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Relevant bibliographies by topics / Jessie HARLEY

Academic literature on the topic 'Jessie HARLEY'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Jessie HARLEY"

1

O'Neill, William L., Jessie Lloyd O'Connor, and Susan M. Bowler. "Harvey and Jessie: A Couple of Radicals." Journal of American History 76, no. 1 (June 1989): 290. http://dx.doi.org/10.2307/1908449.

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Leier, Mark, Jessie Lloyd O'Connor, Harvey O'Connor, and Susan M. Bowler. "Harvey and Jessie: A Couple of Radicals." Labour / Le Travail 26 (1990): 209. http://dx.doi.org/10.2307/25143446.

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Martin, Tom, Jessie Lloyd O'Connor, Harvey O'Connor, and Susan M. Bowler. "Harvey and Jessie: A Couple of Radicals." Antioch Review 47, no. 3 (1989): 365. http://dx.doi.org/10.2307/4612087.

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Miyakawa, Felicia M. "‘Jazz at Night and the Classics in the Morning’: musical double-consciousness in short fiction by Langston Hughes." Popular Music 24, no. 2 (May 2005): 273–78. http://dx.doi.org/10.1017/s0261143005000498.

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Leaders of the Harlem Renaissance – intellectuals such as Jessie Faucet, Alain Locke, James Weldon Johnson and W.E.B. DuBois – hoped to gain respect for African Americans through participation in emblems of high culture such as poetry, novels, serious plays, and the highest of all classical music genres: the symphony.1 They encouraged artists to mine folk themes for use in new, elevating works, transforming ‘indigenous’ materials into uplifting examples of high cultural resonance. Artists themselves, however, were ambivalent about privileging ‘high’ art, and especially so when making and writing about music. Indeed, as Samuel Floyd has argued, the most vibrant music to come out of the Harlem Renaissance took the form of blues, boogie woogie, and hot jazz, found in venues such as clubs, juke joints, rent parties, and stage shows (Floyd 1990, pp. 5–6).

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Granier, Bruno. "Discussion on some previous records of Involutina hungarica (Sidó, 1952). Revision of the Jesse Harlan Johnson Collection. Part 6." Carnets de géologie (Notebooks on geology) 2019, no. 20 (2019): 445–55. http://dx.doi.org/10.4267/2042/70638.

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Fatmawati, Desy Eka. "Racial Passing Practiced by Mulattoes: A New Historicist Reading of Nella Larsen’s Passing and Jessie Fauset’s Plum Bun”." Rubikon : Journal of Transnational American Studies 4, no. 2 (July 19, 2019): 95. http://dx.doi.org/10.22146/rubikon.v4i2.47881.

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Racial passing practice is the act of passing or disguising as white by mulattoes, and it became a phenomenon during Harlem Renaissance. Harlem Renaissance is an era when African American culture related to arts, literature, and music were greatly celebrated. This era can also be said as the most glamorous and happiest moment for African Americans since the antebellum era. Using two of the prominent racial passing narratives during Harlem Renaissance: Passing by Nella Larsen and Plum Bun by Jessie Fauset, this research aims to find the depiction of racial passing practice in the two narratives in order to get deeper understanding of the issue. This research is under American Studies paradigm of Post-nationalist to take into account the minorities’ perspective in understanding America. The minorities’ perspective in this context is from African American’s mixed raced descents (mulattoes). As the focus of this research is historical phenomenon, this research also applies New Historicism as an approach. Based on the analysis, racial passing practice was a reaction from white’s domination through Jim Crow laws, and African Americans considered racial passing practice as a form of both “fooling the white folks” and a betrayal to their “true people”. Keywords: Racial Passing, Mulattoes, Harlem Renaissance, Jim Crow, New Historicism

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Garcia, Claire. "“For a few days we would be residents in Africa”: Jessie Redmon Fausct's “Dark Algiers the White”." Ethnic Studies Review 30, no. 1 (January 1, 2007): 103–14. http://dx.doi.org/10.1525/esr.2007.30.1.103.

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American scholarship on the Harlem Renaissance has, until recently, been strongly U.S.-centric, but the work of many of the important writers of the New Negro-era has an international dimension, as writers attempted to place the African American struggle for political and civil rights and cultural authority in larger, often global, contexts. Recent scholarship has revealed that the term, “Harlem Renaissance,” used as a rubric to characterize the flowering of black culture-building and political activism in the first years of the 20th century is something of a misnomer.

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Wheeler, Belinda. "Gwendolyn Bennett's “The Ebony Flute”." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 744–55. http://dx.doi.org/10.1632/pmla.2013.128.3.744.

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IntroductionGwendolyn Bennett (1902-81) is often mentioned in books that discuss the harlem renaissance, and some of her poems Occasionally appear in poetry anthologies; but much of her career has been overlooked. Along with many of her friends, including Jessie Redmond Fauset, Langston Hughes, and Countee Cullen, Bennett was featured at the National Urban League's Civic Club Dinner in March 1924, an event that would later be “widely hailed as a ‘coming out party’ for young black artists, writers, and intellectuals whose work would come to define the Harlem Renaissance” (McHenry 383n100). In the next five years Bennett published over forty poems, short stories, and reviews in leading African American magazines and anthologies, such as Cullen's Caroling Dusk (1927) and William Stanley Braithwaite's Anthology of Magazine Verse for 1927; she created magazine cover art that adorned two leading African American periodicals, the National Association for the Advancement of Colored People's Crisis: A Record of the Darker Races and the National Urban League's Opportunity: Journal of Negro Life; she worked as an editor or assistant editor of several magazines, including Opportunity, Black Opals, and Fire!; and she wrote a renowned literary column, “The Ebony Flute.” Many scholars, such as Cary Wintz, Abby Arthur Johnson and Ronald Maberry Johnson, and Elizabeth McHenry, recognized the importance of Bennett's column to the Harlem Renaissance in their respective studies, but their emphasis on a larger Harlem Renaissance discussion did not afford a detailed examination of her column.

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Way, Elizabeth. "Dressing to Pass during the Harlem Renaissance: Fashion in the Novels of Jessie Redmon Fauset and Nella Larsen." Fashion Theory 24, no. 4 (April 1, 2020): 535–66. http://dx.doi.org/10.1080/1362704x.2020.1746506.

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Meredith Goldsmith. "Jessie Fauset's Not-So-New Negro Womanhood: The Harlem Renaissance, the Long Nineteenth Century, and Legacies of Feminine Representation." Legacy 32, no. 2 (2015): 258. http://dx.doi.org/10.5250/legacy.32.2.0258.

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Dissertations / Theses on the topic "Jessie HARLEY"

1

Harris, Laura Alexandra. "Troubling boundaries : women, class, and race in the Harlem Renaissance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9804030.

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Kefi, Meriem. "Les Femmes dans la Résistance : Une étude de trois écrivaines de l'Harlem Renaissance : Nella Larsen, Jessie Redmon Fauset et Zora Neale Hurston." Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASV002.

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L’art et la littérature ont toujours été partie prenante de la lutte pour les droits civiques et l’égalité sociale aux États-Unis. Dans un contexte de discrimination raciale et sexiste, les artistes afro-américains ont combiné créativité et activisme et ont combattu pour la reconnaissance de leur humanité ainsi que de leur talent artistique. La Harlem Renaissance, cette période d’extraordinaire renouveau de la culture noire américaine dans les années vingt, s'employa à subvertir les stéréotypes attachés aux Afro-Américains et à engager la construction d’une nouvelle identité raciale. La Harlem Renaissance a en effet donné une voix aux Afro-Américains, et plus particulièrement aux femmes afro-américaines, leur permettant de produire un nombre sans précédent d’œuvres artistiques.La présente thèse a trait à trois femmes écrivaines afro-américaines de la Harlem Renaissance : Nella Larsen (1891-1964), Jessie Redmon Fauset (1882-1961) et Zora Neale Hurston (1891-1960) qui défièrent la hiérarchie raciale et sexiste dévalorisant l’identité et le talent des Afro-Américains, et tout particulièrement des femmes afro-américaines. Si l’objectif de ses trois écrivaines était le même, elles optèrent pourtant pour des stratégies différentes. La présente thèse s’emploie à explorer ces stratégies, telles qu’elles s’expriment sur le plan générique, narratif ou stylistique, tout en dégageant les spécificités
Art and literature have often been used as means of resistance in the fight for Civil Rights as well as social equality in the United States. In a context of racial and gender discrimination, African-American artists have combined creativity with activism as they have fought for their talent and humanity to be recognized. In the 1920s, the Harlem Renaissance came as a turning point in black cultural history. Also called “The New Negro Movement,” this rebirth of Black-American culture aimed to subvert the derogatory image ascribed to African-Americans and to construct a new racial identity. The Harlem Renaissance indeed gave space and a voice to African-Americans, especially to African-American women, allowing them to resist a white male-dominated world through the production of an unprecedented number of artistic works.This thesis focuses on three African-American women writers of the Harlem Renaissance: Nella Larsen (1891-1964), Jessie Redmon Fauset (1882-1961) and Zora Neale Hurston (1891-1960) who, though well-known in the United States, have met with limited recognition in France. Although they shared the same purpose, their strategies are different. While in their best works Larsen and Fauset opted for narratives of passing, Hurston chose to situate her stories in a black world, ignoring the very existence of Whites. This thesis aims at exploring the generic, narrative and stylistic characteristics of their production while delineating their specificity

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Tillman, Danielle L. "Un-Fairytales: Realism and Black Feminist Rhetoric in the Works of Jessie Fauset." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/91.

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I am baffled each time someone asks me, “Who is Jessie Fauset?” As I delved into critical work written on Fauset, I found her critics dismissed her work because they read them as bad fairytales that showcase the lives of middle-class Blacks. I respectfully disagree. It is true that her novels concentrate on the Black middle-class; they also focus on the realities of Black women, at a time when they were branching out of their homes and starting careers, not out of financial necessity but arising from their desire for working. They establish the start of what Patricia Hill Collins later coined “Black feminism” through strong female characters that refuse to be defined by society. This thesis seeks to add Jessie Fauset to the canon of Black feminists by using Collins’ theories on Black feminism to analyze Fauset’s first two novels, There Is Confusion and Plum Bun.

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Oakshott, Stephen Craig School of Information Library &amp Archives Studies UNSW. "The Association of Libarians in colleges of advanced education and the committee of Australian university librarians: The evolution of two higher education library groups, 1958-1997." Awarded by:University of New South Wales. School of Information, Library and Archives Studies, 1998. http://handle.unsw.edu.au/1959.4/18238.

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This thesis examines the history of Commonwealth Government higher education policy in Australia between 1958 and 1997 and its impact on the development of two groups of academic librarians: the Association of Librarians in Colleges in Advanced Education (ALCAE) and the Committee of Australian University Librarians (CAUL). Although university librarians had met occasionally since the late 1920s, it was only in 1965 that a more formal organisation, known as CAUL, was established to facilitate the exchange of ideas and information. ALCAE was set up in 1969 and played an important role helping develop a special concept of library service peculiar to the newly formed College of Advanced Education (CAE) sector. As well as examining the impact of Commonwealth Government higher education policy on ALCAE and CAUL, the thesis also explores the influence of other factors on these two groups, including the range of personalities that comprised them, and their relationship with their parent institutions and with other professional groups and organisations. The study focuses on how higher education policy and these other external and internal factors shaped the functions, aspirations, and internal dynamics of these two groups and how this resulted in each group evolving differently. The author argues that, because of the greater attention given to the special educational role of libraries in the CAE curriculum, the group of college librarians had the opportunity to participate in, and have some influence on, Commonwealth Government statutory bodies responsible for the coordination of policy and the distribution of funding for the CAE sector. The link between ALCAE and formal policy-making processes resulted in a more dynamic group than CAUL, with the university librarians being discouraged by their Vice-Chancellors from having contact with university funding bodies because of the desire of the universities to maintain a greater level of control over their affairs and resist interference from government. The circumstances of each group underwent a reversal over time as ALCAE's effectiveness began to diminish as a result of changes to the CAE sector and as member interest was transferred to other groups and organisations. Conversely, CAUL gradually became a more active group during the 1980s and early 1990s as a result of changes to higher education, the efforts of some university librarians, and changes in membership. This study is based principally on primary source material, with the story of ALCAE and CAUL being told through the use of a combination of original documentation (including minutes of meetings and correspondence) and interviews with members of each group and other key figures.

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Books on the topic "Jessie HARLEY"

1

1897-1987, O'Connor Harvey, and Bowler Susan M, eds. Harvey and Jessie: A couple of radicals. Philadelphia: Temple University Press, 1988.

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2

Rereading the Harlem renaissance: Race, class, and gender in the fiction of Jessie Fauset, Zora Neale Hurston, and Dorothy West. Westport, Conn: Greenwood Press, 2002.

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3

Women of the Harlem renaissance. Bloomington: Indiana University Press, 1995.

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4

McKain, Kelly. Style school. London: Usborne, 2006.

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5

Black love and the Harlem Renaissance: (the novels of Nella Larsen, Jessie Redmon Fauset, and Zora Neale Hurston) : an essay in African American literary criticism. Lewiston, N.Y: Edwin Mellen Press, 2006.

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6

McKain, Kelly. Best friends forever. London: Usborne, 2008.

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7

Picture perfect. London: Usborne, 2006.

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8

Harvey and Jessie: A Couple of Radicals. Temple Univ Pr, 1999.

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9

Ransom, Portia Boulware. Black Love And the Harlem Renaissance (The Novels of Nella Larsen, Jessie Redmon Fauset, And Zora Neale Hurston): An Essay in African American Literary Criticism (Black Studies). Edwin Mellen Press, 2005.

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Makeover Magic. Usborne Publishing, 2005.

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Book chapters on the topic "Jessie HARLEY"

1

Sheehan, Elizabeth M. "Fashioning Internationalism in Jessie Redmon Fauset's Writing." In A Companion to the Harlem Renaissance, 137–53. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118494110.ch8.

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"Jessie Fauset and Her Readership:." In Editing the Harlem Renaissance, 127–44. Clemson University Press, 2021. http://dx.doi.org/10.2307/j.ctv1prsrgf.11.

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3

Goldsmith, Meredith L. "Jessie Fauset’s Not-So-New Negro Womanhood." In American Literary History and the Turn toward Modernity, 222–47. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056043.003.0008.

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Chapter 8 responds to two prevailing arguments about the fiction of Jessie Fauset—the one labeling her work retrograde, the other regarding it as subtly subversive—by viewing the writer’s work as part of a history of long nineteenth-century representation. Countering the dominant perception of the Harlem Renaissance as a break from the past—a view that has shunted Fauset’s work to the sidelines—the essay argues that Fauset’s work explores the legacy of late-nineteenth-century US culture in the emergent modernity of the early twentieth century. Excavating the literary, cultural, and scientific tropes of feminine representation that burst from the pages of Fauset’s fiction, the essay identifies a recent literary past that informs Fauset’s constructions of her modern urban heroines.

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4

Mendelman, Lisa. "Modern Sentimentalism and the New Negro." In Modern Sentimentalism, 121–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198849872.003.0005.

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Chapter 4 focuses on Jessie Redmon Fauset’s acerbic use of sentimentalism to diagnose the tensions inherent in New Negro femininity and artistic production, as exemplified by her novel Plum Bun: A Novel Without A Moral (1929). Fauset’s anti-didactic Künstlerroman highlights the conflicted demands of Harlem Renaissance/New Negro ideology and the particularly fraught position of the black female writer. The chapter extends recent scholarship on racial feeling and the gendering of double consciousness to theorize Fauset’s sentimentalism as an ironic and melancholic mode that registers the New Negro woman’s unique form of self-estrangement. Plum Bun ultimately proposes racial laughter as an apt response to the position of a black female artist in late 1920s America: a mode that is at once an adaptive gift of internal distance and a creative prison of the same.

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Wall, Cheryl A. "“To tell the truth about us”: the fictions and non-fictions of Jessie Fauset and Walter White." In The Cambridge Companion to the Harlem Renaissance, 82–95. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol052185699x.007.

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Haskell, Yasmin Annabel. "Cultivating Science: French ‘Meteorological’ Georgic." In Loyola's Bees. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262849.003.0004.

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In the eighteenth century, the publication of scientific books boomed following the switch to the vernacular. The decline of Latin and Greek, the availability of translations, and the adoption of novel ways of presenting scientific information increased the population of potential audiences during this period. This chapter explores some of the Jesuit Latin poems on scientific subjects before the transition to vernacular. It aims to determine the extent to which the Jesuits anticipated and participated in the vulgarizing mission of textbooks writers later in the century. In general, Jesuits were regarded as scientific educators owing to their contributions to the growing interest in science. During the eighteenth century, the trend was for the production of the facile side of science and illustrated books; however, French Jesuits did not adhere to the growing trend. Although they curbed their poetic powers on playful and topical objects like the secular science writers, their poems and works were devoid of instructive or diverting diagrams and pictures. They also capitalized on poems that were written in Latin at a time when the language rarely attracted noble and bourgeois readers, and in a genre that could be hardly described as novel.

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Carayon, Céline. "“The Greatest Speech-Makers on Earth”." In Eloquence Embodied, 357–415. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652627.003.0007.

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This chapter considers some of the ways in which nonverbal repertoires that had been painstakingly created over two centuries of interaction were creatively mobilized by Indigenous and French individuals in the long seventeenth century to produce culturally-hybrid performances. Opening with the Great Peace of Montreal (1701), the chapter describes the epistemological differences that caused misunderstandings even as Jesuit missionaries and Indian orators skilfully blended visual and verbal metaphors and registers to reach their audiences during religious and diplomatic exchanges. The highly adaptable and multimedia nature of Indigenous verbal art is compared with the efforts of the Jesuits to insert select Indigenous gestures within their orations. Ambivalent feelings towards the unauthentic nature of theatrical performances and competition with Indian jongleurs (shamans) limited the missionaries’ ability to harvest the power of Indian oratory. As the French expanded westward and down the Mississippi valley in the second half of the century, they were forced to confront the limits of some of their nonverbal strategies, as demonstrated through the case-study of the calumet. After two centuries of embodied communication, it had become harder to tell “French” apart from “Native” nonverbal devices.

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