Relevant bibliographies by topics / African American aesthetics

Academic literature on the topic 'African American aesthetics'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "African American aesthetics"

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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.

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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.
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McGowan, Grace. "“I Know I Can’t Change the Future, But I Can Change the Past”: Toni Morrison, Robin Coste Lewis, and the Classical Tradition." Contemporary Women's Writing 13, no. 3 (November 2019): 339–56. http://dx.doi.org/10.1093/cww/vpaa001.

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Abstract “A central figure in transnational intellectual history” (Roynon, 2013), Toni Morrison’s oeuvre has helped deconstruct the triangulated relationship between a European Graeco-Roman classical tradition, Africa, and America. Morrison’s deconstruction of the classical past and its aesthetics have laid the foundation for the reconstructive work of a new generation of writers, including Robin Coste Lewis. Both writers renegotiate and reclaim a classical aesthetic by recovering its African roots and situating it in an African American context. In addition, the article (1) examines the role of a classical aesthetic in beauty discourse and Robin Coste Lewis’s re-vision of the black female body and (2) addresses what this means for canonicity, linking Lewis’s ambivalence about reclaiming a classical aesthetic to Morrison’s ambivalence in “Unspeakable Things Unspoken” (1987).
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Kumar, Fayaz Ahmad, and Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction." Global Language Review V, no. IV (December 30, 2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.

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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.
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DeFrantz, Thomas F. "African American Dance - Philosophy, Aesthetics, and ‘Beauty’." Topoi 24, no. 1 (January 2005): 93–102. http://dx.doi.org/10.1007/s11245-004-4165-7.

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DjeDje, Jacqueline Cogdell. "APPALACHIAN BLACK FIDDLING: HISTORY AND CREATIVITY." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 77–101. http://dx.doi.org/10.21504/amj.v11i2.2315.

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Discussions on Appalachian music in the United States most often evoke images of instruments such as the fiddle and banjo, and a musical heritage identified primarily with Europe and European Americans, as originators or creators, when in reality, many Europeans were influenced or taught by African-American fiddlers. Not only is Appalachian fiddling a confluence of features that are both African- and European-derived, but black fiddlers have created a distinct performance style using musical aesthetics identified with African and African-American culture. In addition to a history of black fiddling and African Americans in Appalachia, this article includes a discussion of the musicking of select Appalachian black fiddlers.
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Schur, Richard. "Post-Soul Aesthetics in Contemporary African American Art." African American Review 41, no. 4 (December 1, 2007): 641. http://dx.doi.org/10.2307/25426982.

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Sherrard-Johnson, C. "Revolutionary Potential: African-American Aesthetics in the Depression Era." American Literary History 27, no. 2 (February 23, 2015): 351–62. http://dx.doi.org/10.1093/alh/ajv005.

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Jenkins, Chris. "Assimilation and Integration in Classical Music Education." Action, Criticism, and Theory for Music Education 21, no. 2 (September 2022): 156–81. http://dx.doi.org/10.22176/act21.2.156.

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Conservatories and orchestras based in the US have attempted to become more diverse by increasing their recruitment of students of color. This approach, however, fails to acknowledge that the aesthetic environments of these institutions, having been designed by and for a White majority, require these students to assimilate into environments that may be aesthetically foreign. This article argues that culturally situated aesthetic differences are key to understanding the lack of diversity within classical music. Because the aesthetics of western classical music do not broadly appeal to communities of color, the demographic diversification of classical music would be greatly aided by a corresponding diversification of performance aesthetics. I provide a contrast between African American and European musical aesthetics to specify racially delimited aspects of classical music performance and to suggest possible solutions.
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Moore, Jeania Ree V. "African American Quilting and the Art of Being Human: Theological Aesthetics and Womanist Theological Anthropology." Anglican Theological Review 98, no. 3 (June 2016): 457–78. http://dx.doi.org/10.1177/000332861609800302.

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In her collection In Search of Our Mothers’ Gardens: Womanist Prose (1983), Alice Walker explores how African American women preserved and passed down a heritage of creativity and beauty in spite of brutality. I argue in this essay that African American quilting forms a revelatory subject for the womanist project taken up by theologians. As both symbol for and implementation of the creative practice Walker heralds, quilting unearths aesthetics as vital to being human. Theologically rendered, quilting unfolds theological aesthetics for and with womanist theological anthropology. Theologically engaging historical, literary, and personal narrative, I show how womanism and quilting enrich theological conceptions of aesthetics and personhood.
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Crawford, Margo Natalie. "What Time Is It When You’re Black?" South Atlantic Quarterly 121, no. 1 (January 1, 2022): 153–72. http://dx.doi.org/10.1215/00382876-9561601.

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This essay explores the temporal differences between the lived experience of black flesh and the black body. The author uncovers an aesthetics of the open body that differs greatly from the ongoing naturalizing of the always already marked black body. There is an emerging focus in twenty-first century African American literature on the anticipation of a second skin and an open body that has the feeling of “finna” (the African American vernacular that captures the feeling of what is almost already here). The author unveils the aesthetics of “finna” in art created by Toni Morrison, Claudia Rankine, Nate Marshall, and Kara Walker.
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Dissertations / Theses on the topic "African American aesthetics"

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Gibson, Ebony Z. "Art for whose Sake?: Defining African American Literature." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/aas_theses/17.

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This exploratory qualitative study describes the criteria that African American Literature professors use in defining what is African American Literature. Maulana Karenga’s black arts framework shaped the debates in the literature review and the interview protocol; furthermore, the presence or absence of the framework’s characteristics were discussed in the data analysis. The population sampled was African American Literature professors in the United States who have no less than five years experience. The primary source of data collection was in-depth interviewing. Data analysis involved open coding and axial coding. General conclusions include: (1) The core of the African American Literature definition is the black writer representing the black experience but the canon is expanding and becoming more inclusive. (2) While African American Literature is often a tool for empowerment, a wide scope is used in defining methods of empowerment. (3) Black writers should balance aesthetic and political concerns in a text.
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Potter, Lawrence T. "Harlem's forgotten genius : the life and works of Wallace Henry Thurman /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946287.

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Ellis, Aimé Jero. "The "bad nigger" in contemporary Black popular culture : 1940 to the present /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Silvio, Carl. "The institutional production of literary value studies of African-American popular music lyrics and the avant-garde /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2061.

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Thesis (Ph. D.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains iii, 310 p. Includes abstract. Includes bibliographical references (p. 301-310).
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Moskowitz, Alex. "American Imperception: Literary Form, Sensory Perception, and Political Economy in Nineteenth-Century American Literature." Thesis, Boston College, 2021. http://hdl.handle.net/2345/bc-ir:109138.

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Thesis advisor: Robert S. Lehman
Thesis advisor: Jennifer Greiman
“American Imperception” explores how early American writers investigated the role that political economy plays in the relation between sensory perception and knowledge. This dissertation argues that nineteenth-century American writers used literature to teach their readers to understand how economic forms and forms of economic activity fundamentally shape and train the sensorium to sense in historically and contextually specific ways. In “American Imperception,” I show how literature can make legible otherwise insensible forms of social and economic relations. The impossibility of sensing social and economic form—and the way in which that impossibility is rendered through literature—is what I call in this project “imperception.” Imperception describes the way in which literary form makes intelligible the structures of social, political, and economic life: structures that themselves cannot be sensed directly and which therefore cannot be directly represented by literature. “American Imperception” is focused on how literature interacts with social life within a capitalist modernity defined by the value form and the commodity form, and how literature formalizes the structures of social life through a specifically literary logic, transforming them into something that can be read where they cannot be seen, heard, felt, or represented. This dissertation draws on Karl Marx’s thinking on the senses and the suprasensible to consider how U.S. writers of the nineteenth-century mobilized literary form to make thinkable forms of sociality that cannot be contained by the imperceptible nature of sociality under capital. As I show in this dissertation, the political economy of social life determines what can be sensed, just as what can be sensed marks the horizon of political and social possibility
Thesis (PhD) — Boston College, 2021
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Hopkins, Richard L. D. "Reggae in the Motor City: The Afropolitan Aesthetics of Reggae in Detroit, MI." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1573002146396538.

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Isaac, Rochell J. "AFRICAN HUMANISM: A PRAGMATIC PRESCRIPTION FOR FOSTERING SOCIAL JUSTICE AND POLITICAL AGENCY." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/186541.

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African American Studies
Ph.D.
This study explores an African conception of Humanism as distinct from the European model and challenges the notion that Humanism is an entirely European construct. I argue that the ideological core of Humanism originated in ancient Kemet, the basis of which frames the African worldview. Furthermore, the theoretical framework provided by the African Humanistic paradigm serves as a model for structuring inter and intra group relations, for tackling notions of difference and issues of fundamentalism, for addressing socio-economic political concerns, and finally, to shift the currents of political rhetoric from one of jouissance to a more progressive and pragmatic stance.
Temple University--Theses
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Reed, Caroliese Frink. "Aesthetic Re-Creation and Regeneration in African American Storytelling: The Works of Torrence, Goss and Alston." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/362263.

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African American Studies
Ph.D.
From the animal and trickster tales told by enslaved Africans in America to current education and performance based storytelling by contemporary African American storytellers, this study traces the aesthetics and epistemologies of the collaborative African diasporic oral expressive traditions. Through systematic analysis based on data derived from bibliographic and archival sources, interviews, and participant observation, it delineates the progression of the repertoire and content of Blackstorytelling through the lives and works of national and internationally known storytellers, Jackie Torrence, Linda Goss and Charlotte Blake Alston. Its theoretical framework is inspired by Kariamu Welsh Asante’s aesthetic senses coupled with pertinent ideas of other scholars in the field. The study demonstrates the existence of significant evidence of cultural preservation and artistic re-interpretation of the African aesthetic in Blackstorytelling. The genre comprises both traditional and contemporary expressions of African American culture. As such, it is a major component of the universal African oral continuum
Temple University--Theses
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White, Theresa Renee. "Media as pedagogy and socializing agent influences of feminine beauty aesthetics in American teen-oriented films and magazines on African American adolescent female self image /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610103761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thompson, Sheneese. "Oshun, Lemonade and Other Yellow Things: Philosophical and Empirical Inquiry into Incorporation of Afro-Atlantic Religious Iconography." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555573211820986.

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Books on the topic "African American aesthetics"

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1944-, Baer Hans A., Polk Noel, and University of Southern Mississippi, eds. Black church ritual and aesthetics. Hattiesburg: University of Southern Mississippi, 1985.

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Driskell, David C. African American visual aesthetics: A postmodernist view. Washington: Smithsonian Institution Press, 1995.

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Omry, Keren. Cross-rhythms: Jazz aesthetics in African-American literature. London: Continuum, 2008.

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Cross-rhythms: Jazz aesthetics in African-American literature. London: Continuum, 2008.

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Looking for Harlem: Urban aesthetics in African American literature. London: Pluto Press, 2000.

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Kariamu, Welsh-Asante, ed. The African aesthetic: Keeper of the traditions. Westport, Conn: Greenwood Press, 1993.

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Gabbin, Joanne V. Sterling A. Brown: Building the Black aesthetic tradition. Charlottesville: University Press of Virginia, 1994.

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Moten, Fred. In the break: The aesthetics of the Black radical tradition. Minneapolis: University of Minnesota Press, 2003.

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Shockley, Evie. Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry. Iowa City: University of Iowa Press, 2011.

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Black intellectuals, Black cognition, and a Black aesthetic. Westport, Conn: Praeger, 1997.

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Book chapters on the topic "African American aesthetics"

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Taylor, Clyde R. "Black Cinema and Aesthetics." In A Companion to African-American Philosophy, 399–406. Malden, MA, USA: Blackwell Publishing, 2007. http://dx.doi.org/10.1002/9780470751640.ch26.

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Simpson, Lorenzo C. "Critical Theory, Aesthetics, and Black Modernity." In A Companion to African-American Philosophy, 386–98. Malden, MA, USA: Blackwell Publishing, 2007. http://dx.doi.org/10.1002/9780470751640.ch25.

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Lewis-Mhoon, Abena. "Foraging Fashion: African American Influences on Cultural Aesthetics." In Soul Thieves, 61–75. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137071392_5.

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Schur, Richard. "Stomping the Blues No More? Hip Hop Aesthetics and Contemporary African American Literature." In New Essays on the African American Novel, 201–20. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1007/978-0-230-61275-4_14.

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Cooper, Preston Park. "“A Beautiful Black Butterfly”: Eastern Aesthetics and Postmodernism in Ishmael Reed’S Japanese by Spring." In Cross-Cultural Visions in African American Literature, 177–90. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119123_9.

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Uwakweh, Pauline Ada. "Mobilities as Transnational Literary Aesthetics in Adichie's Americanah." In Women Writers of the New African Diaspora, 68–85. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429296383-5.

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Thompson, Mark Christian. "Aesthetic Hygiene: Marcus Garvey, W.E.B. Du Bois, and the Work of Art." In A Companion to African American Literature, 243–53. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch16.

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Sackeyfio, Rose A. "Negotiating identity and Pan-African aesthetics in Americanah by Chimamanda Ngozi Adichie." In West African Women in the Diaspora, 53–66. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003219323-5.

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Moody, Shirley C. "Anna Julia Cooper, Charles Chesnutt, and The Hampton Folklore Society—Constructing a Black Folk Aesthetic through Folklore and Memory." In New Essays on the African American Novel, 13–32. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1007/978-0-230-61275-4_2.

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Tredell, Nicolas. "‘Hasn’t got any name’: Aesthetics, African Americans and Policemen in The Great Gatsby." In Reassessing the Twentieth-Century Canon, 27–42. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137366016_3.

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