Finding Aid to the Historymakers ® Video Oral History with Dianne Mcintyre
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Enacting Cultural Identity : Time and Memory in 20Th-Century African-American Theater by Female Playwrights
Enacting Cultural Identity: Time and Memory in 20th-Century African-American Theater by Female Playwrights Dissertation zur Erlangung des akademischen Grades des Doktors der Philosophie (Dr. phil.) vorgelegt von Simone Friederike Paulun an der Geisteswissenschaftliche Sektion Fachbereich Literaturwissenschaft Tag der mündlichen Prüfung: 13. Februar 2012 Referentin: Prof. Dr. Dr. h.c. Aleida Assmann Referentin: PD Dr. Monika Reif-Hülser Konstanzer Online-Publikations-System (KOPS) URL: http://nbn-resolving.de/urn:nbn:de:bsz:352-0-269861 Acknowledgements 1 Acknowledgements This dissertation would not have been possible without the guidance and support of several individuals who in one way or another contributed to the writing and completion of this study. It gives me a great pleasure to acknowledge the help of my supervisor Prof Dr. Aleida Assmann who has supported me throughout my thesis and whose knowledge, guidance, and encouragement undoubtedly highly benefited my project. I would also like to thank PD Dr. Monika Reif-Hülser for her sustained interest in my work. The feedback that I received from her and the other members of Prof. Assmann’s research colloquium was a very fruitful source of inspiration for my work. The seeds for this study were first planted by Prof. David Krasner’s course on African- American Theater, Drama, and Performance that I attended while I was an exchange student at Yale University, USA, in 2005/2006. I am immensely grateful to him for introducing me to this fascinating field of study and for sharing his expert knowledge when we met again in December 2010. A further semester of residence as a visiting scholar at the African American Department at Yale University in 2010 enabled me to receive invaluable advice from Prof. -
The Fire That Genius Brings - Concept 1
The Fire That Genius Brings - Concept 1. Running Head: THE FIRE THAT GENIUS BRINGS – CONCEPT Concept Paper The Fire That Genius Brings: Creativity and the Unhealed Companionship Between Zora Neale Hurston and Langston Hughes Sharon D. Johnson P.O. Box 491179, Los Angeles, CA 90049 [email protected] 646.401.3833 DP 932C Dissertation Development III Track K-III Dr. Jennifer Leigh Selig Spring 2008 April 30, 2008 The Fire That Genius Brings - Concept 2. Concept Paper The Fire That Genius Brings: Creativity and the Unhealed Companionship Between Zora Neale Hurston and Langston Hughes Introduction Autobiographical Interest My interest in writing my dissertation on the dynamic of the relationship between Harlem Renaissance writers Zora Neale Hurston and Langston Hughes has grown out of what seems like a lifetime of interests and experiences. I began kindergarten in Brooklyn, New York in 1969, two years after Hughes’s death, and his image and his writing were very present in the hallways and classrooms. Hughes seemed larger than life. Especially in those early childhood elementary grades, the poetry of Langston Hughes was a favorite to read and to emulate as I wrote poetry of my own. Even during my non- school time, I enjoyed writing poems and stories. Without my knowing, my teacher sent some of my poetry to a publisher compiling a volume of children’s writings on their experiences living in the inner city, titled I am Somebody (Ohenewaa, 1970). My work, in the end, was more optimistic in tone than the volume was intended to be. Still, I was given a copy of the book, in which the editor of the Ladies Home Journal wrote me a note affirming that, “You, Sharon, are not only somebody, you’re a poet and a writer.” That I might actually be a poet and a writer like my favorites, Gwendolyn Brooks and Langston Hughes, was pretty cool in my young mind. -
Making a Way out of No Way: Zora
ABSTRACT “‘Making a Way Out of No Way’: Zora Neale Hurston’s Hidden Discourse of Resistance” explores how Hurston used techniques she derived from the trickster tradition of African American folk culture in her narratives in order to resist and undermine the racism of the dominant discourse found in popular literature published during her lifetime. Critics have condemned her perceived willingness to use racist stereotypes in her work in order to pander to a white reading audience. This project asserts that Hurston did, indeed, don a “mask of minstrelsy” to play into her reading public’s often racist expectations in order to succeed as an academic and as a creative writer. At the same time, however, she crafted her narratives in a way that destabilized those expectations through use of sometimes subtle and sometimes blatant points of resistance. In this way, she was able to participate in a system that was rigged against her, as a woman and as an African American, by playing into the expectations of her audiences for economic and professional advantages while simultaneously undermining aspects of those expectations through rhetorical “winks,” exaggeration, sarcasm, and other forms of humor that enabled her to stay true to her personal values. While other scholars have examined Hurston’s discourse of resistance, this project takes a different approach by placing Hurston’s material in relation to the publishing climate at the time. Chapter One examines Mules and Men in the context of the revisions Hurston made to her scholarly work to transform her collection of folktales into a cohesive book marketed to a popular reading audience. -
The Harlem Renaissance
Salem State University Digital Commons at Salem State University Honors Theses Student Scholarship 2018-01-01 The Harlem Renaissance Jordan Hill Salem State University Follow this and additional works at: https://digitalcommons.salemstate.edu/honors_theses Part of the Cultural History Commons Recommended Citation Hill, Jordan, "The Harlem Renaissance" (2018). Honors Theses. 174. https://digitalcommons.salemstate.edu/honors_theses/174 This Thesis is brought to you for free and open access by the Student Scholarship at Digital Commons at Salem State University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons at Salem State University. The Harlem Renaissance Honors Thesis Presented in Partial Fulfillment of the Requirements For the Degree of Minor of History In the School of History at Salem State University By Jordan A. Hill Dr. Jamie Wilson Faculty Advisor Department of History *** Commonwealth Honors Program Salem State University 2018 Table of Contents Acknowledgements…………………………... ……………………………..ii Abstract………………………………………. ……………………………..iv Chronology…………………………………... ……………………………..1 Narrative……………………………………... ……………………………..3 Biographies…………………………………... ……………………………..12 James Weldon Johnson…………………… ……………………………..12 Langston Hughes…………………………. ……………………………..15 Document Excerpts…………………………... ……………………………..18 The Mule Bone- by Langston Hughes and... ……………………………..18 s Zora Neale Hurston Meet The Mama- by Zora Neale Hurston.... ……………………………..20 Further Reading (bibliography)……………… ……………………………..29 Side-Bar 1……………………………………. ……………………………..30 i Acknowledgements “I must never write when I do not want to write”-Langston Hughes One of the first lessons that I learned from a very young age was to say “Thank You,” for seemingly everything. At first, as a 6 year-old, I had no time to express such thanks. Imaginary adventures called. “I’ll say ‘Thank You’ after I defeat this villain,” I would say to myself. -
Sliding Positionality in the Works of Pauline E. Hopkins, Zora Neale Hurston, Langston Hughes, and Spike Lee Jessica Metzler
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Genuine Spectacle: Sliding Positionality in the Works of Pauline E. Hopkins, Zora Neale Hurston, Langston Hughes, and Spike Lee Jessica Metzler Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES GENUINE SPECTACLE: SLIDING POSITIONALITY IN THE WORKS OF PAULINE E. HOPKINS, ZORA NEALE HURSTON, LANGSTON HUGHES, AND SPIKE LEE By JESSICA METZLER A Thesis submitted to the Department of English in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2006 The members of the Committee approve the Thesis of Jessica Metzler defended on January 18, 2006. W. T. Lhamon Professor Directing Thesis Leigh Edwards Committee Member Tomeiko Ashford Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii For David and Margy Metzler iii ACKNOWLEDGEMENTS I wish to thank W. T. Lhamon for his generous comments and insightful criticisms of this thesis. I am also grateful for the helpful advice and encouragement I received from Leigh Edwards, Tomeiko Ashford, Hanna Wallinger, Malin Pereira, and John Gruesser. I appreciate as well the time John Graziano, James Hatch, and Annette Fern took to answer my queries. Finally, I wish to thank Beth Howse, Fisk University’s Special Collections Librarian, for her gracious assistance as I completed the archival research that led to this thesis. iv TABLE OF CONTENTS List of Tables…………………………………………………………………... vi Abstract……………………………………………………………………….... vii INTRODUCTION: Chasing Golden Slippers .................................................... -
Zora Neale Hurston
Notable African American Writers Sample Essay: Zora Neale Hurston Born: Eatonville, Florida; January 7, 1891 Died: Fort Pierce, Florida; January 28, 1960 Long Fiction: Jonah's Gourd Vine, 1934; Their Eyes Were Watching God, 1937; Moses, Man of the Mountain, 1939; Seraph on the Suwanee, 1948. Short Fiction: Spunk: The Selected Short Stories of Zora Neale Hurston, 1985; The Complete Stories, 1995. Drama: Color Struck, pb. 1926; The First One, pb. 1927; Mule Bone, pb. 1931 (with Langston Hughes); Polk County, pb. 1944, pr. 2002. Nonfiction: Mules and Men, 1935; Tell My Horse, 1938; Dust Tracks on a Road, 1942; The Sanctified Church, 1981; Folklore, Memoirs, and Other Writings, 1995; Go Gator and Muddy the Water: Writings, 1999 (Pamela Bordelon, editor); Every Tongue Got to Confess: Negro Folktales from the Gulf States, 2001; Zora Neale Hurston: A Life in Letters, 2002 (Carla Kaplan, editor). Miscellaneous: I Love Myself When I Am Laughing . and Then Again When I Am Looking Mean and Impressive: A Zora Neale Hurston Reader, 1979 Achievements Zora Neale Hurston is best known as a major contributor to the Harlem Renaissance literature of the 1920's. Not only was she a major contributor, but also she did much to characterize the style and temperament of the period; indeed, she is often referred to as the most colorful figure of the Harlem Renaissance. Though the short stories and short plays that she generated during the 1920's are fine works in their own right, they are nevertheless apprentice works when compared to her most productive period, the 1930's. -
On Zora Neale Hurston with Essays That Provide Analysis, Interpretation, and Evaluation of Hurston As an Author Whose Legacy Left a Lasting Impact and Impression
About This Volume Sharon Lynette Jones Zora Neale Hurston left a legacy of important works of American literature. What is particularly impressive is the sheer volume of her writings which incluGeG poetry Grama short ¿ction essays autoEi- ography, folklore, novels, and recordings. Her life, research, and pub- lications reÀect the variety of interests she held in the oral and written traditions of people of the African diaspora in the United States and abroad. Her zeal, dedication, and determination to become a writer, a performer, an anthropologist, and a scholar show that she was one of the most formidable and unforgettable authors of the twentieth cen- tury. Her best-known works continue to be her novels Jonah’s Gourd Vine (1934), Their Eyes Were Watching God (1937), Moses, Man of the Mountain (1939), and Seraph on the Suwanee (1948). Her books of folklore and anthropological research, including Mules and Men (1935) and Tell My Horse (1938), show that she was a trailblazer in chronicling the customs, traditions, and rituals among people in the Af- rican diaspora. Hurston’s autobiography Dust Tracks on a Road (1942) showcases her ability to provide an engaging and entertaining depic- tion of her life and experiences. ,n addition, her numerous short stories, articles, and non¿ction es- says prove that she was adept and versatile in many genres. An accom- plished playwright, she penned Mule Bone (1930) with fellow twenti- eth century African American poet Langston Hughes, as well as other plays in which she was the sole author such as Color Struck (1925) and throughout her life, she maintained an active interest in drama and the- atrical production. -
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. -
An Oral Interpreter's Approach to Selected Poetry
AN ORAL INTERPRETER'S APPROACH TO SELECTED POETRY OF LANGSTON HUGHES APPROVED: Major Professor cIT an 3" Drama Dea-n of the Graduate School Osentowski, Mary, An Oral Interpreter's Approach to Selected Poetry of Langston Hughes. Master of Science, (Speech and Drama), December, 1971, 145 pp., bibliography, I 4 8 titles. • / - C > The purpose of this study was to analyze for oral pre- !/ HI h : S sentation a selected body of poetry by Langston Hughes. Because Hughes read his own poetry in lecture recitals throughout his career, which spanned more than four decades, it is appropriate that he be considered for such a study. Hughes's place in American literature has been clearly established. More than fifteen collections of his poetry have been published. He also contributed several volumes of fiction, plays, books for children, Negro history books, as well as an anthology of his work. He also wrote two autobiographies and three biographies of outstanding Negroes His election to the American Academy of Arts and Letters in 1951 attests his distinct place in American literature. In order to fully appreciate Hughes's work, it is necessary to know something about his life. Chapter II of the study is devoted to a biography of Hughes. Hughes's works reflect his life. He was a poor Negro who was very much aware of racial prejudice, but he also enjoyed life. His works not only mirror the problems encountered by many blacks, but they also show their joys. In his writing Hughes presents an accurate picture of the racial situa- tion from the twenties through the middle sixties, when he died. -
Mule Bone and the Friendship of Langston Hughes and Zora Neale Hurston During the Harlem Renaissance
Illinois Wesleyan University Digital Commons @ IWU Honors Projects History Department 4-2013 The Bone of Contention: Mule Bone and the Friendship of Langston Hughes and Zora Neale Hurston during the Harlem Renaissance Julie A. Mangoff Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/history_honproj Part of the History Commons Recommended Citation Mangoff, Julie A., "The Bone of Contention: Mule Bone and the Friendship of Langston Hughes and Zora Neale Hurston during the Harlem Renaissance" (2013). Honors Projects. 50. https://digitalcommons.iwu.edu/history_honproj/50 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. The Bone of Contention: Mule Bone and the Friendship of Langston Hughes and Zora Neale Hurston during the Harlem Renaissance Julie Mangoff Research Honors: History April 2013 1 “Negro life is not only establishing new contacts and founding new centers, it is finding a new soul. There is a fresh spiritual and cultural focusing. -
Black Playwrights and Authors Became a Bestseller
Angelou, and Miller Williams; her poem, “Praise Song for the Day,” Black Playwrights and Authors became a bestseller. Ron Allen (playwright) – was an African American poet and playwright who described his work as a “concert of language.” Allen’s Looking for ways to incorporate Black History Month into early works included Last Church of the Twentieth Century, Aboriginal your classroom? Below is an initial list of works from nearly Treatment Center, Twenty Plays in Twenty Minutes, Dreaming the 100 Black authors, compiled in partnership with Wiley Reality Room Yellow, WHAM!, The Tibetan Book of the Dead, Relative College. If there is a work you believe should be included Energy Sack Theory Museum, and The Heidelberg Project: Squatting here, please email [email protected]. in the Circle of the Elder Mind. After his move to Los Angeles, CA in 2007, Allen wrote three more plays: Swallow the Sun, My Eyes Are the Cage in My Head, and The Hieroglyph of the Cockatoo. Allen published books of critically acclaimed poetry, including I Want My Body Back and Neon Jawbone Riot. He released a book of poetry in 2008 titled The Inkblot Theory. Garland Anderson (playwright) – (February 18, 1886 – June 1, 1939) An African American playwright and speaker. After having a full- length drama on Broadway, Anderson gave talks on empowerment A and success largely related to the New Thought movement. Elizabeth Alexander (poet) – Elizabeth Alexander was born in Harlem, • Garland Anderson (1925). From Newsboy and Bellhop to New York, but grew up in Washington, D.C., the daughter of former Playwright.