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Journal articles on the topic 'Black writers'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Fadhil, Dhafar Jamal, and May Stephan Rezq-Allah. "Authorial Stance in Black and Blue Novel by Anna Quindlin." Al-Adab Journal 2, no. 141 (June 15, 2022): 49–62. http://dx.doi.org/10.31973/aj.v2i141.1108.

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The present study is concerned with the writer's ideologies towards violence against women. The study will focus on analyzing an English novel about violence against women so as to see to what extent writers are being affected and influenced by their genders. It also focuses on showing to what extent writer's ideologies are reflected in their works. Gender influence social groups ideologies; therefore, when a writer discusses an issue that concerns the other gender, they will be either subjective or objective depending on the degree of influence, i.e., gender has influenced their thoughts as well as behaviours. A single fact may be presented differently by different writers depending on the range of affectedness by ideologies. The study aims to uncover and reveal the hidden gender-based ideologies, by analyzing the discursive structure of a novel based on Van Dijk's model (2000) of ideology and racism. The selected novel is based on discussing violence against women. The study will later on reveal what the real writer’s gender-based ideologies is. Is the writer feminist or anti-feminist? Is he prejudiced? Is he biased?.

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2

Henderson, Mae G., Marjorie Pryse, and Hortense J. Spillers. "Black Women Writers' Right to Write." Callaloo, no. 34 (1988): 188. http://dx.doi.org/10.2307/2931122.

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3

Kuyk, Dirk, Betty M. Kuyk, and James A. Miller. "Black Culture in William Faulkner's “That Evening Sun”." Journal of American Studies 20, no. 1 (April 1986): 33–50. http://dx.doi.org/10.1017/s0021875800016327.

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When a white writer portrays a black character, racial stereotypes and literary patterns almost always reveal their power. The portraits of blacks take forms that are by now archetypal: the mammy, Stepin Fetchit, the buck, the unspoiled primitive, the member of the oppressed black proletariat…. Such forms come all too easily to white writers; but “modern realism,” as Erich Auerbach called it, comes hard. Thus, white writers can seldom present a “tragically conceived life” of a black character and set that life solidly in a black culture. In portraying blacks, white writers tend toward the sentimental, the satiric, and the didactic rather than “objective seriousness, which seeks to penetrate to the depths of the passions and entanglements of a human life, but without itself becoming moved, or at least without betraying that it is moved” (Auerbach, 457 and 490). Although William Faulkner often tumbles – and sometimes leaps – into those pitfalls, occasionally he avoids them altogether. When he does so, however, readers find his work particularly hard to understand. His story “That Evening Sun” is a case in point.

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4

Gautam, Shreedhar. "Political Consciousness in the Select Works of Chinua Achebe, Ngugi Wa Thiong’o and Richard Wright." Harvest 2, no. 1 (May 15, 2023): 87–92. http://dx.doi.org/10.3126/harvest.v2i1.54410.

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This paper introduces three writers Chinua Achebe, Ngugi Wa Thiong’o and Richard Wright to explore the socio political consciousness reflected in their select works. The first two writers come from African countries which have gone through the experience of colonialism and neo-colonialism that resulted in common social, political and economic problems. As a result, the literature that emerged from these countries has a unifying theme despite diverse sociological contexts. Richard Wright, with an African origin, is a prominent black writer from America. It is evident from wright’s writings that he writes with a political consciousness born out of his understanding of Marxism. These three writer of twentieth century display their creative talents to raise the consciousness of the suppressed people in their own countries and the world over. An effective presentation of the contemporary social as well as political problem has become the primary task of these writers, and the select works taken here serve as evidences.

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5

Comfort, Juanita Rodgers. "Becoming a Writerly Self: College Writers Engaging Black Feminist Essays." College Composition & Communication 51, no. 4 (June 1, 2000): 540–59. http://dx.doi.org/10.58680/ccc20001397.

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This article asserts that personal essays by black feminist writers such as June Jordan might be used to teach first-year and advanced student writers how to connect their personal and social identities in ways that will enhance the rhetorical impact of their writing while transcending mere “confession” or self-indulgence.

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6

C.F., Thadious M. Davis, and Trudier Harris. "Black Writers of Recent Decades." Phylon (1960-) 46, no. 4 (1985): 374. http://dx.doi.org/10.2307/274877.

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7

Thorpe, Michael, and Jane Watts. "Black Writers from South Africa." World Literature Today 64, no. 4 (1990): 689. http://dx.doi.org/10.2307/40147062.

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8

Earnshaw, Doris, and Claudia Tate. "Black Women Writers at Work." World Literature Today 59, no. 1 (1985): 98. http://dx.doi.org/10.2307/40140661.

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9

Gasster, Susan, Lilyan Kesteloot, and Ellen Conroy Kennedy. "Black Writers in Two Hemispheres." Callaloo 15, no. 4 (1992): 1093. http://dx.doi.org/10.2307/2931925.

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10

Cortez, Jayne. "Black Women Writers Visit Cuba." Black Scholar 16, no. 4 (July 1985): 61. http://dx.doi.org/10.1080/00064246.1985.11414351.

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11

Comfort, Juanita Rodgers. "Becoming a Writerly Self: College Writers Engaging Black Feminist Essays." College Composition and Communication 51, no. 4 (June 2000): 540. http://dx.doi.org/10.2307/358911.

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12

Navarro, Betsabé. "Crisscrossed Identities and Black Feminist Perspectives in Lucía Mbomío’s Novel Hija del camino (2019)." Literature 3, no. 2 (March 23, 2023): 145–58. http://dx.doi.org/10.3390/literature3020012.

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Some claim there is a lack of attention to black studies in current literary and academic fields in Spain. Even though there is an emerging wave of Afro-Spanish writers in the first quarter of the twenty-first century, many of them denounce the struggle they experienced to see their stories published and state that Afro-Spanish literature is absent from Spanish universities’ curricula. Among the recent black voices that have achieved recognition in Spain is journalist and writer Lucía Mbomío, who condemns, in her debut novel Hija del camino (2019), the traumatic experiences that black women undergo with racism and sexism in Spain. With the aim of giving representation to the literature of Afro-Spanish women writers, the present article analyzes Mbomío’s novel from the perspective of black studies, black feminism, and cultural studies.

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13

Ruby Jindal. "Reconstructing Identities: Black American Poets of Harlem Renaissance." Research Ambition an International Multidisciplinary e-Journal 7, no. III (November 30, 2022): 01–04. http://dx.doi.org/10.53724/ambition/v7n3.02.

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American literature’s 400-year history has been shaped by the rise of black writers who have often written rich and vibrant literary forms to complement American literature and culture. The goal of this paper is to present how African American literature attempted to rebuild their identities, during the Harlem Renaissance, primarily to end the negative stereotypes of black people. This was an era of unparalleled artistic achievement focused on the Harlem section of New York City by black American writers, musicians, and artists. Poets such as Langston Hughes, Claude Mc Kay, and Countee Cullen have been the most influential poets of the Harlem Renaissance period and their poetry has tried to articulate authentically the African American experience. The key purpose is to discuss how these new groups of black writers have taken a step forward to shift the deeply prejudicial image of blacks that has touched every heart.

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14

Gradert, Kenyon. "The Mayflower and the Slave Ship: Pilgrim-Puritan Origins in the Antebellum Black Imagination." MELUS 44, no. 3 (2019): 63–90. http://dx.doi.org/10.1093/melus/mlz025.

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Abstract This essay argues that antebellum black writers claimed America in part by reimagining a national rhetoric of Pilgrim-Puritan origins. Various connections have been drawn between the Puritans and early black writers, including a revised tradition of typological identification with Israel, captivity narratives, and, most frequently, the “black jeremiad.” In addition to these scholarly genealogies, black writers struggled more directly with their spiritual genealogies in an effort to reconcile a growing investment in American and Protestant identity with an emergent sense of black roots. Since Paul Gilroy, a growing number of scholars have examined the importance of origins for antebellum black writers in conversation with dominant Euro-American traditions, yet American Protestantism remains a minor presence in these studies. If early black studies of antiquity, biblical history, and European historiography, for example, were crucial to an emergent sense of black roots, they intertwined in complex ways with black writers’ investment in American Protestantism and its vision of history. Ultimately, black writers further radicalized abolitionists’ revolutionary Puritan genealogy as they made it their own, expanding this spiritual lineage to sanction fugitive slaves, black revolutionaries, and eventually the black troops of the American Civil War, imagined as the culmination of a sacred destiny that was both black and American, traceable to the Mayflower and the slave ship alike.

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15

Hankins, Rebecca. "Uncovering Black Feminist Writers 1963–90." Reference & User Services Quarterly 48, no. 3 (March 1, 2009): 270–86. http://dx.doi.org/10.5860/rusq.48n3.270.

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16

House, Jim, and Bennetta Jules-Rosette. "Black Paris: The African Writers' Landscape." Modern Language Review 94, no. 4 (October 1999): 1119. http://dx.doi.org/10.2307/3737286.

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17

Vaughan, Virginia Mason, and Mythili Kaul. "Othello: New Essays by Black Writers." Shakespeare Quarterly 51, no. 2 (2000): 255. http://dx.doi.org/10.2307/2902146.

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18

Kemedjio, Cilas, and Bennetta Jules-Rosette. "Black Paris: The African Writers' Landscape." Canadian Journal of African Studies 33, no. 1 (1999): 178. http://dx.doi.org/10.2307/486399.

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19

Rivers, Christopher, and Benetta Jules-Rosette. "Black Paris: The African Writers' Landscape." African Studies Review 42, no. 3 (December 1999): 189. http://dx.doi.org/10.2307/525271.

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20

Wall, Cheryl A., Karla F. C. Holloway, and Susan Willis. "Black Women Writers: Journeying Along Motherlines." Callaloo, no. 39 (1989): 419. http://dx.doi.org/10.2307/2931583.

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21

King, Adele, and Bennetta Jules-Rosette. "Black Paris: The African Writers' Landscape." World Literature Today 73, no. 1 (1999): 196. http://dx.doi.org/10.2307/40154634.

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22

Ferguson, Moira, Paul Edwards, and David Dabydeen. "Black Writers in Britain, 1760-1890." African American Review 31, no. 1 (1997): 134. http://dx.doi.org/10.2307/3042191.

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23

Castronovo, R. "Writers and Presidents, Black and White." Novel: A Forum on Fiction 44, no. 1 (March 1, 2011): 144–48. http://dx.doi.org/10.1215/00295132-1164491.

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24

SMITH, ANGELA. "Black Writers in Britain 1760–1890." African Affairs 92, no. 368 (July 1993): 476–77. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098655.

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25

Garcia, Claire Oberon. "Black women writers, modernism, and Paris." International Journal of Francophone Studies 14, no. 1 (May 1, 2011): 27–42. http://dx.doi.org/10.1386/ijfs.14.1-2.27_1.

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26

Ratcliff, Anthony. "“Black Writers of the World, Unite!”." Black Scholar 37, no. 4 (January 1, 2008): 27–38. http://dx.doi.org/10.1080/00064246.2008.11413419.

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27

Haskins, Jim. "Black Paris: The African Writers' Landscape:Black Paris: The African Writers' Landscape." Transforming Anthropology 10, no. 2 (July 2001): 40–41. http://dx.doi.org/10.1525/tran.2001.10.2.40.

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28

Pettis, Joyce. "Black Feminist Criticism: Perspectives on Black Women Writers. Barbara Christian." Signs: Journal of Women in Culture and Society 12, no. 1 (October 1986): 168–69. http://dx.doi.org/10.1086/494306.

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29

Rambsy, Howard. "A Prolific Black Crime Writer on the Father of Detective Stories." Poe Studies 56, no. 1 (2023): 120–25. http://dx.doi.org/10.1353/poe.2023.a909585.

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ABSTRACT: Marc Olden published nearly 40 books, including Black Samurai , which was adapted into a movie. Poe Must Die , arguably his most distinctly literary composition, expands views of African American literature as well as our understanding of how a Black writer engages Edgar Allan Poe in a work of fiction. This brief examination of the novel highlights the detection skills of two gifted writers: Poe and Olden.

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30

Manh Ha, Quan. "Trey Ellis's Platitudes: Redefining Black Voices." Ethnic Studies Review 32, no. 1 (January 1, 2009): 55–76. http://dx.doi.org/10.1525/esr.2009.32.1.55.

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Trey Ellis has emerged as a prominent African American writer of the late-twentieth century, despite the small number of his published works. “The New Black Aesthetic,” an essay that he first published in CaUaloo in 1989, one year after the publication of his first novel, Platitudes, stands as a manifesto that defines and articulates his perspective on the emerging black literary voices and culture of the time, and on “the future of African American artistic expression” in the postmodern era.1 According to Eric Lott, Ellis's novel parodies the literary and cultural conflict between such male experimental writers as lshmael Reed and such female realist writers as Alice Walker.2 Thus, Ellis's primary purpose in writing Platitudes is to redefine how African Americans should be represented in fiction, implying that neither of the dominant approaches can completely articulate late-twentieth-century black experience when practiced in isolation. In its final passages, Platitudes represents a synthesis of the two literary modes or styles, and it embodies quite fully the diversity of black cultural identities at the end of the twentieth century as it extends African American literature beyond racial issues. In this way, the novel exemplifies the literary agenda that Ellis suggests in his theoretical essay.

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31

Donalson, Melvin, Kevin Everod Quashie, Joyce Lausch, and Keith D. Miller. "New Bones: Contemporary Black Writers in America." African American Review 36, no. 1 (2002): 176. http://dx.doi.org/10.2307/2903393.

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32

Skerrett, Joseph T., and Edward Clark. "Black Writers in New England. A Bibliography." MELUS 13, no. 3/4 (1986): 110. http://dx.doi.org/10.2307/467188.

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33

Kande, Sylvie, and Christopher Winks. "Black Paris: The African Writers' Landscape (review)." MFS Modern Fiction Studies 45, no. 4 (1999): 1072–75. http://dx.doi.org/10.1353/mfs.1999.0078.

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34

Richey, Debora. "BLACK AFRICAN WOMEN WRITERS: A SELECTIVE GUIDE." Collection Building 14, no. 1 (January 1995): 23–31. http://dx.doi.org/10.1108/eb023391.

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35

Mayes, Janis Alene. "Black Paris: The African Writers' Landscape (review)." Research in African Literatures 33, no. 1 (2002): 178–80. http://dx.doi.org/10.1353/ral.2002.0025.

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36

Hernton, Calvin. "The Sexual Mountain and Black Women Writers." African American Review 50, no. 4 (2017): 723–29. http://dx.doi.org/10.1353/afa.2017.0126.

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37

Francis, Terri. "Black Paris: The African Writers' Landscape (review)." Modernism/modernity 6, no. 3 (1999): 166–68. http://dx.doi.org/10.1353/mod.1999.0026.

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38

Hernton, Calvin. "The Sexual Mountain and Black Women Writers." Black Scholar 16, no. 4 (July 1985): 2–11. http://dx.doi.org/10.1080/00064246.1985.11414346.

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39

Toomer, Jet. "Some Black Loneliness." Massachusetts Review 64, no. 4 (December 2023): 183–95. http://dx.doi.org/10.1353/mar.2023.a914916.

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40

V, Dhanuja. "K. Rajanarayanan's Short Stories are a Way Out of the Habits of the Karisal People." International Research Journal of Tamil 4, S-4 (July 10, 2022): 77–80. http://dx.doi.org/10.34256/irjt22s413.

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Karisal Region is a rainfed land with black soil. The name Karisal region has emerged on the basis of the nature of the soil. The sky-facing landscape of Kovilpatti block of Nellai district is known as Karisal Seema and Karisal Forest. The writers of this soil are karisal writers. One of them was K.R. The people of this soil are hard working people who live in the earth dry, wet in mind, dirty, tongue clean(trust), hip dhoti black, and pale. K.R. has recorded their lives in karisal language in their dialects, as they are with faith and rituals. This article represents them.

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41

Gore, D. F. "Black Internationalist Feminism: Women Writers of the Black Left, 1945-1995." Journal of American History 99, no. 4 (February 15, 2013): 1309–10. http://dx.doi.org/10.1093/jahist/jas658.

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42

Hosseiny, Sediqeh, and Ensieh Shabanirad. "A Du Boisian Reading of The Bluest Eye by Toni Morrison." International Letters of Social and Humanistic Sciences 60 (September 2015): 121–27. http://dx.doi.org/10.18052/www.scipress.com/ilshs.60.121.

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Due to the color of their skins, Blacks were always subject to different types of disrespect and insecurity in their society. Among different groups of people, writers and critics knew it as their responsibility to act as Black people’s voice and talk on behalf of them, as these people were labeled as ‘The Other’ by the Whites. Du Bios created a kind of new trend of dealing with African-American culture by innovating the concept known as “double consciousness”, and arguing that these black people were trapped between dual personalities. As an American writer, Toni Morrison carried this specific burden upon her shoulders to reveal all those oppressions Blacks had to bear in their life, like what she depicted in the novel The Bluest Eyewith portrayal of the main black character Pecolla who is being blamed for the color of her skin. This article intends to elaborate some inherent postcolonial traces in Toni Morrison’s outstanding novel The Bluest Eye and examine how European power and white people were dominating the whole system of the society and what kind of regretful complications Blacks had to endure, and at the same time working on how Du Bois’s concept of double consciousness can be analyzed in black characters.

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43

De Araújo, Flávia Santos. "“bein alive & bein a woman & bein colored”: The Metaphysical Dilemma in Ntozake Shange, Sherley Anne Williams, and Toni Morrison." Revista Ártemis 24, no. 1 (January 12, 2018): 12. http://dx.doi.org/10.22478/ufpb.1807-8214.2017v24n1.37728.

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This essay is an analysis of three literary works by black women writers from the U.S.: Ntozake Shange’s For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf, Sherley Ann Williams’ novel Dessa Rose, and Toni Morrison’s novel Beloved. In my analysis, I use Shange’s trope of the “methaphysical dilemma” to consider the intersections of gender, race, and sexuality in these writers’ textual representations of black women’s bodies. Writing against a historical legacy of colonialism and domination that defined black bodies as “primitive” or “unbridled” (bell hooks 1991), I argue that these works illustrate some of the artistic/literary strategies contemporary black women writers use to re-claim the power of voice/voicing as they depict black women’s subjectivities as unfinished, complex, but self-fashioned creations.

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44

Yuan, Bin. "Struggle and Survival in Cultural Clash: A Case Study of Pecola in The Bluest Eye." English Language and Literature Studies 8, no. 1 (February 8, 2018): 104. http://dx.doi.org/10.5539/ells.v8n1p104.

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Toni Morrison is not only one of the Afro-American writers who focus on the clash between black culture and the white mainstream culture in the United States as well as the marginalized existence of the blacks, but more importantly a unique Afro-American woman writer who goes beyond the simplistic dichotomies of the black male literary tradition and explores the root of the tragedy of the blacks in the mainstream society. Based on textual analysis of her first novel The Bluest Eye and a case study of Pecola, a main character in this novel and actually a victim and scapegoat, this paper, with the painful truth that Pecola’s tragedy results not just from the denial and rejection of the mainstream society, but more significantly, from the blind identification of some blacks in the mainstream culture, and their incompetence to cherish their own culture and identity, aims at exploring hope in the tragic story, and suggesting how blacks can struggle to survive so as to extend their heritage and values.

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45

Obszyński, Michał. "Autour des congrès des écrivains et artistes noirs et des festivals panafricains – entretien avec Sarah Frioux-Salgas." Cahiers ERTA, no. 35 (September 30, 2023): 125–48. http://dx.doi.org/10.4467/23538953ce.23.027.18477.

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Black Writers’ and Artists’ Congresses and Pan-African Festivals - values and issues of intellectual debates and artistic events from the 1950s to today - interview with Sarah Frioux-Salgas Focusing on the major intellectual debates surrounding the Black and African Renaissance, the interview with Sarah Frioux-Salgas, head of archives and collections’ resources at the Musée du quai Branly-Jacques Chirac media library, covers topics such as the role of Black writers’ and artists’ congresses and art festivals in the cultural reaffirmation of Black people during the decolonization era of the 1950s-60s, the place of literature in the shaping of Black pan-African and transcontinental solidarity, the figure of the Black intellectual, particularly that of Léopold Sédar Senghor, and the networks of ideological affinities and antagonisms formed by Black writers, artists and activists. The interview aims to highlight the complexity of the socio-political and aesthetic issues at stake, all too often summed up in simplified definitions of projects such as negritude or Pan-Africanism.

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46

Shrivastava, Dr Ku Richa. "Black Feminism as a Literary Tradition." SMART MOVES JOURNAL IJELLH 7, no. 8 (July 27, 2019): 13. http://dx.doi.org/10.24113/ijellh.v7i8.9277.

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The research paper posits to detail the black literary tradition.When the American art is viewed as a whole, the contribution of blacks is found in a miniature fraction, if we exclude their folk tradition of melody and dances. Merely, three generations have been passed of blacks’ early years. The black literary tradition has immediately passed its immaturity. At first, the silent era subsequent to slavery has existed. Folk tales and music inform readers about these black writers and artists who have lived and died. African - American literature has propagated the fact that blacks have been repressed. They resisted against relentless repression. After reconstruction period black lips became verbal. This new black man took two to three generations to expand his inspirations and contemplations to correspond to his own sentiments. Those black male authors have no evidence to converse for blacks who took three quarters of a century (75 years) to visible them in a literary tradition. Black women voices have been suppressed in context of black women’s literature and black cultural tradition. African - American women have been excluded from western writings in historical period. Both African American men and White men have denied African - American women a platform in literary tradition. Reading text has influenced African - American women to raise voice against racism. The institutional practices of racism by white patriarchal power structure have rebuffed to acknowledge black women historically. The racism and gender oppression practiced against black women persuaded them to write with reference to the perspectives of black women. After 1960’s, the black writings flourished. In Reading Black Reading Feminist a Critical Anthology (1990) edited by Henry Louis Gates, states expression of Anna Julia Cooper. She lays emphasis on recognition of black women literary tradition was in need to claim authority. Since 1970, with the publication of literary artifacts of African tradition, black women have come in the vanguard of African - American literary tradition. Several Black women writers works are studied and intertwined into a literary tradition like, Anna Julia Cooper, Zora Neale Hurston, Barbara Christian, Alice Walker, Patricia Hills Collins, Bell Hooks and Angela Y. Davis. Social animosities have been made between black women and black men with black women’s success of literary tradition and black men sexism towards them.

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47

Knapp, Bettina L., and Mari Evans. "Black Women Writers (1950-1980): A Critical Study." World Literature Today 59, no. 1 (1985): 98. http://dx.doi.org/10.2307/40140660.

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48

Fortune, Cornelius. "Black Writers MatterWhitneyFrench. University of Regina Press, 2019." Journal of American Culture 45, no. 1 (March 2022): 98–99. http://dx.doi.org/10.1111/jacc.13309.

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49

Parker, Kenneth. "Writing Dis Location: Black Writers and Postcolonial Britain." Social Identities 4, no. 2 (March 1998): 177–99. http://dx.doi.org/10.1080/13504639851799.

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50

Walder, Dennis. "South African Writers, Apartheid and the Black Diaspora." Journal of Southern African Studies 43, no. 5 (July 21, 2017): 1110–11. http://dx.doi.org/10.1080/03057070.2017.1354456.

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