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Music and the Construction of Historical Narrative in 20Th and 21St Century African-American Literature
1 Orientations in Time: Music and the Construction of Historical Narrative in 20th and 21st Century African-American Literature Leisl Sackschewsky A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Sonnet Retman, Chair Habiba Ibrahim Alys Weinbaum Program Authorized to Offer Degree: English 2 © Copyright 2016 Leisl Sackschewsky 3 University of Washington Abstract Orientations in Time: Music and the Construction of Historical Narrative in 20th and 21st Century African-American Literature Chair of Supervisory Committee: Associate Professor Sonnet Retman American Ethnic Studies This dissertation argues that the intersections between African-American literature and music have been influential in both the development of hip-hop aesthetics and, specifically, their communication of historical narrative. Challenging hip-hop historiographers that narrate the movement as the materialization of a “phantom aesthetic”, or a sociological, cultural, technological, and musical innovation of the last forty years, this dissertation asserts that hip-hop artists deploy distinctly literary techniques in their attempts to animate, write, rewrite, rupture, or reclaim the past for the present. Through an analysis of 20th and 21st century African-American literary engagements with black music, musical figures, scenes of musical performance, and what I call ‘musical-oral’, I hope to demonstrate how prose representations of music disrupt the linear narratives of -
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Arts and Law University of Birmingham October 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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. -
“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 . -
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. -
The Poetic Theory and Practice of Langston Hughes
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1974 The Poetic Theory and Practice of Langston Hughes Philip M. Royster Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Royster, Philip M., "The Poetic Theory and Practice of Langston Hughes" (1974). Dissertations. 1439. https://ecommons.luc.edu/luc_diss/1439 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1974 Philip M. Royster THE POETIC THEORY AND PRACTICE OF LANGSTON HUGHES by Philip M. Royster A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy February 1974 -- TABLE OF CONTENTS Page PREFACE ii LIFE .. iii Chapter I. THE POETIC THEORY OF LANGSTON HUGHES 1 A. Approach and Capture . 1 B. The Emotion and Rhythm of Experience . 5 c. The Function of Poetry . 18 D. The Nature of the Artist . 39 E. The Intention of the Artist. 48 F. Materials for the Artist . 67 Chapter .II. THE TECHNIQUES OF LANGSTON HUGHES' POETRY • • . 73 A •• The Weary Blues • . • • • • • • • • • 74 B. • Fine Clothes to the Jew • . • • • • • . 120 c. Dear Lovely Death. • • • • • . • • 170 D. The Negro Mother . • • 178 E. The Dream Keeper . -
The Critical Response in Japan to Langston Hughes Toru KIUCHI
日本大学生産工学部研究報告B Article 2008 年 6 月 第 41 巻 The Critical Response in Japan to Langston Hughes Toru KIUCHI (Received June 15, 2007) Abstract Langston Hushes was first introduced to Japan when the cover of the September 1932 issue of the Japanese monthly literary journal, New English and American Literature[Shin Eibei Bungaku]1 (8) (Sep.1932),featured a photograph of Hughes on the cover,although this is as many as ten months before Hughes actually came to Japan for the first time in June 1933. This essay traces the history of the critical reception of Langston Hughes in Japan between 1932 when Hughes was first introduced to Japan and the present in 2007,considering translations,essays,reviews,and journal and newspaper articles on Hughes, published in Japan. Keywords: Langston Hughes, African American, Critical Response, Ethnicity, History bit. (242) I. Before World War II Hughes just turned thirty in 1932 and began his liter- Langston Hushes was first introduced to Japan ary career as Arnold Rampersad writes in his fore- when the cover of the September 1932 issue of the word in the collection of essays: Japanese monthly literary journal, New English and American Literature[Shin Eibei Bungaku],featured a If he had died when he was thirty, in 1932, he photograph of Hughes on the cover,although this is would doubtless be remembered as one of the as many as ten months before Hughes actually came brightest stars of the Harlem Renaissance, with to Japan for the first time in June 1933. This means his two important books of poems The Weary that a small group of Japanese literary critics already Blues (1926)and Fine Clothes to the Jew (1927),his noticed the importance of Hughes as a poet. -
The Weary Blues
Get hundreds more LitCharts at www.litcharts.com The Weary Blues As the speaker notes in line 15, this music comes “from a black SUMMARY man’s soul.” The pain it expresses is thus specifically tied to the pain of the black experience and to the trials of life in a racist Playing a sleepy, ragged song, rocking back and forth, and society. Its pleasure thus comes from the way it negotiates and singing in a calm, soft voice, I heard a black man perform. This transforms that pain. was on Lenox Avenue a few nights ago. He was playing in the dim light from an old gas lamp. He swayed lazily on the piano Listening to the blues singer, the speaker experiences a kind of bench. He swayed lazily to the tune of the tired blues he played. relief and release. Throughout the first stanza, he cries out, “O With his black hands on the white keys, he made that old piano Blues!” and “Sweet Blues!” In these moments, the music seems sing mournfully. Oh blues! Rocking back and forth on a rickety to transport the speaker, eliciting cries of rapture and pleasure. stool, he played that sad ragtime tune like someone drunk with Music offers both an acknowledgment of and an escape from music. Lovely blues music, coming from the soul of a black man. the speaker’s own troubles—which may explain why the Oh blues! In a low, sad voice, I heard that black man sing, the speaker is so absorbed in the performance. In this way, the piano accompanying him: “I don’t have anyone in the world. -
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: Rebirth of African-American Arts
“The Harlem Renaissance: Rebirth of African-American Arts” Westbury Arts Remembers Langston Hughes 1902 - 1967 American Poet, Novelist, Playwright, Columnist and Social Activist Portrait of Langston Hughes (1927) by Winold Reiss New York World-Telegram & Sun Collection, Prints and Photographs Division, Library of Congress. “An artist must be free to choose what he does, certainly, but he must also never be afraid to do what he might choose.” Langston Hughes Langston Hughes and the Harlem Renaissance, the Harlem Renaissance and Langston Hughes; it’s difficult to think about one without the other. The Harlem Renaissance was a blossoming of African American culture, particularly in the creative arts, and one of the most influential movements in African American literary history. Hughes was a prolific artist who wrote essays, short stories, operettas, children's books, plays, and mountains of poems. There wasn’t much that Langston Hughes couldn't do. He celebrated the spirit of the African-American community and captured the condition of everyday life of Black people through his art in a time when many Black artists were adverse to doing so for fear of feeding racial stereotypes. Hughes wanted to tell the stories of his people in ways that reflected their actual culture, including both their suffering and their love of music, laughter, and language itself. He is also known as an innovator of the jazz poetry art form. Many of Hughes's poems carry the music, rhythm, and meter found in blues, jazz, and African-American spirituals. James Mercer Langston Hughes was born February 1, 1902, in Joplin, Missouri. -
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. -
Langston Hughes - Poems
Classic Poetry Series Langston Hughes - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Langston Hughes(1 February 1902 – 22 May 1967) Hughes was 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).