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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. -
Ed Reardon Download Mp3
Ed reardon download mp3 CLICK TO DOWNLOAD Meet Ed Reardon, author, pipe smoker, consummate fare-dodger and master of the abusive email, trying to survive in a world where the media seems to be run by idiots and charlatans. Available episodes of Ed Reardon's Week. There are currently no available episodes. Related Content. Ed Reardon (played by Christopher Douglas) is a failed writer, fare-dodger and master of the abusive email. Living with his cat in a one-bedroom flat, this bearded divorcee grumbles at a modern world seemingly run by year-olds, while churning out books such as Jane Seymour's Household Hints and Pet Peeves (to pay the bills) and trying to Reviews: Ed Reardon (played by Christopher Douglas) is a failed writer, fare-dodger and master of the abusive email. Living with his cat in a one-bedroom flat, this bearded divorcee grumbles at a modern world seemingly run by year- olds, while churning out books such as Jane Seymour's Household Hints and Pet Peeves (to pay the bills) and trying to live off the royalties of his episode of Tenko. Ed Reardon, author, pipe smoker, consummate fare-dodger and master of the abusive email, attempts to survive in a world where the media seems to be run by idiots and lying charlatans. In these six episodes, Ed and Mary Potter are in a record breaking second month of partnership 'bliss'. But work isn. Сервис электронных книг ЛитРес предлагает скачать аудиокнигу Ed Reardon's Week The Complete Seventh Series, Andrew Nickolds в формате mp3 или слушать онлайн! Скачивайте и слушайте лучшие аудиокниги. -
A Guide for Teaching the Contributions of the Negro Author to American Literature
DOCUMENT RESUME ED 043 635 TE 002 075 AUTHOR Simon, Eugene r. TITLE A Guide for Teaching the Contributions of the Negro Author to American Literature. INSTITUTION San Diego City Schools, Calif. PUB DATE 68 NOTE uln. EDRS PRICE EDRS Price MF-$0.25 BC-$2.1 DESCRIPTORS *African American Studies, *American Literature, Authors, Autobiographies, Piographies, *Curriculum Guides, Drama, Essays, Grade 11, Music, Negro Culture, Negro History, *Negro Literature, Novels, Poetry, Short Stories ABSTRACT This curriculum guide for grade 11 was written to provide direction for teachers in helping students understand how Negro literature reflects its historical background, in integrating Black literature into the English curriculum, in teaching students literary structure, and in comparing and contrasting Negro themes with othr themes in American literature. Brief outlines are provided for four literary periods; (1) the cry for freedom (1619-186c), (2) the period of controversy and search for identity (18(5-1015), (1) the Negro Renaissance (191-1940), and (4) the struggle for equality (101-1968). '*he section covering the Negro Renaissance provides a discussiol of the contributions made during that Period in the fields of the short sto:y, the essay, the novel, poetry, drama, biography, and autobiography.A selected bibliography of Negro literalAre includes works in all these genres as well as works on American Negro music. (D!)) U.S. DIPAIIMINI Of KEITH, MOTION t WItfANI Ulla Of EDUCATION L11 rIN iMIS DOCUMENT HAS SUN IMPRODIXID HAIR IS WINED FROM EIIE PINSON Of ONINI/AliON 011411111110 ElPOINTS Of VIEW Of OPINIONS tes. MUD DO NOT NICISSAINY OMEN! Offg lit OHM Of EDIKIIION POSITION 01 PEW. -
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. -
Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2014 Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Rutter, E. (2014). Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1136 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY A Dissertation Submitted to the McAnulty College of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Emily Ruth Rutter March 2014 Copyright by Emily Ruth Rutter 2014 ii CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter Approved March 12, 2014 ________________________________ ________________________________ Linda A. Kinnahan Kathy L. Glass Professor of English Associate Professor of English (Committee Chair) (Committee Member) ________________________________ ________________________________ Laura Engel Thomas P. Kinnahan Associate Professor of English Assistant Professor of English (Committee Member) (Committee Member) ________________________________ ________________________________ James Swindal Greg Barnhisel Dean, McAnulty College of Liberal Arts Chair, English Department Professor of Philosophy Associate Professor of English iii ABSTRACT CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter March 2014 Dissertation supervised by Professor Linda A. -
The Black Women's Contribution to the Harlem Renaissance 1919-1940
People’s Democratic Republic of Algeria Ministry of Higher Education and Scientific Research University Abd El Hamid Ibn Badis Faculty of Foreign Languages English Language The Black Women's Contribution to the Harlem Renaissance 1919-1940 Dissertation Submitted in Partial Fulfillment for the Degree of Master in Literature and Interdisciplinary Approaches Presented By: Rahma ZIAT Board of Examiners: Chairperson: Dr. Belghoul Hadjer Supervisor: Djaafri Yasmina Examiner: Dr. Ghaermaoui Amel Academic Year: 2019-2020 i Dedication At the outset, I have to thank “Allah” who guided and gave me the patience and capacity for having conducted this research. I would like to dedicate this dissertation to my family and my friends. A very special feeling of gratitude to my loving father, and mother whose words of encouragement and push for tenacity ring in my ears. To my grand-mother, for her eternal love. Also, my sisters and brother, Khadidja, Bouchra and Ahmed who inspired me to be strong despite many obstacles in life. To a special person, my Moroccan friend Sami, whom I will always appreciate his support and his constant inspiration. To my best friend Fethia who was always there for me with her overwhelming love. Acknowledgments Foremost, I would like to express my sincere gratitude to my supervisor Mrs.Djaafri for her continuous support in my research, for her patience, motivation, enthusiasm, and immense knowledge. Her guidance helped me in all the time of research and writing of this thesis. I could not have imagined having a better advisor and mentor for dissertation. I would like to deeply thank Mr. -
Corbould - Issue Four - Colloquy
Corbould - Issue four - Colloquy "What is Modernism to me?" Individual Selves and Collective Identities in African-American Women's Writing, 1920-1935 Claire Corbould The brick wall that is any attempt to define "modernism" sent me running to the Oxford Companion to English Literature . Here I found that in an effort to break thoroughly with the past, modernist writing is characterised in part by an awareness of the unconscious and an interest in the presentation of personality. At the very least, it can be assumed that popular conceptions of modernist writing concern the "inner" self, its relationship or interaction with the "outer" self, and, more generally, the presentation of the individual [1] . Moreover, popular definitions of modernism ñin the USA as well as in Britain ñ continue to prioritise the avant-garde and experimentation with form. Perhaps the most famous examples are Molly Bloom and Alice B. Toklas. Bloom's "stream-of-consciousness" account which concludes James Joyce's Ulysses is taken as emblematic of modernist expression, and is cited as such by the Oxford Companion [2] . It is easy to see how, within such paradigms, the cultural production of the Harlem Renaissance has been neglected in the historical consideration of modernism. Nathan Huggins, in his important 1971 work, Harlem Renaissance, exemplifies this attitude in his discussion of the poetry of the period. Countee Cullen and Claude McKay, he argues, were hamstrung by their adherence to forms such as the sonnet. Such formalism, he argues, reflects a basic conservatism. Cullen, was, a "perfect example of a twentieth- century poet marching to a nineteenth-century drummer .. -
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. -
Between the Covers Rare Books
BETWEEN THE COVERS RARE BOOKS CATALOG 230 AFRICAN-AMERICANA BETWEEN THE COVERS RARE BOOKS AFRICAN-AMERICANA #230 112 Nicholson Rd. Terms of Sale: Images are not to scale. Dimensions of items, including artwork, are given width Gloucester City, NJ 08030 first. All items are returnable within 10 days if returned in the same condition as sent. Orders may be reserved by telephone, fax, or email. All items subject to prior sale. Payment should accompany phone: (856) 456-8008 order if you are unknown to us. Customers known to us will be invoiced with payment due in 30 fax: (856) 456-1260 days. Payment schedule may be adjusted for larger purchases. Institutions will be billed to meet their [email protected] requirements. We accept checks, Visa, Mastercard, American Express, Discover, and PayPal. betweenthecovers.com Gift certificates available. Domestic orders from this catalog will be shipped gratis for orders of $200 or more via UPS Ground or USPS Priority Mail; expedited and overseas orders will be sent at cost. All items insured. NJ residents please current NJ sales tax. Member ABAA, ILAB. Cover image taken from item 100. © 2019 Between the Covers Rare Books, Inc. 1 (Abolitionists) Thomas P. SMITH An Address Delivered Before The Colored Citizens of Boston in Opposition to the Abolition of Colored Schools, on Monday Evening, Dec. 24, 1849 Boston: For Sale by Bela Marsh 1850 $5200 First edition. Octavo. 12pp. Original printed wrappers. Stitched text block separated from wrappers, last leaf and rear wrap soiled, very good. In 1846, George Putnam and other “colored citizens of Boston” petitioned the Boston Primary School Committee to abolish segregated public education, and to permit their children to attend the Primary Schools established in their neighborhoods. -
David Sedaris: Me Talk Pretty One Day ME TALK PRETTY ONE DAY
david sedaris: Me talk pretty one day ME TALK PRETTY ONE DAY ANYONE WHO WATCHES EVEN THE SLIGHTEST amount of TV is familiar with the scene: An agent knocks on the door of some seemingly ordinary home or office. The door opens, and the person holding the knob is asked to identify himself. The agent then says, "I'm going to ask you to come with me." They're always remarkably calm, these agents. If asked "Why do I need to go anywhere with you?" they'll straighten their shirt cuffs or idly brush stray hairs from the sleeves of their sport coats and say, "Oh, I think we both know why." The suspect then chooses between doing things the hard way and doing things the easy way, and the scene ends with either gunfire or the gentlemanly application of handcuffs. Occasionally it's a case of mistaken identity, but most often the suspect knows exactly why he's being taken. It seems he's been expecting this to happen. The anticipation has ruled his life, and now, finally, the wait is over. You're sometimes led to believe that this person is actually relieved, but I've never bought it. Though it probably has its moments, the average day spent in hiding is bound to beat the average day spent in prison. When it comes time to decide who gets the bottom bunk, I think anyone would agree that there's a lot to be said for doing things the hard way. The agent came for me during a geography lesson. -
Johnson, Georgia Douglass (Photographs) Meaghan Alston
Howard University Digital Howard @ Howard University Prints and Photographs Department Finding Aids 2019 Johnson, Georgia Douglass (photographs) Meaghan Alston Follow this and additional works at: https://dh.howard.edu/finaid_pnp Recommended Citation Alston, Meaghan, "Johnson, Georgia Douglass (photographs)" (2019). Prints and Photographs Department. 3. https://dh.howard.edu/finaid_pnp/3 This Article is brought to you for free and open access by the Finding Aids at Digital Howard @ Howard University. It has been accepted for inclusion in Prints and Photographs Department by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. Georgia Douglas Johnson Photographs Collection P103 This finding aid was produced using ArchivesSpace on April 16, 2019. English Describing Archives: A Content Standard Moorland-Spingarn Research Center 500 Howard Place NW Washington, DC 20059 URL: http://dh.howard.edu/msrc/ Georgia Douglas Johnson Photographs Table of Contents Summary Information .................................................................................................................................... 3 Biographical / Historical ................................................................................................................................ 3 Scope and Contents ........................................................................................................................................ 3 Arrangement .................................................................................................................................................. -
Chapter 3 Poetics of the Shipping Forecast
chapter 3 Poetics of the Shipping Forecast Sanna Nyqvist Abstract This essay investigates the intertextual manifestations of radio shipping forecasts in fiction, poetry and non- fiction from the United Kingdom, Ireland, Sweden and Finland. The literary adaptations and appropriations of the functional meteor- ological report often retain its peculiar melodic character that results from the compressed, elliptic listing of observations or warnings. In the listening experience evoked by many authors the relative safety of the radio listener’s everyday surround- ings contrasts with the threat of gales and harsh conditions for seafarers. A compar- ative analysis shows that despite the insularity of the shipping forecast as a cultural phenomenon, the “literature of the shipping forecast” is surprisingly similar in dif- ferent countries, exploring the same themes of nostalgia, loss of signification and definition of borders. The essay also investigates how the shipping forecast inevitably evokes questions of territorial conquest and exclusion of others, and how its literary adaptations tend to bracket the natural phenomena that are the very raison d’être of the shipping forecast. The shipping forecast is a curious radio broadcast. Issuing gale warnings for seafarers and communicating weather information from coastal stations, it is reminiscent of a time when reliable and up- to- date weather reports were avail- able only through radio. Nowadays, professional mariners as well as pleasure boaters get the necessary weather information through modern wireless tech- nologies, and the shipping forecast has become a relic in the radio’s programme schedule. Most of the avid listeners to the radio’s shipping forecast do not need the information it conveys: they are safely situated inland, far away from the rough seas and gushing winds.