DOCSLIB.ORG

Read Book Mule Bone a Comedy of Negro Life 1St Edition Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Book Mule Bone a Comedy of Negro Life 1St Edition Ebook MULE BONE A COMEDY OF NEGRO LIFE 1ST EDITION PDF, EPUB, EBOOK George Houston Bass | 9780061651120 | | | | | Mule Bone A Comedy of Negro Life 1st edition PDF Book Let us know if you have suggestions to improve this article requires login. Taj Majal provided the songs for the production, and there is a very interesting CD of it. Joe Clarke declares Jim guilty and banishes him from town for two years. Hughes is noted for his depictions of the black experience. Overcome by jealousy, Jim hits Dave with a mule bone and hilarity follows chaos as the town splits into two factions: the Methodists, who want to pardon Jim; and the Baptists, who wish to banish him for his crime. Help Learn to edit Community portal Recent changes Upload file. Books Video icon An illustration of two cells of a film strip. Retrieved February 7, They decided to base the plot on a folktale which Hurston had collected in Florida during one of her anthropological field trips. Want more? Hurston sent a telegram advising that she refused to allow the production. Although Hurston claimed to be born in in Eatonville, Florida, she was,…. Access-restricted-item true Addeddate Scanned in China. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Bass, George Houston In January , Hughes learned that a copy of Mule Bone, bearing only Hurston's name, had been sent to the Gilpin Players , an all-black theater company in Cleveland , for their consideration. Audio Software icon An illustration of a 3. Facebook Twitter. She demonstrates the sincerity of her affection and Dave comes upon the couple. Their work was almost complete in June, when Hurston went away for the summer. Zora Neale Hurston , Langston Hughes. Robert E Hemenways account from. They wanted to write a comedy about African-American life that didn't consist of racial stereotypes. This volume tells the story of the play's conception and inspiration and gives complete details of the irreparable rift in Hurston and Hughes's friendship that came about because of it. It was during those years that she wrote her autobiography Dust Tracks on a Road, worked with the Federal Writers Project in Florida, received a Guggenheim fellowship, and wrote four novels. Software Images icon An illustration of two photographs. Not Without Laughter History at your fingertips. Mule Bone A Comedy of Negro Life 1st edition Writer User icon An illustration of a person's head and chest. Taj Majal provided the songs for the production, and there is a very interesting CD of it. The process of writing the play led Hughes and Hurston, who had been close friends, to sever their relationship. Be the first one to write a review. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree Internet Archive Books. In the meantime, the Gilpin Players wanted to stage the play. Home Literature Plays. Learn More in these related Britannica articles:. Let us know if you have suggestions to improve this article requires login. Hughes briefly attended Columbia University before working numerous jobs including busboy, cook, and steward. The two men engage in a war of words to try to show which of them loves Daisy more. She left home at the age of 17, finished high school in Baltimore, and went on to study at Howard University, Barnard College, and Columbia University before becoming one of the most prolific writers in the Harlem Renaissance. Rich, Frank February 15, It was during those years that she wrote her autobiography Dust Tracks on a Road, worked with the Federal Writers Project in Florida, received a Guggenheim fellowship, and wrote four novels. He is a leading scholar of African-American literature, history, and culture. When Hurston came back, she would not return telephone calls from Hughes. Reviewers have conjectured that Hurston may have been trying to protect her own relationship with Mason by shunning Hughes. The work was still somewhat rough, but Hughes was in Cleveland, and he offered to help rewrite portions of the play. The production closed on April 14, , after 68 performances. Her most productive years were the s and early s. Henry Louis Gates, Jr. Overcome by jealousy, Jim hits Dave with a mule bone and hilarity follows chaos as the town splits into two factions: the Methodists, who want to pardon Jim; and the Baptists, who wish to banish him for his crime. In fact, Judges says Samson killed 1, men with a donkey's jawbone. They decided to base the plot on a folktale which Hurston had collected in Florida during one of her anthropological field trips. On Monday, the trial begins in the Macedonia Baptist Church. While working as a busboy, he showed his poems to American poet Vachel Lindsay, who helped launch his career. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Rufus Osgood Mason. Facebook Twitter. History at your fingertips. Software Images icon An illustration of two photographs. Download as PDF Printable version. Mule bone : a comedy of Negro life Item Preview. Print Cite. Ethel Barrymore Theatre , New York. Langston Hughes , Zora Neale Hurston. Mule Bone A Comedy of Negro Life 1st edition Reviews This extraordinary theatrical work broke new ground while triggering a bitter controversy between the collaborators that kept it out of the public eye for sixty years. Their work was almost complete in June, when Hurston went away for the summer. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. This volume tells the story of the play's conception and inspiration and gives complete details of the irreparable rift in Hurston and Hughes's friendship that came about because of it. Sign up Log in. The contest ends when it becomes clear that Daisy expects her man to work for the white people who employ her. Audio Software icon An illustration of a 3. He republished the work by Harriet E. Ethel Barrymore Theatre , New York. Mule Bone Article Additional Info. This edition of the rarely seen stage classic features Hurston's original short story, "The Bone of Contention," as well as the complete recounting of the acrimonious literary dispute that prevented Mule Bone from being produced or published until decades after the authors' deaths. She demonstrates the sincerity of her affection and Dave comes upon the couple. In this hilarious story, Jim and Dave are a struggling song-and-dance team, and when a woman comes between them, chaos ensues in their tiny Florida hometown. On Monday, the trial begins in the Macedonia Baptist Church. It was during those years that she wrote her autobiography Dust Tracks on a Road, worked with the Federal Writers Project in Florida, received a Guggenheim fellowship, and wrote four novels. Hurston, an anthropologist as well as a writer, had collected examples of mule-talking in black communities. The process of writing the play led Hughes and Hurston, who had been close friends, to sever their relationship. Zora Neale Hurston , Langston Hughes. Hughes and Hurston began writing Mule Bone in March External Websites. Hughes is noted for his depictions of the black experience. See what's new with book lending at the Internet Archive. Langston Hughes died of heart failure on May 22, Help Learn to edit Community portal Recent changes Upload file. Hughes and Hurston feuded during the collaboration, and the play--a folk musical comedy--wasn't staged until Zora Neale Hurston , American folklorist and writer associated with the Harlem Renaissance who celebrated the African American culture of the rural South. Langston Hughes , Zora Neale Hurston. Langston Hughes and Zora Neale Hurston. In , he became the head of the African-American studies department at Harvard University. Download as PDF Printable version. Urbana, Ill. Richards, David February 24, The two men engage in a war of words to try to show which of them loves Daisy more. He rediscovered what is believed to be the first novel published by an African-American in the United States. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree Internet Archive Books. Facebook Twitter. While working as a busboy, he showed his poems to American poet Vachel Lindsay, who helped launch his career. Set in Eatonville, Florida--Hurston's hometown and the inspiration for much of her fiction--this energetic and often farcical play centers on Jim and Dave, a two-man song-and-dance team, and Daisy, the woman who comes between them. The production closed on April 14, , after 68 performances. A day later, she sent another telegram authorizing the production on the condition that she be allowed to work with Hughes on changes. Add links. Scanned in China. Mule Bone A Comedy of Negro Life 1st edition Read Online Joe Clarke declares Jim guilty and banishes him from town for two years. Give Feedback External Websites. Internet Archive Books. Although Hurston claimed to be born in in Eatonville, Florida, she was,…. Advanced embedding details, examples, and help! Langston Hughes. Her works included novels, essays, plays, and studies in folklore and anthropology. Gates, Jr. Retrieved February 7, Zora Neale Hurston. Reviewers have conjectured that Hurston may have been trying to protect her own relationship with Mason by shunning Hughes. He soon obtained a scholarship to Lincoln University and had several works published.
Load more

Recommended publications
  • Finding Aid to the Historymakers ® Video Oral History with Dianne Mcintyre
    Finding Aid to The HistoryMakers ® Video Oral History with Dianne McIntyre Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: McIntyre, Dianne Title: The HistoryMakers® Video Oral History Interview with Dianne McIntyre, Dates: June 18, 2004 Bulk Dates: 2004 Physical 7 Betacame SP videocasettes (3:23:08). Description: Abstract: Choreographer and dancer Dianne McIntyre (1946 - ) founded her own dance company, Sounds in Motion, which was active during the 1970s and 1980s. McIntyre's special interest in history and culture as it relates to dance had led to many projects for her in the areas of concert dance, theatre, film and television. McIntyre was interviewed by The HistoryMakers® on June 18, 2004, in Cleveland, Ohio. This collection is comprised of the original video footage of the interview. Identification: A2004_085 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Choreographer, dancer, and director Dianne McIntyre was born in 1946 in Cleveland, Ohio to Dorothy Layne McIntyre and Francis Benjamin McIntyre. She attended Cleveland Public Schools and graduated from John Adams High School in 1964. As a child, she studied ballet with Elaine Gibbs and modern dance with Virginia Dryansky and earned a BFA degree in dance from The Ohio State University. Following her move to New York City in 1970, McIntyre founded her own company, Sounds in Motion, in 1972. McIntyre and her company toured and performed in concert with Olu Dara, Lester Bowie, Cecil Taylor, Max Roach, Butch Morris, David Murray, Hamiet Bluiett, Ahmed Abdullah, Don Pullen, Anthony Davis, Abbey Lincoln, Sweet Honey in the rock, Hannibal, Oliver Lake, and countless others musicians until 1988, when she closed it to have more time to explore new areas of creative expression.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 ....................................................
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]