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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. -
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. -
Introduction 1
Notes Introduction 1 . Similar attempts to link poetry to immediate political occasions have been made by Mark van Wienen in Partisans and Poets: The Political Work of American Poetry in the Great War and by John Marsh’s anthology You Work Tomorrow . See also Nancy Berke’s Women Poets on the Left and John Lowney’s History, Memory, and the Literary Left: Modern American Poetry, 1935–1968 . 2 . Jos é E. Lim ó n discusses the “mixture of poetry and politics” that informed the Chicano movements of the 1960s and 1970s (81). On Vietnam antiwar poetry, see Bibby. There are, of course, countless studies of individual authors that trace their relationships to politics and social movements. I incorporate the relevant studies throughout the chapters. 3 . In analogy to Wallerstein’s model, the literary world has been conceptualized as a largely autonomous cultural space constituted by power struggles between centers, semi-peripheries, and peripheries, most prominently by Franco Moretti and Pascale Casanova (cf. Moretti; Casanova). But since Wallerstein insists that the world-system is concerned with world-economies (global capitalism) and world-empires (nation-states aiming for geopolitical dominance), systems, that is, which cut across cultural and institutional zones, it seems more plausible to posit the modern world-system as the historical horizon of textual production and interpretation. One of the first uses of world-systems analysis for a concep- tualization of postmodernity and postmodern art was Fredric Jameson’s essay “Culture and Finance Capital” ( Cultural Turn 136–61). 4 . Ramazani remains elusive about the extraliterary reference of these poets’ imagination. -
African-American Writers
AFRICAN-AMERICAN WRITERS Philip Bader Note on Photos Many of the illustrations and photographs used in this book are old, historical images. The quality of the prints is not always up to current standards, as in some cases the originals are from old or poor-quality negatives or are damaged. The content of the illustrations, however, made their inclusion important despite problems in reproduction. African-American Writers Copyright © 2004 by Philip Bader All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Bader, Philip, 1969– African-American writers / Philip Bader. p. cm.—(A to Z of African Americans) Includes bibliographical references (p. ) and indexes. ISBN 0-8160-4860-6 (acid-free paper) 1. American literature—African American authors—Bio-bibliography—Dictionaries. 2. African American authors—Biography—Dictionaries. 3. African Americans in literature—Dictionaries. 4. Authors, American—Biography—Dictionaries. I. Title. II. Series. PS153.N5B214 2004 810.9’96073’003—dc21 2003008699 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Joan M. -
Contested Boundaries : Race, Class and Gender in the Writings of Four
CONTESTED BOUNDARIES: RACE, CLASS AND GENDER IN THE WRITINGS OF FOUR HARLEM RENAISSANCE WOMEN By LILLIAN TEMU OSAKI A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2000 Copyright 2000 by LILLIAN TEMU OSAKI To K.M.O ACKNOWLEDGMENTS By its very nature the task of writing a doctoral dissertation is seldom exclusively the effort of a single individual. I benefitted from the support and assistance of several institutions and many individuals. I gratefully thank them all. I acknowledge, with grateful appreciation, the four-year financial sponsorship I received from the Fulbright Scholarship Board. It was this support that enabled me to complete course work and begin research for this dissertation. I also wish to thank the University of Florida for granting me both academic affiliation and hospitality. The academic and social environment at UF made my stay memorable and fruitful. I also owe a debt of gratitude to the Center for African Studies, University of Florida, for the partial financial support they extended me in the final year of my studies. I especially wish to thank the center's director. Dr. Michael Chege, and the assistant director. Dr. Maria Grosz-Ngate, for their sympathetic understanding of my situation. Finally I wish to register my thanks to the University of Dar es Salaam for granting me a iv five-year study leave that enabled me pursue graduate studies at the University of Florida. Dr. Debra King, my supervisory chair, tops the list of those individuals who have greatly sharpened my critical awareness. -
Jazz Epidemics and Deep Set Diseases: the De-Pathologization
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: English, Department of Department of English 5-2016 Jazz Epidemics and Deep Set Diseases: The e-D Pathologization of the Black Body in the Work of Three Harlem Renaissance Writers Shane C. Hunter University of Nebraska - Lincoln Follow this and additional works at: http://digitalcommons.unl.edu/englishdiss Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Literature in English, North America, Ethnic and Cultural Minority Commons Hunter, Shane C., "Jazz Epidemics and Deep Set Diseases: The e-PD athologization of the Black Body in the Work of Three Harlem Renaissance Writers" (2016). Dissertations, Theses, and Student Research: Department of English. 110. http://digitalcommons.unl.edu/englishdiss/110 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. JAZZ EPIDEMICS AND DEEP SET DISEASES: THE DE-PATHOLOGIZATION OF THE BLACK BODY IN THE WORK OF THREE HARLEM RENAISSANCE WRITERS by Shane Hunter A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English Under the Supervision of Professor Maureen Honey Lincoln, Nebraska May, 2016 JAZZ EPIDEMICS AND DEEP SET DISEASES: THE DE-PATHOLOGIZATION OF THE BLACK BODY IN THE WORK OF THREE HARLEM RENAISSANCE WRITERS Shane Hunter, Ph.D. -
Paul Laurence Dunbar and Turn-Into-The-20Th-Century African American Dualism" (2007)
University of Massachusetts Amherst ScholarWorks@UMass Amherst Afro-American Studies Faculty Publication Series Afro-American Studies 2007 Paul Laurence Dunbar and Turn-into-the-20th- Century African American Dualism James E. Smethurst University of Massachusetts - Amherst, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/afroam_faculty_pubs Recommended Citation Smethurst, James E., "Paul Laurence Dunbar and Turn-into-the-20th-Century African American Dualism" (2007). AFRICAN AMERICAN REVIEW. 54. Retrieved from https://scholarworks.umass.edu/afroam_faculty_pubs/54 This Article is brought to you for free and open access by the Afro-American Studies at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Afro-American Studies Faculty Publication Series by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Paul Laurence Dunbar and Tum-into-the-20th-century African American Dualism Paul Gilroy has powerfully claimed that the notion of double consciousness in which the black subject "ever feels his James Smethurstteaches twoness" was used by W. E. B. Du Bois to figure a diasporic, and in the W. E. B. Du Bois sometimes transatlantic black modernity expressing the ambiva Department of Afro-American lent location of people of African descent simultaneously within Studies at the University of and beyond what is known as "the West" (111-45). Certainly, Du Massachusetts Amherst. He Bois's articulation of dualism has remained a powerful trope is the author of TheNew Red available to a wide range of artists and intellectuals both inside Negro: The LiteraryLeft and and outside of the United States down to the present. -
Imagery in Countee Cullen's Poetry Department Of
IMAGERY IN COUNTEE CULLEN'S POETRY A THESIS SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY LEESTHER THOMAS DEPARTMENT OF ENGLISH ATLANTA, GEORGIA AUGUST, 1977 V TABLE OF CONTENTS Page INTRODUCTION 1 Chapter I. COUNTEE CULLEN: THE MAN AND THE POET k II. CULLEN'S IMAGERY: ORIGINS AND EFFECTS 21 III. THEMATIC IMAGERY PATTERNS *+3 IV. COUNTEE CULLEN AND IMAGES OF LIFE 68 BIBLIOGRAPHY 7^ INTRODUCTION Caroline F. Spurgeon gives a viable definition of imagery: It is the little word-picture used by a poet or prose writer to illustrate, illuminate, and embellish his thought. It is a description or an idea, which by comparison or analogy, stated or understood, with something else, transmits to us through the emotions and associations it arouses, something of the wholeness, the depth, and richness of the way the writer views, conceives or has felt what he is telling us.^ Therefore, "in the case of the poet, it is chiefly through his images that he, to some extent, unconsciously gives himself away. The poet un wittingly lays bare his own innermost likes and dislikes, observations and interests, associations of thought and attitudes of mind and beliefs 2 in and through the images." From Countee Cull en's definition of poetry, one can infer that he considered imagery to play a major role in the production of poetry: Good poetry is a lofty thought beautifully expressed. .. Poetry should not be too intellectual. It should deal more, I think, with the emotions. The highest type of poem is that which warmly stirs the emotions, which awakens a respon sive chord in the human heart.3 One also gets this same impression in his response that "if verse does not If strike the roots of you, for you it is not poetry. -
University Microfilms, a XEROX Company, Ann Arbor, Michigan
THE POETRY OF COUNTEE P. CULLEN Item Type text; Dissertation-Reproduction (electronic) Authors Shucard, Alan, 1935- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 22:52:37 Link to Item http://hdl.handle.net/10150/287620 71-11,458 SHUCARD, Alan Robert, 1935- THE POETRY OF COUNTEE P. CULLEN. The University o£ Arizona, Ph.D., 1971 Language and Literature, modern University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 Alan Robert Shucard ALL RIGHTS RESERVED THE POETRY OF COUNTEE P. CULLEN by Alan Robert Shucard A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 1971 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby recommend that this dissertation prepared under my direction by Alan Rnhp-p* Shuonrd entitled The Poetry of Countee P. Cullan be accepted as fulfilling the dissertation requirement of the degree of Doctor of Philosophy 2 & A -/ lo Dissertation Director Date After inspection of the final copy of the dissertation, the follov/ing members of the Final Examination Committee concur in its approval and recommend its acceptance:*" /An ^0~JI % (t> /a 7y O (f // "This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination. -
An Investigation of Contributions Made by Women Writers to the Harlem Renaissance Doretha Kamaya Rashan Green Langston University
Langston University Digital Commons @ Langston University McCabe Thesis Collection Student Works 5-2005 An Investigation of Contributions Made by Women Writers to the Harlem Renaissance Doretha Kamaya Rashan Green Langston University Follow this and additional works at: http://dclu.langston.edu/mccabe_theses Part of the African American Studies Commons, Modern Literature Commons, Other History of Art, Architecture, and Archaeology Commons, United States History Commons, and the Women's History Commons Recommended Citation Green, Doretha Kamaya Rashan, "An Investigation of Contributions Made by Women Writers to the Harlem Renaissance" (2005). McCabe Thesis Collection. Paper 42. This Thesis is brought to you for free and open access by the Student Works at Digital Commons @ Langston University. It has been accepted for inclusion in McCabe Thesis Collection by an authorized administrator of Digital Commons @ Langston University. For more information, please contact [email protected]. The Edwin P. McCabe Honors Program Senior Thesis An Investigation of Contributions Made by Women Writers to the Harlem Renaissance Doretha KaMaya Rashan Green May 2005 Langston University Langston, Oklahoma An Investigation of Contributions Made by Women Writers to the Harlem Renaissance "If you wanted to write, you went to Harlem. If you wanted to dance, you went to Harlem. If you wanted to effect social change, you went to Harlem. If you wanted to compose music, you went to Harlem. If you wanted the best chance at changing your circumstances and you were Black, you went to Harlem. Harlem was the heart of Black life" ("The Harlem Renaissance" 1). This quote was stated by an anonymous writer about the Harlem Renaissance. -
The Worlds of Langston Hughes
The Worlds of Langston Hughes The Worlds of Langston Hughes Modernism and Translation in the Americas VERA M. KUTZINSKI CORNELL UNIVERSITY PRESS Ithaca & London Copyright © 2012 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2012 by Cornell University Press Printed in the United States of America Library of Congress Cataloging-in-Publication Data Kutzinski, Vera M., 1956– The worlds of Langston Hughes : modernism and translation in the Americas / Vera M. Kutzinski. p. cm. Includes bibliographical references and index. ISBN 978-0-8014-5115-7 (cloth : alk. paper)— ISBN 978-0-8014-7826-0 (pbk. : alk. paper) 1. Hughes, Langston, 1902–1967—Translations—History and criticism. 2. Hughes, Langston, 1902–1967—Appreciation. 3. Modernism (Literature)—America. I. Title. PS3515.U274Z6675 2013 811'.52—dc23 2012009952 Lines from “Kids in the Park,” “Cross,” “I, Too,” “Our Land,” “Florida Road Workers,” “Militant,” “The Negro Speaks of Rivers,” “Laughers,” “Ma Man,” “Desire,” “Always the Same,” “Letter to the Academy,” “A New Song,” “Birth,” “Caribbean Sunset,” “Hey!,” “Afraid,” “Final Curve,” “Poet to Patron,” “Ballads of Lenin," “Lenin,” “Union,” “History,” “Cubes,” “Scottsboro,” “One More S in the U.S.A.,” and “Let America Be America Again” from The Collected Poems of Langston Hughes by Langston Hughes, edited by Arnold Rampersad with David Roessel, Associate Editor, copyright © 1994 by the Estate of Langston Hughes. Used by permission of Alfred A. -
The Harlem Renaissance: a Guide to Materials at the British Library
THE BRITISH LIBRARY THE HARLEM RENAISSANCE: A GUIDE TO MATERIALS AT THE BRITISH LIBRARY By Jean Kemble 1997 Introduction Participants in the Harlem Renaissance General Works INTRODUCTION The rich surge in African American arts and letters that took place in 1920s was not limited to Harlem, nor even to New York City. However, the intensity of the movement in that city, and the sheer number of black writers, musicians, and scholars who lived and worked in Harlem has ensured that it is forever linked with the era. Today most historians recognise 1917 as the year in which the Harlem Renaissance began. Three events occurred that help to justify this choice. First was the publication of two poems by Claude McKay in Seven Arts, the first work by a black writer to appear under a white imprimatur since Paul Lawrence Dunbar’s dialect pieces twenty years before. Second was the opening on Broadway of three plays about black life by a white writer, Ridgely Torrence. These plays were remarkable not only because they were performed by black artists but because they contained none of the usual racial stereotypes. Finally, on 28 July Harlem experienced its first Silent Parade when some ten to fifteen thousand blacks marched down Fifth Avenue to protest against continued racial inequities. Eighteen years later, in the grip of the Great Depression, the first race riot erupted in Harlem and it is this year, 1935, that is generally regarded as marking the end of the Renaissance. To understand the Harlem Renaissance it is necessary to appreciate both the changes that occurred within the African American community and the cultural shifts that took place in American society as a whole during the 1920s.