard Wright.
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"In Moving Home, Sandra Gunning examines nineteenth-century African diasporic travel writing to expand and complicate understandings of the Black Atlantic. Gunning draws on the writing of missionaries, abolitionists, entrepreneurs, and explorers whose work challenges the assumptions that travel writing is primarily associated with leisure or scientific research. For instance, Yoruba ex-slave turned Anglican bishop Samuel Ajayi Crowther played a role in the Christianization of colonial Nigeria. Sarah Forbes Bonetta, a formerly enslaved girl gifted to Queen Victoria, traveled the African colonies as the wife of a prominent colonial figure and at the protection of her benefactress. Alongside Nancy Gardiner Prince, Martin R. Delany, Robert Campbell, and others, these writers used their mobility as African diasporic and colonial subjects to explore the Atlantic world and beyond while they negotiated the complex intersections between nation and empire. Rather than categorizing them as merely precursors of Pan-Africanist traditions, Gunning traces their successes and frustrations to capture a sense of the historical and geographical specificities that shaped their careers"
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In this innovative approach to southern literary cultures, Thadious Davis analyzes how black southern writers use their spatial location to articulate the vexed connections between society and environment, particularly under segregation and its legacies. Basing her analysis on texts by Ernest Gaines, Richard Wright, Alice Walker, Natasha Trethewey, Olympia Vernon, Brenda Marie Osbey, Sybil Kein, and others, Davis reveals how these writers reconstitute racial exclusion as creative black space, rather than a site of trauma and resistance. Utilizing the social and political separation epi
Place (Philosophy) in literature. --- African Americans --- Geographical perception in literature. --- American literature --- Negritude --- African American literature (English) --- Black literature (American) --- Negro literature --- Race identity. --- African American authors. --- Ethnic identity --- Afro-American authors --- Negro authors
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A 2008 cover of The New Yorker featured a much-discussed Black Power parody of Michelle and Barack Obama. The image put a spotlight on how easy it is to flatten the Black Power movement as we imagine new types of blackness. Margo Natalie Crawford argues that we have misread the Black Arts Movement's call for blackness. We have failed to see the movement's anticipation of the 'new black' and 'post-black.' 'Black Post-Blackness' compares the black avant-garde of the 1960s and 1970s Black Arts Movement with the most innovative spins of 21st century black aesthetics. Crawford zooms in on the 1970s second wave of the Black Arts Movement and shows the connections between this final wave of the Black Arts movement and the early years of 21st century black aesthetics.
Black nationalism. --- Black separatism --- Nationalism --- Nationalism, Black --- Separatism, Black --- Black power --- Blacks --- Politics and government --- Race identity --- Black people --- African-American literature and culture --- Expanding and exploding the boundaries
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This book examines the various psychosocial and sexual ordeals of African American people living with HIV or AIDS (PLWH/PLWAs) as depicted in African American literary narratives dealing with HIV/AIDS published from 1980 to 2010. Central to these texts are the psychosocial and sexual challenges faced by the African American PLWH/PLWAs and the various adaptive strategies they choose to come to terms with their HIV/AIDS identity.Although PLWH/PLWAs irrespective of race confront these brutal realities, the intersection of a mythologized black sexuality, homophobia and intra-community marginalizat
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"This anthology presents underappreciated works by African Americans active throughout the nineteenth century. Readers will find familiar names in this anthology, such as Douglass, Wells Brown, Jacobs, and Du Bois, but readers will also be introduced to lesser known and even unknown African Americans worthy of discussion, such as Solomon G. Brown, H. Cordelia Ray, and T. Thomas Fortune. Mance's intention for this volume is to offer an alternative to the Norton and Houghton Mifflin anthologies that emphasize only the canonical works of African American literature in the 19th century and to introduce students--and even professors--to a variety of writings, from poetry to journalism, by African Americans who have yet to receive their due"-- "Despite important recovery and authentication efforts during the last twenty-five years, the vast majority of nineteenth-century African American writers and their work remain unknown to today's readers. Moreover, the most widely used anthologies of black writing have established a canon based largely on current interests and priorities. Seeking to establish a broader perspective, this collection brings together a wealth of autobiographical writings, fiction, poetry, speeches, sermons, essays, and journalism that better portrays the intellectual and cultural debates, social and political struggles, and community publications and institutions that nurtured black writers from the early 1800s to the eve of the Harlem Renaissance. As editor Ajuan Mance notes, previous collections have focused mainly on writing that found a significant audience among white readers. Consequently, authors whose work appeared in African American-owned publications for a primarily black audience--such as Solomon G. Brown, Henrietta Cordelia Ray, and T. Thomas Fortune--have faded from memory. Even figures as celebrated as Frederick Douglass and Paul Laurence Dunbar are today much better known for their "cross-racial" writings than for the larger bodies of work they produced for a mostly African American readership. There has also been a tendency in modern canon making, especially in the genre of autobiography, to stress antebellum writing rather than writings produced after the Civil War and Reconstruction. Similarly, religious writings--despite the centrality of the church in the everyday lives of black readers and the interconnectedness of black spiritual and intellectual life--have not received the emphasis they deserve. Filling those critical gaps with a selection of 143 works by 65 writers, Before Harlem presents as never before an in-depth picture of the literary, aesthetic, and intellectual landscape of nineteenth-century African America and will be a valuable resource for a new generation of readers. "--
LITERARY CRITICISM / Reference. --- LITERARY CRITICISM / American / African American. --- African Americans --- American literature --- African American literature (English) --- Black literature (American) --- Negro literature --- African American authors. --- Afro-American authors --- Negro authors
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How do contemporary African American authors relate trauma, memory, and the recovery of the past with the processes of cultural and identity formation in African American communities? Patricia San José analyses a variety of novels by authors like Toni Morrison, Gloria Naylor, and David Bradley and explores these works as valuable instruments for the disclosure, giving voice, and public recognition of African American collective and historical trauma.
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According to relational sociology, power imbalances are at the root of human conflicts and consequently shape the physical and symbolic struggles between interdependent groups or individuals. This volume highlights the role of power relations in the African American experience by applying key concepts of Pierre Bourdieu and Norbert Elias to black literature and culture. The authors offer new readings of power asymmetries as represented in works of canonical and contemporary black writers (Richard Wright, Ralph Ellison, Gwendolyn Brooks, Toni Morrison, Percival Everett, Colson Whitehead), rap music (e.g., Jay Z), images of black homelessness, and figurations of political activism (civil rights activist Bayard Rustin Besprochen in: Begegnungszentrum für aktive Gewaltlosigkeit, Rundbrief, 1 (2018)
American literature --- African American authors. --- African American literature (English) --- Black literature (American) --- Negro literature --- Afro-American authors --- Negro authors --- African American Literature. --- America. --- American Studies. --- Black Culture. --- Capital. --- Cultural Sociology. --- Cultural Studies. --- Established-Outsider Relationships. --- Field. --- Habitus. --- Literary Studies. --- Norbert Elias. --- Pierre Bourdieu. --- Political Activism. --- Power Asymmetries. --- Power Imbalances. --- Power Relations. --- Racism. --- Rap Music. --- Social Relations. --- Sociological Theory. --- Sociology of Literature. --- Symbolic Violence. --- Relational Sociology; Pierre Bourdieu; Norbert Elias; Sociology of Literature; Cultural Sociology; Power Relations; Racism; African American Literature; Black Culture; Rap Music; Political Activism; Habitus; Field; Capital; Symbolic Violence; Established-Outsider Relationships; Power Asymmetries; Power Imbalances; America; Social Relations; American Studies; Sociological Theory; Cultural Studies; Literary Studies --- Racism in literature. --- African Americans --- Politics and government. --- History and criticism --- Bourdieu, Pierre, --- Elias, Norbert, --- Elías, N. --- Burdʹe, Pʹer, --- Burdʹe, P. --- Bourdieu, P. --- Pūrtiyu, Piyar, --- Music --- History and criticism.
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African Americans --- American literature --- African American authors --- Books and reading --- African Americans. --- Books and reading. --- African American authors. --- English literature --- African American literature (English) --- Black literature (American) --- Negro literature --- Afro-Americans --- Black Americans --- Colored people (United States) --- Negroes --- Afro-American authors --- Negro authors --- Agrarians (Group of writers) --- Africans --- Ethnology --- Blacks --- American Literature --- Black people
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