Relevant bibliographies by topics / African american women poets – biography

Academic literature on the topic 'African american women poets – biography'

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Published: 26 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "African american women poets – biography"

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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (September 21, 2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.

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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.
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Kemp, Melissa Prunty. "African American Women Poets, the Harlem Renaissance, and Modernism: An Apology." Callaloo 36, no. 3 (2013): 789–801. http://dx.doi.org/10.1353/cal.2013.0172.

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Hagood, T. "Inventing Black Women: African American Women Poets and Self-Representation, 1877-2000; Writing the Roaming Subject: The Biotext in Canadian Literature." American Literature 80, no. 2 (January 1, 2008): 425–26. http://dx.doi.org/10.1215/00029831-2008-015.

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Werbanowska, Marta. "Ecojustice Poetry in The BreakBeat Poets Anthologies." Ecozon@: European Journal of Literature, Culture and Environment 13, no. 1 (April 28, 2022): 89–105. http://dx.doi.org/10.37536/ecozona.2022.13.1.4421.

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Ecological modes of thinking and an awareness of environmental (in)justice are becoming increasingly pronounced in the ethics and aesthetics of hip hop. One area in which the culture’s growing interest in ecology as practice and metaphor is particularly visible is hip hop poetry’s turn to ecojustice, or an intersectional concern with social and environmental justice, liberation, diversity, and sustainability. This article examines selected works from the first two volumes of anthologies published by Haymarket Books as part of their BreakBeat Poets series, focusing on three ecojustice-oriented poems that address animal rights, (un)natural disasters, and gentrification. Their authors–all Black women– draw from African American history and culture to illuminate the intertwined ideological, political, and economic dimensions of some of the most pressing humanitarian and environmental crises of today. Samantha Thornhill’s “Ode to a Killer Whale” takes the form of a poetic monologue by the fictional character of Kunta Kinte, revealing similarities between human and animal subjugation and inscribing animal liberation in the Black revolutionary tradition. Candace G. Wiley’s “Parcel Map for the County Assessor” re-members and re-creates a culture of place that permeated the speaker’s countryside childhood to present the larger-than-human cost of rural gentrification. Finally, Mariahadessa Ekere Tallie’s “Global Warming Blues” juxtaposes the personal and the elemental dimensions of climate change in a blues remix that advocates for ecojustice for the disenfranchised.
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Rosenblatt, Eli. "A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race." Slavic Review 80, no. 2 (2021): 280–89. http://dx.doi.org/10.1017/slr.2021.79.

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This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discourse about race and racism, the writings of James Weldon Johnson and W.E.B. Du Bois, with whom Magidoff corresponded, and the Yiddish modernist poetry of Shmuel Halkin, who edited the book series in which the anthology appears. When placed alongside Du Bois's and others’ visits to the Soviet Union in the 1930s, the appearance of African-American and Caribbean poetry in Yiddish translation shows how a transatlantic Jewish avant-garde interpreted and embedded itself within Soviet-African-American cultural exchange in the interwar years. Magidoff served as a Soviet correspondent for NBC and the Associated Press from 1935. He was accused of espionage and expelled from the USSR in 1948.
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Chybowski, Julia J. "Becoming the “Black Swan” in Mid-Nineteenth-Century America:." Journal of the American Musicological Society 67, no. 1 (2014): 125–65. http://dx.doi.org/10.1525/jams.2014.67.1.125.

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Elizabeth Taylor Greenfield was first in a lineage of African American women vocalists to earn national and international acclaim. Born into slavery in Mississippi, she grew up in Philadelphia and launched her first North American concert tour from upstate New York in 1851. Hailed as the “Black Swan” by newspapermen involved in her debut, the soubriquet prefigured a complicated reception of her musical performances. As an African American musician with slavery in her past, she sang what many Americans understood to be “white” music (opera arias, sentimental parlor song, ballads of British Isles, and hymns) from the stages graced by touring European prima donnas on other nights, with ability to sing in a low vocal range that some heard as more typical of men than women. As reviewers and audiences combined fragments of her biography with first-hand experiences of her concerts, they struggled to make the “Black Swan” sobriquet meaningful and the transgressions she represented understandable. Greenfield's musical performances, along with audience expectations and the processes of patronage, management, and newspaper discourse complicated perceived cultural boundaries of race, gender, and class. The implications of E. T. Greenfield's story for antebellum cultural politics and for later generations of singers are profound.
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Núñez-Puente, Carolina. "Women’s Poetry that Heals across Borders: A Trans-American Reading of the Body, Sexuality, and Love." Feminismo/s, no. 37 (January 21, 2021): 333. http://dx.doi.org/10.14198/fem.2021.37.14.

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Drawing on the idea of literature as healing (Wilentz), this article examines the anti-dualistic restoring defense of the body, sexuality, and love in Angelou (African American), Cisneros (Chicana), and Peri Rossi (Uruguayan Spanish). My trans-American comparative reading seeks to transcend frontiers and join the poets’ efforts to demolish racist, (hetero) sexist, and other prejudices. The authors insist on the body and emotions as providing reliable sources of knowledge; they propose that women can cure themselves by loving their bodies, poetry can close up the wounds of sexist violence, and respect for lesboeroticism can heal intolerant communities. While celebrating the female, the poetic personae embrace non-binary positions that defy sexual and gender stereotypes; moreover, their poems’ cross-cultural and multi-tonal dimension functions as a bridge among people. In sum, the poetry of Angelou, Cisneros, and Peri Rossi has the power to cross borders and heal the world.
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Pinto, Samantha, and Jewel Pereyra. "The Wake and the Work of Culture: Memorialization Practices in Post-Katrina Black Feminist Poetics." MELUS 44, no. 3 (2019): 1–20. http://dx.doi.org/10.1093/melus/mlz033.

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Abstract Hurricane Katrina has come to represent a nexus of natural, infrastructural, and ethical failures that forced a moment and perhaps an era of public reckoning with the ongoing processes of black disenfranchisement from US state protections and rights. Poetry about Katrina both promises and is asked bear witness to this spectacular, violent show of force and to manage public and political appetites for recognition and remembrance through its ability to merge the material and the abstract in linguistic form. This cultural imperative stands as both opportunity and limit for black artists and poets, as they are expected to weigh in exclusively on the fates of black life, historical and present, and are frequently only given accolades and earn readership when they accede to this demand to represent the spectacle of Blackness in pain. In this article, we consider the Katrina-focused work of two prominent African American women poets, Claudia Rankine and Natasha Trethewey, arguing that they engage in innovative practices of poetic memorialization, performing black feminist “wake work” in their insistence on the long-standing, porous boundaries between black life and death, black expressive creation and precarity, and black material history and the present. Their work in Citizen: An American Lyric (2014) and in Beyond Katrina: A Meditation on the Mississippi Gulf Coast (2010) refashions the perverse poetic “opportunity” of Katrina as a moment to reframe black life and black cultural production both through and beyond the immediate temporality of disaster.
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Dudley, Rachel. "The Role of Feminist Health Humanities Scholarship and Black Women’s Artistry in Re-Shaping the Origin Narrative of Modern, U.S. Gynecology." Humanities 10, no. 1 (March 23, 2021): 58. http://dx.doi.org/10.3390/h10010058.

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Between 1845–1849, twelve enslaved women in Montgomery, Alabama lived through prolonged, gynecologic experimentation at the hands of Dr. James Marion Sims. What happened, in his 16-bed backyard hospital, often begins the origin narrative of modern U.S. gynecology and how it developed into a discrete and international, Western, scientific field of medicine. Sims autobiography references three of these women, by their first names only: Anarcha, Lucy and Betsey. The research questions here are: what more can be known about these women’s lives, their possible social networks and their cultural legacies? Further, what changes if the origin narrative of modern, U.S. gynecology begins with feminist health humanities scholarship and in the pages of black women’s artistry? I discuss original research findings, involving the following primary source: an 1841 property deed, mentioning the first names of 7 other enslaved people owned by Sims. I, then, examine cotemporary U.S. feminist scholarly writing and artistic cultural representations, centering the lives of the women as important historical figures. Last, I conceptualize the notion of poetic ancestral witnessing within the work of the following three, twenty-first century, African American, poets: Bettina Judd, Dominique Christina and Kwoya Fagin Maples. These women published poetry collections on this history, between 2014 and 2018.
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Stewart, Maria W., and Eric Gardner. "Two Texts on Children and Christian Education." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 156–65. http://dx.doi.org/10.1632/pmla.2008.123.1.156.

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The known biography of the early african american writer and lecturer Maria W. Stewart (1803–79) is as brief as it is fascinating. After the childhood loss of her parents, she married James W. Stewart, a Boston shipping agent, in 1826. The Stewarts had close ties with the black radical David Walker, whose fiery 1829 Appeal kindled fears of slave rebellion and was in its third edition when Walker died under suspicious circumstances in August 1830. After James Stewart's own untimely death, in December 1829, his executors swindled Maria Stewart out of her inheritance, and she turned to the church and to writing and lecturing. Revising Walker's combination of jeremiad and Enlightenment-influenced political argument to reflect her own sense of faith, racism and racial uplift, and gender politics, Stewart became one of the first American women to address “promiscuous” audiences. She published a series of probing meditations as well as a set of her lectures—texts still startling for their power and bluntness—in pamphlets and, later, as Productions of Mrs, Maria Stewart (1835).
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Dissertations / Theses on the topic "African american women poets – biography"

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Best, Felton O. "Crossing the color line : a biography of Paul Laurence Dunbar, 1872-1906 /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1249488861.

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Dowd, Ann Karen. "Elizabeth Bishop: her Nova Scotian origins and the portable culture of home." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.

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Bell, Monita Kaye Wyss Hilary E. "Getting hair "fixed" Black Power, transvaluation, and hair politics /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/English/Thesis/Bell_Monita_45.pdf.

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Walch, Barbara Hunter. "Sallye B. Mathis and Mary L. Singleton: Black pioneers on the Jacksonville, Florida, City Council." UNF Digital Commons, 1988. https://digitalcommons.unf.edu/etd/704.

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In 1967 Sallye Brooks Mathis and Mary Littlejohn Singleton were elected the first blacks in sixty years, and the first women ever, to the city council of Jacksonville, Florida. These two women had been raised in Jacksonville in a black community which, in spite of racial discrimination and segregation since the Civil War, had demonstrated positive leadership and cooperative action as it developed its own organizations and maintained a thriving civic life. Jacksonville blacks participated in politics when allowed to do so and initiated several economic boycotts and court suits to resist racial segregation. Black women played an important part in these activities--occasionally in visible leadership roles. As adults, Sallye Mathis and Mary Singleton· participated as educators, family members and leaders in various community efforts. Both had developed wide contacts and were respected among many blacks and whites. Mary Singleton had learned about politics as the wife of a respected black politician, and Sallye Mathis became a leader in the civil rights struggles of the 1960s in Jacksonville. In 1967, a governmental reform movement in Duval County, a softening of negative racial attitudes, and perhaps their being female aided their victories. While Sallye Mathis remained on the Jacksonville City Council for fifteen years until her death in 1982, Mary Singleton served in the Florida House of Representatives from 1972 to 1976--the third black in the twentieth century and the first woman from Northeast Florida. From 1976 to 1978 she was appointed director of the Florida Division of Elections and in 1978 she campaigned unsuccessfully for Lt. Governor of Florida. As government officials, Sallye Mathis and Mary Singleton emphasized the needs of low-income people and were advocates for black interests when they felt it was necessary. They were active as volunteers in numerous other community organizations and projects to further their goals. PALMM
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Stanford-Randle, Greer Charlotte PhD. "The Enigmatic "Cross-Over" Leadership Life of Dr. Mary McLeod Bethune (1875-1955)." Antioch University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1510931464259225.

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Ferguson, Janice Y. "Anna Julia Cooper: A Quintessential Leader." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1420567813.

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Jordan, Cheryl D. "Stories of Resistance: Black Women Corporate Executives Opposing Gendered (Everyday) Racism." Antioch University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1312461227.

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Roddy, Rhonda Kay. "In search of the self: An analysis of Incidents in the life of a slave girl by Harriet Ann Jacobs." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2262.

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In her bibliography, Incidents in the life of a Salve Girl, Harriet Ann Jacobs appropriates the autobiographical "I" in order to tell her own story of slavery and talk back to the dominant culture that enslaves her. Through analysis and explication of the text, this thesis examines Jacobs' rhetorical and psyshological evolution from slave to self as she struggles against patriarchal power that would rob her of her identity as well as her freedom. Included in the discussion is an analysis of the concept of self in western plilosophy, an overview of american autobiography prior to the publication of Jacobs' narrative, a discussion of the history of the slave narrative as a genre, and a discussion of the history of Jacobs' narrative.
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Jerrey, Lento Mzukisi. "A critical investigation to the concept of the double consciousness in selected African-American autobiographies." Thesis, 2015. http://hdl.handle.net/10500/19665.

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The study critically investigated the concept of ―Double Consciousness‖ in selected African-American autobiographies. In view of the latter, W.E.B. Du Bois defined double consciousness as a condition of being both black and American which he perceived as the reason black people were/are being discriminated in America. The study demonstrated that creative works such as Harriet Jacobs‘ Incidents in the Life of Slave Girl: Told by Herself, Frederick Douglass‘ The Narrative of Frederick Douglass, W.E.B. Du Bois‘ The Souls of Black Folk, Booker T. Washington‘s Up from Slavery, Langston Hughes‘ The Big Sea, Zora Neale Hurston Dust Tracks on a Road, Malcolm X‘s The Autobiography of Malcolm X, Maya Angelou‘s All God’s Children Need Travelling Shoes, Cornel West‘s Brother West: Living and Loving Out Loud and bell hooks‘ Bone Black affirm double consciousness as well as critiqued the concept, revealing new layers of identities and contested sites of struggle in African-American society. The study used a qualitative method to analyse and argue that there are ideological shifts that manifest in the creative representation of the idea of double consciousness since slavery. Some relevant critical voices were used to support, complicate and question the notion of double consciousness as represented in selected autobiographies. The study argued that there are many identities in the African-American communities which need attention equal to that of race. The study further argued that double consciousness has been modified and by virtue of this, authors suggested multiple forms of consciousness.
English Studies
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Books on the topic "African american women poets – biography"

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Salisbury, Cynthia. Phillis Wheatley: Legendary African-American poet. Berkeley Heights, NJ: Enslow Publishers, 2001.

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Kent, Deborah. Phillis Wheatley: First published African-American poet. Chanhassen, Minn: Child's World, 2004.

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Phillis Wheatley: A revolutionary poet. New York: PowerPlus Books, 2003.

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Richmond, M. A. Phillis Wheatley. New York: Chelsea House Publishers, 1987.

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Hill, Christine M. Gwendolyn Brooks: "Poetry Is Life Distilled". Berkeley Heights, USA: Enslow Publishers, 2005.

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Wheeler, Jill C. Gwendolyn Brooks. Edina, Minn: Abdo & Daughters, 1997.

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Grimes, Nikki. Out of the dark. Katonah, N.Y: Richard C. Owen Publishers, Inc., 2009.

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Rhynes, Martha E. Gwendolyn Brooks: Poet from Chicago. Greensboro, N.C: Morgan Reynolds Pub., 2003.

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ill, Young Mary O'Keefe, ed. Revolutionary poet: A story about Phillis Wheatley. Minneapolis: Carolrhoda Books, 1997.

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Harold, Bloom, ed. Gwendolyn Brooks. Philadelphia: Chelsea House Publishers, 2005.

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Book chapters on the topic "African american women poets – biography"

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"Outlaw Women and Toni Morrison's Communities." In Black Lives: Essays in African American Biography, 83–99. Routledge, 2015. http://dx.doi.org/10.4324/9781315706085-15.

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Brown, Jeannette. "The Reason for This Book and Why These Women Were Chosen." In African American Women Chemists. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199742882.003.0004.

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Many people have studied the history of African American women chemists, but the information is scattered in many references, articles, and trade books. Until now, there was no one place where one could access extensive information about these women. This book is a compilation of all the references to date about the lives of these women; the chapters include a brief biography of each woman, with citations to the published information. The back matter provides a list of references. Not all of the women that I have written about are primarily researchers; some of them chose to be educators or businesspeople. My selection includes women pioneers—women who were the first to enter the field and receive a degree in chemistry, biochemistry, or chemical engineering. Some of these women were able to work as chemists before obtaining an advanced degree in chemistry. They later chose to pursue the PhD degree when major colleges and university allowed all students, regardless of race, to study. Some of the women chose not to pursue PhD degrees, ending their education with an MS degree. I extended my research to try to find the earliest women to pursue chemistry after the Civil War. It was difficult to find such early documents; however, I have not stopped searching. The first woman in this book, Josephine Silone Yates, was born into a family of free blacks in the north in 1852, before the Civil War. The next woman, Bebee Steven Lynk, was born in Mason, Tennessee in 1872 but not much is known about her early life. Alice Ball was born in 1896 into a family of free blacks in Seattle. These women, who were born in the nineteenth century, studied chemistry. Only one obtained an advanced degree: a PhC, which may have been a two-year degree. Josephine Silone Yates is reputed to have obtained a master’s degree. Most of the women in this book were, as the expression is used today, “nerds.” They were outstanding students in school.
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Leonard, Keith D. "African American women poets and the power of the word." In The Cambridge Companion to African American Women's Literature, 168–86. Cambridge University Press, 2009. http://dx.doi.org/10.1017/ccol9780521858885.010.

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"Ornate absences and rhetorical acts: The scholarly reception of elegies by Black and African American women poets." In Radical Elegies. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350236097.ch-1.

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Miller, Nina. "“The New (and Newer) Negro (es)” Generational Conflict in the Harlem Renaissance." In Making Love Modern, 143–79. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116045.003.0007.

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Abstract The Dictionary of Literary Biography names Gwendolyn Bennett “one of the more active and promising authors of the New Negro movement” and Helene Johnson, “one of the youngest and brightest of the Harlem Renaissance poets.” Gloria T. Hull has likewise identified Bennett and Johnson as “the stellar poets of the (Harlem Renaissance] younger generation.”1 Yet for scholars and readers generally, it is Zora Neale Hurston who has come to define Harlem Renaissance women’s writing, despite the fact that her work (though invaluable) is more idiosyncratic than representative of the renaissance literary matrix. Ann duCille has argued recently that African American literary criticism itself has come under the spell of what she calls “Hurston­ ism,” “the utopian trend in contemporary cultural criticism that readily reads resistance in such privileged, so-called authentically black discourses as ... the folkloric fiction of Zora Neale Hurston, while denigrating other cultural forms for their perceived adherence to and promotion of traditional (white) values.”2 While duCille is concerned with the larger question of African American literary value, I would like to propose that an understanding of women’s writing in the context of the Harlem Renaissance in particular might also fruitfully put Hurston aside in favor of Bennett and Johnson.
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Miller, Nina. "“Our Younger Negro (Women) Artists’’ Gwendolyn Bennett and Helene Johnson." In Making Love Modern, 209–41. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116045.003.0009.

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Abstract In introducing her valuable 1989 anthology, Shadowed Dreams: Women’s Poetry of the Harlem Renaissance, Maureen Honey explores the reasons for Romantic poetry’s evident aptness to the literary expression of African American women in the 1920s. After noting the largely forgotten fact that nearly as many poems by women as by men appeared in Crisis and Opportunity in the renaissance years-and to good critical response-Honey asserts that women’s embrace of an apparently white-identified aesthetics, and of such apolitical subjects as love and nature, was, in fact, a conscious refutation of black inferiority. Taking inspiration from the English Roman­ tics, renaissance women saw nature as a source of value in an acquisitive and industrialized white world, and the passion of love as elevating-in particular, as defying the slave-holding society’s assault on black emotional bonds. Drawing simultaneously on their peculiarly modernist faith in the power of art, women poets (like their male counterparts) believed that art would bridge the divided races and force a recognition of black worth.’ Gloria T. Hull’s Color, Sex, and Poetry-the 1987 study that launched the current wave of interest in renaissance women writers-takes a more materialist approach to this question of genre. Hull points out that “lyric poetry has long been considered the proper genre for women,” and, accordingly, the women of the renaissance “both kept themselves and were kept in their lyric sphere.”2
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Keller, Morton, and Phyllis Keller. "“Lesser Breeds”." In Making Harvard Modern. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195144574.003.0008.

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When Conant became president, Harvard College students were male, almost all white, primarily Unitarian, Congregationalist, or Episcopalian in religion, predominantly from New England. Brahmin Harvard sought to restrict the number of Jewish students and faculty; indeed, that issue often was the outlet for opposition to the effort to make Harvard a more meritocratic university. Even more pervasive was the desire to shield Harvard men and Radcliffe women from the perils of coeducation. Catholics were scant, but for different reasons: hostility to godless Harvard in Catholic churches and schools kept their numbers small during the 1920s and 1930s. As for African Americans, there were so few that it was safe to accept (if not to welcome) them—if they met academic standards for admission and had the money to pay for their education. Under Eliot’s benign lead, turn-of-the-century Harvard was more receptive to Jewish students than were other Eastern universities. Undergraduates from well-off German-Jewish families combined with a growing number of commuters from the Boston area to become a substantial presence. By the early 1920s, an estimated 20 to 25 percent of the undergraduate student body was Jewish. This was cause for concern by alumni, faculty, and not least President Lowell. In 1922 he proposed a formal Jewish quota of 12 percent. This was the limiting device traditionally used in European universities, now much in the American public mind because of the movement for quota-based immigration restriction laws. Harvard historian Samuel Eliot Morison, looking back on the controversy fifty years later, ascribed the emotional strength of the Jewish reaction to the fact that Lowell’s 12 percent quota was the same as the numerus clausus of the Russian imperial universities. Lowell’s biography, published in 1948, rather laboriously tried to exonerate him: “the poor, hard-working student, native-born or immigrant, Gentile or Jew, white or black, never had a warmer friend, although many excellent persons criticized at times his way of showing friendship.” But it is clear that Lowell shared in full measure the prejudices of his caste. Jews, he thought, lowered the moral tone of the College.
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