Langston Hughes: a Documentary Volume
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559136 Hughes bk 17/06/2003 4:03 pm Page 1 de Hughes, le travail de l’auteur commença à attirer encore Hughes était fier de ces collaborations bien que ses davantage de musiciens dont les compositeurs noirs-américains préférences musicales continuèrent à se porter sur le blues et le Margaret Bonds et William Grant Still. On citera, pour mémoire, jazz et, dans les dernières années de sa vie, sur le gospel. Il inventa la mise en musique par Bonds de plusieurs poèmes de Hughes, d’ailleurs le théâtre musical gospel où une intrigue simple relie AMERICAN CLASSICS dont son fameux The Negro Speaks of River (Le Noir parle des entre-eux des gospels émouvants interprétés par d’éminents fleuves) de 1921. William Grant Still collabora avec lui à l’opéra chanteurs. Il connut tant le succès critique que commercial avec Troubled Island, d’après la pièce de Hughes sur la révolution qui des œuvres comme The Prodigal Son et, notamment, Black fut à l’origine de l’avènement de la république noire de Haïti. Nativity. Cette dernière fut peut-être volontairement conçue par L’opéra fut créé en 1949 à New York et reçut des critiques Hughes en réaction au classique de Noël de Gian Carlo Menotti, DREAMER mitigées. Ahmal and the Night Visitors. Les musiciens blancs furent également captivés par les Qu’il s’agisse de formes populaires ou plus exigeantes, tels œuvres de Hughes. La relation la plus étroite qu’entretint Hughes que le jazz ou le répertoire classique, Langston Hughes trouva A Portrait of Langston Hughes en tant que librettiste fut sans doute avec le compositeur immigré l’inspiration dans les œuvres des musiciens. -
D. H. Lawrence and the Harlem Renaissance
‘You are white – yet a part of me’: D. H. Lawrence and the Harlem Renaissance A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2019 Laura E. Ryan School of Arts, Languages and Cultures 2 Contents Abstract ...................................................................................................................... 3 Declaration ................................................................................................................. 4 Copyright statement ................................................................................................... 5 Acknowledgements .................................................................................................... 6 Introduction ................................................................................................................ 7 Chapter 1: ‘[G]roping for a way out’: Claude McKay ................................................ 55 Chapter 2: Chaos in Short Fiction: Langston Hughes ............................................ 116 Chapter 3: The Broken Circle: Jean Toomer .......................................................... 171 Chapter 4: ‘Becoming [the superwoman] you are’: Zora Neale Hurston................. 223 Conclusion ............................................................................................................. 267 Bibliography ........................................................................................................... 271 Word Count: 79940 3 -
Langston Hughes
Classic Poetry Series Langston Hughes - poems - Publication Date: 2012 Publisher: PoemHunter.Com - The World's Poetry Archive Langston Hughes (February 1, 1902 – May 22, 1967) an American poet, social activist, novelist, playwright, and columnist. He was one of the earliest innovators of the then-new literary art form jazz poetry. Hughes is best known for his work during the Harlem Renaissance. He famously wrote about the period that "Harlem was in vogue." Biography Ancestry and Childhood Both of Hughes' paternal and maternal great-grandmothers were African-American, his maternal great-grandfather was white and of Scottish descent. A paternal great-grandfather was of European Jewish descent. Hughes's maternal grandmother Mary Patterson was of African-American, French, English and Native American descent. One of the first women to attend Oberlin College, she first married Lewis Sheridan Leary, also of mixed race. Lewis Sheridan Leary subsequently joined John Brown's Raid on Harper's Ferry in 1859 and died from his wounds. In 1869 the widow Mary Patterson Leary married again, into the elite, politically active Langston family. Her second husband was Charles Henry Langston, of African American, Native American, and Euro-American ancestry. He and his younger brother John Mercer Langston worked for the abolitionist cause and helped lead the Ohio Anti-Slavery Society in 1858. Charles Langston later moved to Kansas, where he was active as an educator and activist for voting and rights for African Americans. Charles and Mary's daughter Caroline was the mother of Langston Hughes. Langston Hughes was born in Joplin, Missouri, the second child of school teacher Carrie (Caroline) Mercer Langston and James Nathaniel Hughes (1871–1934). -
Xerox University Microfilms
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The Weary Blues” and “Jazztet Muted” by Langston Hughes
Department of English Putting Jazz on the Page: “The Weary Blues” and “Jazztet Muted” by Langston Hughes Ralph Hertzberg McKnight Bachelor’s degree Project Literature Fall, 2018 Supervisor: Magnus Ullén Abstract The goal of this essay is to look at the poems “The Weary Blues” and “JAZZTET MUTED” (hereafter to be referred to as “JAZZTET”) by Langston Hughes and examine their relationships to both the blues and jazz structurally, lyrically, and thematically. I examine the relationship of blues and jazz to the African-American community of Harlem, New York in the 1920’s and the 1950’s when the poems were respectively published. Integral to any understanding of what Hughes sought to accomplish by associating his poetry so closely with these music styles are the contexts, socially and politically, in which they are produced, particularly with respect to the African-American experience. I will examine Hughes’ understanding of not only the sound of the two styles of music but of what the music represents in the context of African-American history and how he combines these to effectively communicate blues and jazz to the page. Keywords: Langston Hughes; “The Weary Blues”; “JAZZTET MUTED”; the blues; jazz; Harlem; be-bop; the “Jazz-Age”; African-American history; “jazz poetry” Hertzberg McKnight 1 The poetry of Langston Hughes is inextricably linked to the new music he heard pouring out of the apartment windows and nightclub doorways of 1920s, and later, 1940s Harlem. Hughes was quick to identify the significance of this truly original art form and used it as a means to express the emotions and lived realities of the mostly African-American residents he saw on Harlem streets. -
Langston Hughes Biography
Langston Hughes Biography African-American Writer, Poet, Kansan | February 1, 1902 – May 22, 1967 (James) Langston Hughes began writing in high school, and even at this early age was developing the voice that made him famous. Hughes was born in Joplin, Missouri, but lived with his grandmother in Lawrence, Kansas until he was thirteen and then with his mother in Lincoln, Illinois and Cleveland, Ohio where he went to high school. Hughes's grandmother, Mary Sampson Patterson Leary Langston, was prominent in the African American community in Lawrence. Her first husband had died at Harper's Ferry fighting with John Brown; her second husband, Langston Hughes's grandfather, was a prominent Kansas politician during Reconstruction. During the time Hughes lived with his grandmother, however, she was old and poor and unable to give Hughes the attention he needed. Besides, Hughes felt hurt by both his mother and his father, and was unable to understand why he was not allowed to live with either of them. These feelings of rejection caused him to grow up Langston Hughes in his twenties, very insecure and unsure of himself. circa 1930. When Langston Hughes's grandmother died, his mother summoned him to her home in Lincoln, Illinois. Here, according to Hughes, he wrote his first verse and was named class poet of his eighth grade class. Hughes lived in Lincoln for only a year, however; when his step-father found work in Cleveland, Ohio, the rest of the family then followed him there. Soon his step-father and mother moved on, this time to Chicago, but Hughes stayed in Cleveland in order to finish high school. -
African-American
African-American Life & Literature On-Line Only: Catalog # 217 ) Second Life Books Inc. ABAA- ILAB P.O. Box 242, 55 Quarry Road Lanesborough, MA 01237 413-447-8010 fax: 413-499-1540 Email: [email protected] African-American Life & Literature On-Line Only Catalog # 217 Terms : All books are fully guaranteed and returnable within 7 days of receipt. Massachusetts residents please add 5% sales tax. Postage is additional. Libraries will be billed to their requirements. Deferred billing available upon request. We accept MasterCard, Visa and American Express. ALL ITEMS ARE IN VERY GOOD OR BETTER CONDITION , EXCEPT AS NOTED . Orders may be made by mail, email, phone or fax to: Second Life Books, Inc . P. O. Box 242, 55 Quarry Road Lanesborough, MA. 01237 Phone (413) 447-8010 Fax (413) 499-1540 Email:[email protected] Search all our books at our web site: www.secondlifebooks.com or www.ABAA.org . 1. ADAMS, Nehemiah. A SOUTH-SIDE VIEW OF SLAVERY ; Together with An inside view of slavery by C. G. Parsons. Savannah GA: Beehive Press, (1974). Two volumes, pp. liv, 181. Notes. pp. xi, 242. Introduction to the latter by Harriet Beecher Stowe. Gray cloth, stamped on the spines in gilt. As new, in very slightly scuffed and faded box. [52242] $65.00 Adams and Parsons went to Georgia during the last decade before the Civil War. Both wrote about their opinions of slavery; Adams sympathetic to the institution and Parsons vehemently against it. 2. ADAMS, Nehemiah. A SOUTH-SIDE VIEW OF SLAVERY . Boston: T. R. Marvin and B. B. -
Representations of Women and Aspects of Their Agency
REPRESENTATIONS OF WOMEN AND ASPECTS OF THEIR AGENCY IN MALE AUTHORED PROLETARIAN EXPERIMENTAL NOVELS FROM THIRTIES AMERICA By Anoud Ziad Abdel-Qader Al-Tarawneh A Thesis Submitted to The University of Birmingham For the Degree of Doctor of Philosophy School of English, Drama, & American and Canadian Studies College of Arts and Law University of Birmingham October 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis investigates the layered representations of women, their agency, and their class awareness in four leftist experimental novels from 1930s America: Langston Hughes’ Not Without Laughter, Jack Conroy’s The Disinherited, John Dos Passos’ The Big Money, and John Steinbeck’s The Grapes of Wrath. It argues that the histories these novels engage, the forms they integrate, and the societal norms they explore enable their writers to offer a complex, distinct, sense of female representation and agency. All four novels present stereotyped or sentimentalised portrayals of women from the traces of early twentieth-century popular culture, a presentation which the novels’ stories explore through nuanced, mobilised, or literally as well as figuratively politicised images of women. -
Langston Hughes
Day 3: 4-29 Social Studies Assignment: Langston Hughes Synopsis : Langston Hughes born in Joplin, Missouri, in 1902. He was one of the most important writers and thinkers of the Harlem Renaissance. This was an artistic movement in 1920s New York that celebrated African-American life and culture. Through his writing, Hughes promoted equality and condemned* racism. He became a celebrated voice of black culture, spirituality and humor. Early Years Hughes' childhood and youth was one of frequent change. He was born in 1902 in Joplin, Missouri, but his parents split up when he was very young. His father moved to Mexico, and his mother left him for long periods in search of work. Hughes' grandmother raised him in Lawrence, Kansas, until he was 12. He later lived with his mother and stepfather in Illinois and Ohio. Hughes began writing creatively in high school. He explored his experiences and feelings through poetry. The year 1921 was a pivotal one for Hughes. He traveled to Mexico to be with his father and teach English in Mexican schools. While traveling on a train, he wrote "The Negro Speaks of Rivers." African-Americans at the time were often referred to as Negroes. The poem was printed in, The Crisis," a magazine published by a leading civil rights group. "I've known rivers": it begins. "I've known rivers ancient as the world and older than the flow of human blood in human veins." That same year, Hughes attended Columbia University in New York. He fell in love with the nearby neighborhood of Harlem. -
Of the Blues Aesthetic
Skansgaard 1 The “Aesthetic” of the Blues Aesthetic Michael Ryan Skansgaard Homerton College September 2018 This thesis is submitted for the degree of Doctor of Philosophy Skansgaard 2 Declaration: This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. At 79,829 words, the thesis does not exceed the regulation length, including footnotes, references and appendices but excluding the bibliography. This work follows the guidelines of the MLA Handbook for Writers of Research Papers. Acknowledgements: This study has benefitted from the advice of Fiona Green and Philip Coleman, whose feedback has led to a revitalised introduction and conclusion. I am also indebted to Donna Akiba Sullivan Harper, Robert Dostal, Kristen Treen, Matthew Holman, and Pulane Mpotokwane, who have provided feedback on various chapters; to Simon Jarvis, Geoff Ward, and Ewan Jones, who have served as advisers; and especially to my supervisor, Michael D. -
Langston Hughes: Voice Among Voices
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1991 Volume III: Afro-American Autobiography Langston Hughes: Voice Among Voices Curriculum Unit 91.03.01 by G. Casey Cassidy I. Introduction Over the past two years, while participating in the Yale-New Haven Teachers Institute, I have written extensive units detailing the lives and creations of the Wright Brothers and Edward Hopper. When I set out to research these folks, I decided to read as much as possible about them from their childhood to their formative years, and then to accompany them through their great achievements. With this pattern in mind, I decided to read Langston Hughes, never realizing the monumental literary portfolio that this gentleman produced. His literary accomplishments are well represented through his poetry, his fiction, and his drama. His short stories were written utilizing a character named Jesse B. Simple, a universal, charming figure within whom we all can see a little bit of ourselves, usually in a humorous and honest capacity. His poetry often conveyed serious messages. Although his story was seldom pleasant, he told it with understanding and with hope. His novels, especially Not Without Laughter, created a warm human picture of Negro life in Black America. The family was very important to Langston Hughes, but so were the forces that surrounded the family—the racial discrimination, the violence of society, the unfairness of educational opportunities, and the right to share in the American dream of opportunity and freedom. It’s to these high ideals of opportunity and freedom that my research and efforts will be devoted this year as my curriculum unit develops. -
“Mother to Son” (1922)
Selected Poems — Langston Hughes “The Negro Speaks of Rivers” (1920) I’ve known rivers: I’ve known rivers ancient as the world and older than the flow of human blood in human veins. My soul has grown deep like the rivers. I bathed in the Euphrates when dawns were young. I built my hut near the Congo and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I’ve seen its muddy bosom turn all golden in the sunset. I’ve known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers. “Mother to Son” (1922) Well, son, I’ll tell you: Life for me ain’t been no crystal stair. It’s had tacks in it, And splinters, And boards torn up, And places with no carpet on the floor— Bare. But all the time I’se been a-climbin’ on, And reachin’ landin’s, And turnin’ corners, And sometimes goin’ in the dark Where there ain’t been no light. So boy, don’t you turn back. Don’t you set down on the steps ’Cause you finds it’s kinder hard. Don’t you fall now— For I’se still goin’, honey, I’se still climbin’, And life for me ain’t been no crystal stair. “The Weary Blues” (1925) Droning a drowsy syncopated tune, Rocking back and forth to a mellow croon, I heard a Negro play. Down on Lenox Avenue the other night By the pale dull pallor of an old gas light He did a lazy sway .