DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information C om pany 300Nortti Zeeb Road, Ann Arbor Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9316163 The musical tradition as an affirmation of cultural identity in African American autobiography Hawkins, Alfonso Wilson, Jr., Ph.D. The Ohio State University, 1993 Copyright ©1993 by Hawkins, Alfonso Wilson, Jr. All rights reserved. UMI 300 N. Zecb Rd. Ann Arbor, MI 48106 The Musical Tradition As An Affirmation of Cultural Identity In African American Autobiography Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Alfonso W. Hawkins, Jr., B.A., M.A. ***** The Ohio State University 1993 Dissertation Committee: Approved by Patrick B. Mullen Valerie Lee Advisor Steven Fink Department of English Copyright by Alfonso W. Hawkins, Jr. 1993 To My Family 11 ACKNOWLEDGMENTS I wish to express my sincere appreciation to Dr. Patrick Mullen for his support, encouragement, and overall contribution to my dissertation. I thank Dr. Valerie Lee for sharing extremely valuable ideas and concepts regarding my research; and I thank Dr. Steven Fink for his support and contribution. I also wish to thank my friends and collègues for their encouragement and support. Ill VITA February 16, 1957 ........... Born — Montgomery, Alabama 1979 ......................... B. A., University of Alabama, at Birmingham 1983 ......................... M. A., Atlanta University Fields of Study Major Field: English Concentration: American literature and African American Autobiography IV TABLE OF CONTENTS DEDICATION ........................................ il ACKNOWLEDGMENTS ................................ ill VITA ............................................. iv INTRODUCTION .... ........................... 1 CHAPTER I: James Weldon Johnson Along This Wav Preserver of the Spiritual . 35 CHAPTER II: Zora Neale Hurston Dust Tracks on a Road The Jazz-Bebop Artist .......... 94 CHAPTER III: Langston Hughes The Big Sea The Blues Po e t .................... 158 CONCLUSION .22 9 BIBLIOGRAPHY .................................... 254 INTRODUCTION African American autobiography in the twentieth century has a number of complex purposes, two of which stand out as central to understanding the literature: (1) to redefine self in terms of its place in the American experience, (2) to reconcile a dualism that emerges from this redefinition. The African American autobiography has its origins in the slave narrative and injustice of slavery. After emancipat­ ion, former slaves began the long and difficult task of affirming an identity of self which was suppressed during slavery to prevent rebellion. Nevertheless, the quest for freedom was paramount, and the slave sought freedom at every opportunity. Creative and cultural means of seeking freedom and identity resulted. "Canaan land," often referred to in Spirituals, equated the biblical promised land with freedom in the north. Slaves created Spirituals using biblical references as codes to signal escape. This would not alert the slave owner or overseer to the slaves' plan of escape. Therefore, creatively, as a means of forming a communal language, identity, and hope, the Spirituals served as 2 survival tools for the African American to psychologically and physically escape a world of degradation, pain, and suffering. In twentieth century African American autobiography, the quest for justice, freedom, and social equality is reinforced through an affirmation of communal identity. As a result, the musical tradition as a cultural point of reference for identity became evident in early African American autobiographical narrative strategies. Later I will show how James Weldon Johnson ( Along This Wav. 1933), Zora Neale Hurston (Dust Tracks on a Road, 1942), and Langston Hughes (The Big Sea. 1940) constructed personas of the black folk character whose life and vision echoed the black musical tradition. They embodied the romance of Spirituals, Blues, and Jazz and helped to sustain these folk traditions in their autobiographies. However, it is necessary to define these musical traditions as analytic frames for this study, as metaphors for the black experience, and as genres of music directly influencing African American autobiographical prose narrative. Spiritu­ als were praise songs for Heavenly deliverance from slavery and codes for physical escape. These songs echoed a creative and psychological freedom or relief from the toil of the soil and human bondage. James Cone in Spirituals And The Blues; An Interpretation notes that "The black experience in America is a history of servitude and 3 resistance, of survival in the land of death. It is the story of black life in chains and of what that meant for the souls and bodies of black people. This is the experience that created the spirituals" (20). The Spirituals were born out of the oppressive conditions of slavery. As Cone concludes "The Spiritual, then, is the spirit of the people struggling to be free; it is their religion, their source of strength in a time of trouble" (32). Spirituals tell the story of the black experience in America. Spirituals have historical and social significance when they give expression to the wails and woes of a displaced and oppressed people and culture. Moreover, Cone says "The spirituals are the story of black people's historical strivings for earthly freedom, rather than the other worldly projections of hopeless Africans who forgot about their homeland. The songs tell a historical story. ." (15). As a result. Black identity is closely defined through the music telling a truth born out of experience. Essentially, what is outwardly sacred is also secular. Earthly freedom was its didactic message. Nevertheless, the sacred element in Spirituals could not be dismissed: The song unites the believer to move close to the very source of black being, and to experience the black community's power to endure and the will to survive. The mountains may be high and the valleys low, but "my Lord spoke" and "out of his mouth came fire and smoke." All the believer has to do is to respond to the divine apocalyptic disclosure of God's revelation and cry, "Have mercy, please." This cry is not a cry of passivity, but a faithful, free response to the movement of the Black spirit. It is the black community accepting themselves as the peo­ ple of the Black Spirit and knowing through his presence that no chains can hold the Spirit of black humanity in bondage. (Cone 5) The sacred and secular merge in the Spiritual. Note that even in an apparent "passive phrase" there is resistance: "a faithful, free response to the movement of the Black spirit." The Blues, Jazz, and Gospel idioms were direct outgrowths of the Spiritual and Work Song traditions. The Blues echoed this escape through freedom of expression, telling of pain yet triumph. It affirms self in the midst of chaos and insurmountable odds. Both sacred and secular song styles projected a need for freedom of mind, spirit, and soul. The Blues is that expression which reflects the emotional state of someone who is deprived of empowerment. Born out of its sacred component, the Spiritual, the Blues reflects the past reconstruction period of continued struggle, hardships, and the need to affirm self in the face of adversity. Moreover, it also has a gender base. The Blues is a man affirming self against unrequited love. It is a woman telling the pain of forsaken love. As an analytic frame to Blues definition, James Weldon Johnson in The Second Book of Negro Spirituals notes that "The Blues, in their primitive form, are pure folk songs. They are the philosophical expression of the individual contemplating his situation in relation to the conditions surrounding him. In this respect they are the opposite of the Spirituals, which 5 are an expression of the groupw And, as follows naturally, the Spirituals are essentially group songs, while the Blues are essentially solos" (20). Nevertheless, the Blues soloist,, by enunciating the song, reflects the group, indirectly, by affirming a self that has problems similar to those of the group. James H. Cone states "In order to affirm being, a people must create forms for the expression of being and project it with images that reflect their perceptions of reality. They must take the structure of reality and subject it to the conditions of life — its pain, sorrow, and joy. That black people could sing the blues, describing their sorrows and joys, meant that they were able to affirm an authentic hope in the essential worth of black humanity" (141). As a cultural expression and a metaphor for the black experience, in later chapters I will present examples of Blues twelve bar structure, second line repeating the first line, and how directly the lyric reflects the life in autobiography.
Load more

Recommended publications
  • Disciplinary Gestures in Charles Kingsley´S at Last : a Christmas in the West Indies (1871) Revista Mexicana Del Caribe, Vol
    Revista Mexicana del Caribe ISSN: 1405-2962 [email protected] Universidad de Quintana Roo México Wahab, Amar Re-writing colonized subjects: disciplinary gestures in Charles Kingsley´s at last : a christmas in the west Indies (1871) Revista Mexicana del Caribe, vol. VIII, núm. 16, 2003, pp. 133-178 Universidad de Quintana Roo Chetumal, México Disponible en: http://www.redalyc.org/articulo.oa?id=12801605 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto RE-WRITING COLONIZED SUBJECTS: DISCIPLINARY GESTURES IN CHARLES KINGSLEY’S AT LAST: A CHRISTMAS IN THE WEST INDIES (1871) AMAR WAHAB* University of Toronto Abstract The Victorian period of British travel writing in the “tropicalized” world distinguished itself from early nineteenth-century travel due partic- ularly to changing demands for re-inventing British control in the post-emancipation period. This article unpacks the textual and visual representations of Negroes and Coolies in nineteenth-century Trinidad in the travelogue of British natural historian, Charles Kingsley, high- lighting the discursive powers of these representations in re-stabilizing British rule and order in the colony. Kingsley’s re-writing of colonized subjects cannot be disconnected from the re-definition and re-deploy- ment of ideas of race and rule across the British Empire, especially in the context of post-emancipation labour shortages, the rise of the black subject and colonial anxieties about the “Negro character”.
    [Show full text]
  • The Negro Is Paid to Dance
    Diálogo Volume 8 Number 1 Article 17 2004 The Negro is Paid to Dance Matilde E. López Karin Killian Follow this and additional works at: https://via.library.depaul.edu/dialogo Part of the Latin American Languages and Societies Commons Recommended Citation López, Matilde E. and Killian, Karin (2004) "The Negro is Paid to Dance," Diálogo: Vol. 8 : No. 1 , Article 17. Available at: https://via.library.depaul.edu/dialogo/vol8/iss1/17 This Rincón Creativo is brought to you for free and open access by the Center for Latino Research at Via Sapientiae. It has been accepted for inclusion in Diálogo by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. The Negro is Paid to Dance Cover Page Footnote This article is from an earlier iteration of Diálogo which had the subtitle "A Bilingual Journal." The publication is now titled "Diálogo: An Interdisciplinary Studies Journal." This rincón creativo is available in Diálogo: https://via.library.depaul.edu/dialogo/vol8/iss1/17 Art by Fernando Llort. isThePaid Negro to Dance Image from stationary, provided by Claudia Morales Haro A Short Story by Matilde Elena Lopez Translated by Karin Killian Lima, Peru This is the history of a sad man, or better put, the history of a The only thing I remember about my father is a strong tail sad Negro who is now sadder still. I feel in my heart as though Jamaican who spoke only English. "British, British. Panama is I have been painted with pitch. I am drowning in a cesspool. I of no importance to me," he used to say.
    [Show full text]
  • Introduction
    Introduction R. J. Ellis One of the most influential books ever written, Uncle Tom’s Cabin; or, Life Among the Lowly was also one of the most popular in the nineteenth century. Stowe wrote her novel in order to advance the anti-slavery cause in the ante-bellum USA, and rooted her attempt to do this in a ‘moral suasionist’ approach — one designed to persuade her US American compatriots by appealing to their God-given sense of morality. This led to some criticism from immediate abolitionists — who wished to see slavery abolished immediately rather than rely upon [per]suasion. Uncle Tom's Cabin was first published in 1852 as a serial in the abolitionist newspaper National Era . It was then printed in two volumes in Boston by John P. Jewett and Company later in 1852 (with illustrations by Hammatt Billings). The first printing of five thousand copies was exhausted in a few days. Title page, with illustration by Hammatt Billings, Uncle Tom’s Cabin Vol. 1, Boston, John P. Jewett and Co., 1852 During 1852 several reissues were printed from the plates of the first edition; each reprinting also appearing in two volumes, with the addition of the words ‘Tenth’ to ‘One Hundred and Twentieth Thousand’ on the title page, to distinguish between each successive re-issue. Later reprintings of the two-volume original carried even higher numbers. These reprints appeared in various bindings — some editions being quite lavishly bound. One-volume versions also appeared that same year — most of these being pirated editions. From the start the book attracted enormous attention.
    [Show full text]
  • The Life of the Negro Slave in Alabama
    Jacksonville State University JSU Digital Commons Theses Theses, Dissertations & Graduate Projects 1971 The Life of the Negro Slave in Alabama Daniel B. Austin Jacksonville State University Follow this and additional works at: https://digitalcommons.jsu.edu/etds_theses Part of the Labor History Commons, and the United States History Commons Recommended Citation Austin, Daniel B., "The Life of the Negro Slave in Alabama" (1971). Theses. 3. https://digitalcommons.jsu.edu/etds_theses/3 This Thesis is brought to you for free and open access by the Theses, Dissertations & Graduate Projects at JSU Digital Commons. It has been accepted for inclusion in Theses by an authorized administrator of JSU Digital Commons. For more information, please contact [email protected]. THE LIFE OF THE NEGRO SLAVE IN ALABAMA by Daniel B. Austin Submitted in partial fulfillment of the requirements for the degree of Master of Science in education at the Jacksonville State University Jacksonville, Alabama 1971 THE LIFE OF THE NEGRO SLAVE IN ALABAMA Daniel B. Austin CERTIFICATE OF APPROVAL ' ·.1 (,) ,() / •: ,,,//f/\'.~<-2,.)< ~ J/1, U~l/(j.kV' Lucile Chapman, Ph.D. Roland A. Thorn Professor of History Professor of Ed Sponsor ACKNOWLEDGEMENT The author wishes to express his sincere appreciation to Dr. Lucile Chapman, Sponsor of this study, for her in­ terests, comments, and helpful counsel during the course of this study; to Dr. Alta Millican and Mrs. Margaret P. Williams of Ramona Wood Library for their invaluable assis­ tance in the procurement of the many reference materials used in this study; and to Mrs. Render Otwell of Carnegie Library. iii TABLE OF CONTENTS LIST OF TABLES.
    [Show full text]
  • Resistance, Language and the Politics of Freedom in the Antebellum North
    Masthead Logo Smith ScholarWorks History: Faculty Publications History Summer 2016 The tE ymology of Nigger: Resistance, Language, and the Politics of Freedom in the Antebellum North Elizabeth Stordeur Pryor Smith College Follow this and additional works at: https://scholarworks.smith.edu/hst_facpubs Part of the History Commons Recommended Citation Pryor, Elizabeth Stordeur, "The tE ymology of Nigger: Resistance, Language, and the Politics of Freedom in the Antebellum North" (2016). History: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/hst_facpubs/4 This Article has been accepted for inclusion in History: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] The Etymology of Nigger: Resistance, Language, and the Politics of Freedom in the Antebellum North Elizabeth Stordeur Pryor Journal of the Early Republic, Volume 36, Number 2, Summer 2016, pp. 203-245 (Article) Published by University of Pennsylvania Press DOI: https://doi.org/10.1353/jer.2016.0028 For additional information about this article https://muse.jhu.edu/article/620987 Access provided by Smith College Libraries (5 May 2017 18:29 GMT) The Etymology of Nigger Resistance, Language, and the Politics of Freedom in the Antebellum North ELIZABETH STORDEUR PRYOR In 1837, Hosea Easton, a black minister from Hartford, Connecticut, was one of the earliest black intellectuals to write about the word ‘‘nigger.’’ In several pages, he documented how it was an omni- present refrain in the streets of the antebellum North, used by whites to terrorize ‘‘colored travelers,’’ a term that elite African Americans with the financial ability and personal inclination to travel used to describe themselves.
    [Show full text]
  • © Brian Casserly, 2020 Bellevue College HIST 205: History of World
    1 Bellevue College HIST 205: History of World War II Spring 2020 Please see the class Canvas site for details of how HIST 205 will be taught remotely to meet Covid-19 social distancing requirements for Spring Quarter of 2020. www.phdcomics.com This syllabus contains essential information about class policies, structure, etc. that are intended to help further your learning in the class. It is your responsibility to be familiar with it. There will be a quiz on the syllabus Instructor: Dr. Brian Casserly Office Hours: Virtual – see Canvas for details. Contact Information: E-mail (best way to contact me): Use Canvas e-mail or [email protected] Phone: (425) 564-3140 “I hate war as only a soldier who has lived it can, only as one who has seen its brutality, its stupidity.” Dwight Eisenhower “Rule 1, on page 1 of the book of war, is: 'Do not march on Moscow'... Rule 2 is: Do not go fighting with your land armies in China.” Bernard Law Montgomery “Great Britain provided time; the United States provided money and Soviet Russia provided blood.” Joseph Stalin © Brian Casserly, 2020 2 INTRODUCTION AND TEACHING PHILOSOPHY: Welcome to HIST 205! Fundamentally, history involves the study of change and seeks to explain why these changes occur and how they have influenced human societies and cultures. History helps us understand ourselves, our world, and how and why it is the way it is. For the rest of the quarter I look forward to working with you as we examine some of the major developments and experiences of World War II and explore its consequences for a variety of societies around the world.
    [Show full text]
  • BLUES UNLIMITED Number Four (August 1963)
    BLUES UN LI Ml TED THE JOURNAL OF “THE BLUES APPRECIATION SOCIETY” EDITED BY SIMON A. NAPIER - Jiiiiffiber Four August 196^ ; purposes of ^'HLues Unlimited* &re several-fold* To find out more about tlse singers is : §1? iiaportant one* T® document th e ir records . equally so,, This applies part!cularly with .postwar "blues ' slmgers and labels. Joho Godrieh m d Boh Dixon ? with the Concert­ ed help> o f many collectors? record companies imd researchers* .^aTe/v.niide^fHitpastri'Q. p|»©gr;e8Sv, In to l i ‘s.ting. the blues records made ■ parlor to World War IXa fn a comparatively short while 3 - ’with & great deal of effort,.they have brought the esad of hlues discog­ raphy prewar- in sights Their book?. soon t® be published, w ill be the E?5?st valuable aid. 't o blues lovers yet compiled,, Discography of-;p©:stw£sr ...artists....Is,.In.-■■. a fa r less advanced state* The m&gasine MBlues Research1^ is doing. amagni fieezst- ^ob with : postwar blues;l^bei:s:^j Severd dis^grg^hers are active lis tin g the artists' work* We are publishing Bear-complete discographies xb the hope that you3 the readers^ w ill f i l l In the gaps* A very small proportion o f you &re: helping us in this way0 The Junior Farmer dis&Oc.: in 1 is mow virtu ally complete« Eat sursiy . :s®eb®ciy,:h&s; Bake^;31^;^: 33p? 3^o :dr3SX* Is i t you? We h&veii#t tie&rd from y<&ia£ Simil^Xy: ^heM.
    [Show full text]
  • Irreversible Encounters and the Point of No Return!
    Irreversible Encounters and the Point of No Return! Katherine Olston MFA 2009 Abstract Irreversible Encounters and the Point of No Return! investigates the politics of Otherness through an examination of the position of the Westerner as Other within the context of Thailand. The project initially explores Otherness as a construction in general and then focuses specifically on the configuration of Otherness within Thai society, and its role in the enactment of core, interlinked ideals of Thai self-identification and nationhood. The research project considers the particular historical, political, cultural and societal factors that have contributed to contemporary Thai perceptions of the Westerner, or ‘farang’ as Other in relation to the Thai Self. Through sculpture and video installation the art practice delves into the intimate space of the experience of being Other, acknowledging the relative nature of identity and examining issues such as the shock of recognising the Self as Other and the subsequent realisation that the Self may simultaneously be Self and Other. The practice examines the barrier between belonging and not belonging, and the desire to traverse this barrier through adaptation and the modification of one’s identity, and the futility of this endeavor. Irreversible Encounters and the Point of No Return! reveals stereotypes and preconceptions extant in the way we view ourselves and others in order to explore the complexities and contradictions inherent to the process of Othering. Through theory and practice the project provides an insight into just one of those irreversible experiences in our lives where core perceptions of Self, and the way we inhabit the world are fundamentally challenged, forcing us into previously unknown territory, to a place from which we can never return.
    [Show full text]
  • Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Tributaries on the Name of the Journal: “Alabama’S Waterways Intersect Its Folk- Ways at Every Level
    Tributaries On the name of the journal: “Alabama’s waterways intersect its folk- ways at every level. Early settlement and cultural diffusion conformed to drainage patterns. The Coastal Plain, the Black Belt, the Foothills, and the Tennessee Valley re- main distinct traditional as well as economic regions today. The state’s cultural landscape, like its physical one, features a network of “tributaries” rather than a single dominant mainstream.” —Jim Carnes, from the Premiere Issue JournalTributaries of the Alabama Folklife Association Joey Brackner Editor 2002 Copyright 2002 by the Alabama Folklife Association. All Rights Reserved. Issue No. 5 in this Series. ISBN 0-9672672-4-2 Published for the Alabama Folklife Association by NewSouth Books, Montgomery, Alabama, with support from the Folklife Program of the Alabama State Council on the Arts. The Alabama Folklife Association c/o The Alabama Center for Traditional Culture 410 N. Hull Street Montgomery, AL 36104 Kern Jackson Al Thomas President Treasurer Joyce Cauthen Executive Director Contents Editor’s Note ................................................................................... 7 The Life and Death of Pioneer Bluesman Butler “String Beans” May: “Been Here, Made His Quick Duck, And Got Away” .......... Doug Seroff and Lynn Abbott 9 Butler County Blues ................................................... Kevin Nutt 49 Tracking Down a Legend: The “Jaybird” Coleman Story ................James Patrick Cather 62 A Life of the Blues .............................................. Willie Earl King 69 Livingston, Alabama, Blues:The Significance of Vera Ward Hall ................................. Jerrilyn McGregory 72 A Blues Photo Essay ................................................. Axel Küstner Insert A Vera Hall Discography ...... Steve Grauberger and Kevin Nutt 82 Chasing John Henry in Alabama and Mississippi: A Personal Memoir of Work in Progress .................John Garst 92 Recording Review ........................................................
    [Show full text]
  • Mrs. Stowe's Negro: George Harris' Negritude in Uncle Tom's Cabin
    Colby Quarterly Volume 10 Issue 8 December Article 10 December 1974 Mrs. Stowe's Negro: George Harris' Negritude in Uncle Tom's Cabin Randall M. Miller Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 10, no.8, December 1974, p.521-526 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Miller: Mrs. Stowe's Negro: George Harris' Negritude in Uncle Tom's Cabin Colby Library Quarterly 521 out and questions and seeks. 6 The successive versions of the Eagle Island episode record the growth of an independent artistic spirit away from her mentor. Retaining their common belief in the artist's sensitive spirit and their common use of New England materials, Jewett develops independently a quality of gentle questing in place of Stowe's earnest dogmatizing. She seeks in nature what Stowe finds in God. She speaks in lyric, poetic prose, while Stowe speaks in sermons. She envisions a wild, light, slender white heron instead of Stowe's protesting eagles. 6 In "The Child in Sarah Orne Jewett." Oolby Library Quarterly. VII (September 1967). reprinted in Appreciation of Sarah Orne Jewett~ ed. Rich­ ard Cary (\Vaterville. ~laine, 1973). Eugene Hillhouse Pool also reads "A White Heron" bio~raphically. although somewhat differently. He ar~ues that Jewett "chooses. psychologically. to remain a child with Sylvia." because she clings so intensely to her memory of her father and his love and thus "repudiates the offer of mature.
    [Show full text]
  • Butler, Delgado
    1 Chapter 3 ”Words that wound”: Swedish whiteness and its inability to accommodate minority experiences Tobias Hübinette During the classical colonial period and at the time of hegemonic racism from the 19th to the first half of the 20th centuries, an array of words, names, expressions and terms were used to describe and denote minorities both in the colonies and within Europe itself. Categories like ”Negro”, ”Redskin”, ”Oriental”, ”Eskimo ”, ”Lapp”, ”Semite” and ”Gypsy” were used both within the scientific world as well as by the state apparatus, by the media, in the cultural sphere and, above all, in daily life. However, after the Holocaust, the end of formal decolonisation and the social revolution of 1968, many of these words have started to fall out of use due to political activism coming from the side of minorities in countries like the US, Canada and Australia as well as in some European countries like the UK, the Netherlands and Germany. For example, the word “Negro” and its even more denigrating version “Nigger” is nowadays in an Anglo- American and English language context usually known as the N-word, several American baseball teams which were previously called “Redskins” have changed their names, and in 2002 the United States Congress decided to replace the term Oriental with the word Asian in statistical and official documents (Han 2010; Kennedy 2003; Olsson 2007; Stapleton 2001). However, a public debate has also taken place in many countries with regards to colonial and racist words and expressions. Here those opposed to questioning the use of racially derogatory expressions, typically people from the white majority population, accuse the representatives from different minorities for 2 espousing hypersensitive hysteria, extremist or conservative censorship, “reverse racism” and, above all, political correctness (PC).
    [Show full text]