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Georgia Douglas Johnson and Eulalie Spence As Figures Who Fostered Community in the Midst of Debate
Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Caroline Roberta Hill, B.A. Graduate Program in Theatre The Ohio State University 2019 Thesis Committee: Jennifer Schlueter, Adviser Beth Kattelman Copyright by Caroline Roberta Hill 2019 Abstract The Harlem Renaissance and New Negro Movement is a well-documented period in which artistic output by the black community in Harlem, New York, and beyond, surged. On the heels of Reconstruction, a generation of black artists and intellectuals—often the first in their families born after the thirteenth amendment—spearheaded the movement. Using art as a means by which to comprehend and to reclaim aspects of their identity which had been stolen during the Middle Passage, these artists were also living in a time marked by the resurgence of the Ku Klux Klan and segregation. It stands to reason, then, that the work that has survived from this period is often rife with political and personal motivations. Male figureheads of the movement are often remembered for their divisive debate as to whether or not black art should be politically charged. The public debates between men like W. E. B. Du Bois and Alain Locke often overshadow the actual artistic outputs, many of which are relegated to relative obscurity. Black female artists in particular are overshadowed by their male peers despite their significant interventions. Two pioneers of this period, Georgia Douglas Johnson (1880-1966) and Eulalie Spence (1894-1981), will be the subject of my thesis. -
Race, Riots, and Public Space in Harlem, 1900-1935
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-9-2017 The Breath Seekers: Race, Riots, and Public Space in Harlem, 1900-1935 Allyson Compton CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/166 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Breath Seekers: Race, Riots, and Public Space in Harlem, 1900-1935 by Allyson Compton Submitted in partial fulfillment of the requirements for the degree of Master of Arts in History, Hunter College The City University of New York 2017 Thesis Sponsor: April 10, 2017 Kellie Carter Jackson Date Signature April 10, 2017 Jonathan Rosenberg Date Signature of Second Reader Table of Contents Introduction ..................................................................................................................... 1 Chapter 1: Public Space and the Genesis of Black Harlem ................................................. 7 Defining Public Space ................................................................................................... 7 Defining Race Riot ....................................................................................................... 9 Why Harlem? ............................................................................................................. 10 Chapter 2: Setting -
The Sloat Family
THE SLOAT FAMILY We are indebted to Mr. John Drake Sloat of St. Louis, Missouri, for the Sloat family data. We spent many years searching original unpublished church and court records. Mr. Sloat assembled this material on several large charts, beautifully executed and copies are on file at the New York Public Library. It was from copies of Mr. Sloat's charts that this book of Sloat Mss was assembled. from Charts made by John Drake Sloat [#500 below] Assembled by May Hart Smith {1941}[no date on LA Mss – must be earlier] Ontario, California. [begin transcriber notes: I have used two different copies of the original Mss. to compile this version. The first is a xerographic copy of the book in the Los Angeles Public Library (R929.2 S6338). The second, which is basically the same in the genealogy portion, but having slightly different introductory pages, is a print from the microfilm copy of the book in the Library of Congress. The main text is from the LA Library copy, with differences in the microfilm copy noted in {braces}. Notes in [brackets] are my notes. Note that the comparison is not guaranteed to be complete. As noted on the appropriate page, I have also converted the Roman numerals used for 'unconnected SLOATs' in the original Mss., replacing them with sequential numbers starting with 800 – to follow the format of Mrs. Smith in the rest of her Mss. I have also expanded where the original listed two, or sometimes even three, generations under one entry, instead using the consistent format of one family group per listing. -
Questionnaire Responses Emily Bernard
Questionnaire Responses Emily Bernard Modernism/modernity, Volume 20, Number 3, September 2013, pp. 435-436 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mod.2013.0083 For additional information about this article https://muse.jhu.edu/article/525154 [ Access provided at 1 Oct 2021 22:28 GMT with no institutional affiliation ] questionnaire responses ments of the productions of the Harlem Renaissance? How is what might be deemed 435 a “multilingual mode of study” vital for our present day work on the movement? The prospect of a center for the study of the Harlem Renaissance is terribly intriguing for future scholarly endeavors. Houston A. Baker is Distinguished University Professor and a professor of English at Vander- bilt University. He has served as president of the Modern Language Association of America and is the author of articles, books, and essays devoted to African American literary criticism and theory. His book Betrayal: How Black Intellectuals Have Abandoned the Ideals of the Civil Rights Era (2008) received an American Book Award for 2009. Emily Bernard How have your ideas about the Harlem Renaissance evolved since you first began writing about it? My ideas about the Harlem Renaissance haven’t changed much in the last twenty years, but they have expanded. I began reading and writing about the Harlem Renais- sance while I was still in college. I was initially drawn to it because of its surfaces—styl- ish people in attractive clothing, the elegant interiors and exteriors of its nightclubs and magazines. Style drew me in, but as I began to read and write more, it wasn’t the style itself but the intriguing degree of importance assigned to the issue of style that kept me interested in the Harlem Renaissance. -
Honorary Degree Recipients 1977 – Present
Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Claire Collins Harvey, C‘37 Harry Belafonte 1977 Patricia Roberts Harris Katherine Dunham 1990 Toni Morrison 1978 Nelson Mandela Marian Anderson Marguerite Ross Barnett Ruby Dee Mattiwilda Dobbs, C‘46 1979 1991 Constance Baker Motley Miriam Makeba Sarah Sage McAlpin Audrey Forbes Manley, C‘55 Mary French Rockefeller 1980 Jesse Norman 1992 Mabel Murphy Smythe* Louis Rawls 1993 Cardiss Collins Oprah Winfrey Effie O’Neal Ellis, C‘33 Margaret Walker Alexander Dorothy I. Height 1981 Oran W. Eagleson Albert E. Manley Carol Moseley Braun 1994 Mary Brookins Ross, C‘28 Donna Shalala Shirley Chisholm Susan Taylor Eleanor Holmes Norton 1982 Elizabeth Catlett James Robinson Alice Walker* 1995 Maya Angelou Elie Wiesel Etta Moten Barnett Rita Dove Anne Cox Chambers 1983 Myrlie Evers-Williams Grace L. Hewell, C‘40 Damon Keith 1996 Sam Nunn Pinkie Gordon Lane, C‘49 Clara Stanton Jones, C‘34 Levi Watkins, Jr. Coretta Scott King Patricia Roberts Harris 1984 Jeanne Spurlock* Claire Collins Harvey, C’37 1997 Cicely Tyson Bernice Johnson Reagan, C‘70 Mary Hatwood Futrell Margaret Taylor Burroughs Charles Merrill Jewel Plummer Cobb 1985 Romae Turner Powell, C‘47 Ruth Davis, C‘66 Maxine Waters Lani Guinier 1998 Gwendolyn Brooks Alexine Clement Jackson, C‘56 William H. Cosby 1986 Jackie Joyner Kersee Faye Wattleton Louis Stokes Lena Horne Aurelia E. Brazeal, C‘65 Jacob Lawrence Johnnetta Betsch Cole 1987 Leontyne Price Dorothy Cotton Earl Graves Donald M. Stewart 1999 Selma Burke Marcelite Jordan Harris, C‘64 1988 Pearl Primus Lee Lorch Dame Ruth Nita Barrow Jewel Limar Prestage 1989 Camille Hanks Cosby Deborah Prothrow-Stith, C‘75 * Former Student As of November 2019 Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Max Cleland Herschelle Sullivan Challenor, C’61 Maxine D. -
HARLEM in SHAKESPEARE and SHAKESPEARE in HARLEM: the SONNETS of CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, and GWENDOLYN BROOKS David J
Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 5-1-2015 HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS David J. Leitner Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/dissertations Recommended Citation Leitner, David J., "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS" (2015). Dissertations. Paper 1012. This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS by David Leitner B.A., University of Illinois Champaign-Urbana, 1999 M.A., Southern Illinois University Carbondale, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Department of English in the Graduate School Southern Illinois University Carbondale May 2015 DISSERTATION APPROVAL HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS By David Leitner A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of English Approved by: Edward Brunner, Chair Robert Fox Mary Ellen Lamb Novotny Lawrence Ryan Netzley Graduate School Southern Illinois University Carbondale April 10, 2015 AN ABSTRACT OF THE DISSERTATION OF DAVID LEITNER, for the Doctor of Philosophy degree in ENGLISH, presented on April 10, 2015, at Southern Illinois University Carbondale. -
Hubert H. Harrison Papers, 1893-1927 MS# 1411
Hubert H. Harrison Papers, 1893-1927 MS# 1411 ©2007 Columbia University Libraries SUMMARY INFORMATION Creator Harrson, Hubert H. Title and dates Hubert H. Harrison Papers, 1893-1927 Abstract Size 23 linear ft. (19 doucument boxes; 7 record storage cartons; 1 flat box) Call number MS# 1411 Location Columbia University Butler Library, 6th Floor Rare Book and Manuscript Library 535 West 114th Street New York, NY 10027 Hubert H. Harrison Papers Languages of material English, French, Latin Biographical Note Born April 27, 1883, in Concordia, St. Croix, Danish West Indies, Hubert H. Harrison was a brilliant and influential writer, orator, educator, critic, and political activist in Harlem during the early decades of the 20th century. He played unique, signal roles, in what were the largest class radical movement (socialism) and the largest race radical movement (the New Negro/Garvey movement) of his era. Labor and civil rights activist A. Philip Randolph described him as “the father of Harlem radicalism” and historian Joel A. Rogers considered him “the foremost Afro-American intellect of his time” and “one of America’s greatest minds.” Following his December 17, 1927, death due to complications of an appendectomy, Harrison’s important contributions to intellectual and radical thought were much neglected. In 1900 Harrison moved to New York City where he worked low-paying jobs, attended high school, and became interested in freethought and socialism. His first of many published letters to the editor appeared in the New York Times in 1903. During his first decade in New York the autodidactic Harrison read and wrote constantly and was active in Black intellectual circles at St. -
Publishing Blackness: Textual Constructions of Race Since 1850
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE publishing blackness publishing blackness Textual Constructions of Race Since 1850 George Hutchinson and John K. Young, editors The University of Michigan Press Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2016 2015 2014 2013 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Publishing blackness : textual constructions of race since 1850 / George Hutchinson and John Young, editiors. pages cm — (Editorial theory and literary criticism) Includes bibliographical references and index. ISBN 978- 0- 472- 11863- 2 (hardback) — ISBN (invalid) 978- 0- 472- 02892- 4 (e- book) 1. American literature— African American authors— History and criticism— Theory, etc. 2. Criticism, Textual. 3. American literature— African American authors— Publishing— History. 4. Literature publishing— Political aspects— United States— History. 5. African Americans— Intellectual life. 6. African Americans in literature. I. Hutchinson, George, 1953– editor of compilation. II. Young, John K. (John Kevin), 1968– editor of compilation PS153.N5P83 2012 810.9'896073— dc23 2012042607 acknowledgments Publishing Blackness has passed through several potential versions before settling in its current form. -
Gwendolyn Brooks 1917–2000
Name _____________________________ Class _________________ Date __________________ The Civil Rights Movement Biography Gwendolyn Brooks 1917–2000 WHY SHE MADE HISTORY Gwendolyn Brooks was an award-winning poet, novelist, and a leader of the Black Arts Movement. She was also the first African American poet to receive a Pulitzer Prize. As you read the biography below, think about the role Gwendolyn Brooks’ writing played in the civil rights movement. Why was her poetry significant? Bettmann/CORBIS © As African Americans worked to bring an end to discrimination, most still lived in poor inner city neighborhoods. The Black Power movement focused on the need for social and economic reforms. A Black Arts Movement also emerged to tell the story of African American life. Poet Gwendolyn Brooks was at the forefront of this movement. Gwendolyn Brooks was born in Topeka, Kansas, in 1917. Two months after her birth, her family moved to Chicago, Illinois, where she would live for the rest of her life. Brooks was a shy child who developed an interest in writing. Her mother encouraged this interest, and teachers helped develop her talent. At an early age, Brooks was published in national magazines and newspapers. After graduation from high school, Brooks entered community college and received an associate’s degree. She worked at many different jobs, from maid to spiritual healer. Later she would write about these experiences. She was also involved in the Youth Council of the National Association for the Advancement of Colored People (NAACP) and helped found a club for young black artists and writers. Through this club, she met her future husband, poet Henry Blakely. -
The Harlem Renaissance: a Handbook
.1,::! THE HARLEM RENAISSANCE: A HANDBOOK A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY ELLA 0. WILLIAMS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA JULY 1987 3 ABSTRACT HUMANITIES WILLIAMS, ELLA 0. M.A. NEW YORK UNIVERSITY, 1957 THE HARLEM RENAISSANCE: A HANDBOOK Advisor: Professor Richard A. Long Dissertation dated July, 1987 The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement. (C) 1987 Ella 0. Williams All Rights Reserved ACKNOWLEDGEMENTS Special recognition must be given to several individuals whose assistance was invaluable to the presentation of this study. -
Dorothy West: the Last Writer of the Harlem Renaissance
Dorothy West: The Last Writer of the Harlem Renaissance Dorothy West's first long book was published when she was more than forty years old. Her second book was published when she was in her late eighties. Yet African-American poet Langston Hughes called her "The Kid." This means a child. Dorothy West had been one of the youngest members of the group of writers and artists of the Harlem Renaissance. This was a creative period for African-Americans during the 1920s and 1930s. During and after World War I, thousands of southern blacks moved to northern cities in the United States. They were seeking jobs and better lives. Many settled in an area of New York City known as Harlem. Many were musicians, writers, artists and performers. Harlem became the largest Dorothy West African-American community in the United States. The mass movement from South to North led African-Americans to examine their lives: Who were they? What were their rights as Americans? The artistic expression of this collective examination became known as the Harlem Renaissance. Renaissance means rebirth. The Harlem Renaissance represented a rebirth of black people as an effective part of American life. Dorothy West helped influence the direction and form of African-American writing during this time. Dorothy West was born in 1907 in the city of Boston, Massachusetts. Both her parents were born in the southern United States, and moved north. Her father was a former slave. He became the first African-American to own a food-selling company in Boston. The family became part of the black upper middle class social group of Boston. -
Augusta Savage: Renaissance Woman"
Cummer Museum Presents "Augusta Savage: Renaissance Woman" artandobject.com/news/cummer-museum-presents-augusta-savage-renaissance-woman Courtesy of Michael Rosenfeld Gallery LLC, New York, NY Augusta Savage, Portrait of a Baby, 1942. Terracotta. JACKSONVILLE, Fla. – Augusta Savage: Renaissance Woman is the first exhibition to reassess Savage’s contributions to art and cultural history through the lens of the artist-activist. Organized by the Cummer Museum and featuring sculptures, paintings and works on paper, the show is on view through April 7, 2019. Savage is a native of Green Cove Springs, near Jacksonville, and became a noted Harlem Renaissance leader, educator, artist and catalyst for change in the early 20th century. The exhibition, curated by the Cummer Museum and guest curator Jeffreen M. Hayes, Ph.D., brings together works from 21 national public and private lenders, and presents Savage’s small- and medium-size sculptures in bronze and other media alongside works by artists she mentored. Many of the nearly 80 works on view are rarely seen publicly. 1/3 “While Savage’s artistic skill was widely Walter acclaimed nationally and internationally O. during her lifetime, this exhibition Evans provides a critical examination of her artistic legacy,” said Hayes. “It positions Savage as a leading figure whose far- reaching and multifaceted approach to facilitating cultural and social change is especially relevant in terms of today’s interest in activism.” A gifted sculptor, Savage (1892-1962) overcame poverty, racism and sexual discrimination to become one of the most influential American artists of the 20th century, playing a pivotal role in the development of some of this country’s most celebrated artists, including William Artis, Romare Bearden, Gwendolyn Bennett, Robert Blackburn, Gwendolyn Knight, Jacob Lawrence and Norman Lewis.