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Journal articles on the topic 'Negritude (Literary movement)'
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1
Clark, Adam. "Against Invisibility: Negritude and the Awakening of the African Voice in Theology." Studies in World Christianity 19, no. 1 (April 2013): 71–92. http://dx.doi.org/10.3366/swc.2013.0039.
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This paper discusses the emergence of Negritude and its contribution to the early development of African theology. The Negritude movement of the 1930s and 40s understands itself as a literary and philosophical movement that responds to colonial domination. It awakened a cultural voice African priests used to become legible in the discipline of Christian theology. Negritude was a contested category. For some, it was nothing more than a nativist philosophy that promoted a metaphysic of race; for others, Negritude was an initiative to recover African cultural values. This paper traces the Senghorian tradition of Negritude that began as a philosophy of black identity but evolved into a mode of thought that inspired blacks to reimagine African alternatives to the colonial state. Senghor's proposal of African socialism was a component of the broader struggle that influenced the development of a theology of liberation in Africa.
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Sall, Korka. "The Harlem Renaissance: A Celebration of the Black Race." Global Journal of Arts, Humanities and Social Sciences 12, no. 5 (May 15, 2024): 1–8. http://dx.doi.org/10.37745/gjahss.2013/vol12n518.
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The interwar period was a watershed decade in black history due to the development of an international discourse and vehicle that focuses on a transnational solidarity and commonness of the African diaspora known as the Harlem Renaissance. Harlem Renaissance has been detrimental in the celebration of the black race and in redefining the notion of being Black in America in a more positive way. Harlem Renaissance has influenced other revolutionary movements within the black diasporic community such as the negritude movement. This paper summarizes the main events and publications that helped shape the Harlem Renaissance with the role of Black women in this cultural, philosophical and literary movement created in Harlem in the 1920s. Through this movement, transnational exchanges helped shape the black community’s worldwide experiences, and specifically formed a strong feeling of belonging, self-determination, and cultural celebration of the black race. Black writers, activists, and scholars celebrate their African heritages and call for solidarity in the black community. Thus, they challenged colonization, oppression and white supremacy, helping the black community gain independence and self-awareness.
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Dash, J. Michael. "Aimé Césaire: The Bearable Lightness of Becoming." PMLA/Publications of the Modern Language Association of America 125, no. 3 (May 2010): 737–42. http://dx.doi.org/10.1632/pmla.2010.125.3.737.
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Allons, la vraie poésie est ailleurs. Come on, true poetry lies elsewhere.—Suzanne CésaireThe Recent Death of AIMÉ Césaire has Been an Occasion for Extolling his Virtues As Venerable Patriarch, Founding Father, and sovereign artist. Even his fiercest critics have considered him a unique poet-politician worthy of being interred in the Pantheon by the French state. Members of the créolité movement, such as Raphael Confiant and Patrick Chamoiseau, hailed him as the “nègre fondamental” ‘foundational black man,’ who was also like the father of the Martinican people. Confiant reiterated his filial devotion as Césaire's “fils à jamais” ‘son forevermore,’ and Chamoiseau identified him as the “maître-marronneur” ‘master Maroon.’ This wave of adulation tends to emphasize the militant poet-politician that Césaire never quite was. He was arguably the founder neither of a nation nor of a people nor, for that matter, of a movement. While he coined the word négritude, he was less the founder of the negritude movement than was his contemporary Léopold Sédar Senghor, who set about creating a totalizing, biologically based ideology around the concept of negritude. Perhaps even more telling is his view of the Haitian leader Henry Christophe as tragically flawed because of Christophe's obsession with founding a people. The protagonist of the play La tragédie du roi Christophe (The Tragedy of King Christophe) is a heedless builder, so obsessed by the need to construct and to found that he destroys himself, leaving behind the massive stone ship of the Citadelle as his legacy.
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Miller, Christopher L. "The (Revised) Birth of Negritude: Communist Revolution and “the Immanent Negro” in 1935." PMLA/Publications of the Modern Language Association of America 125, no. 3 (May 2010): 743–49. http://dx.doi.org/10.1632/pmla.2010.125.3.743.
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For Several Decades, Scholars have Believed, for Lack of Evidence to the Contrary, That Négritude—One of the Key Terms of identity formation in the twentieth century—appeared in print for the first time in Aimé Césaire's Cahier d'un retour au pays natal (Notebook of a Return to the Native Land), in 1939. This consensus reflects a revision of what the cofounders (with Césaire) of the negritude movement, Léopold Sédar Senghor and Léon Damas, had remembered and stated. Senghor said in 1959 that “the word [négritude] was invented by Césaire in an article in the newspaper that bore the title L'Etudiant noir” (qtd. in Ako 347). In an interview published in 1980, Damas said, “Césaire coined this word in L'Etudiant noir” (qtd. in Ako 348). But L‘étudiant noir was a phantom. Lilyan Kesteloot, in her groundbreaking study Black Writers in French, attempted to summarize the content of L‘étudiant noir without seeing a single issue of it; none was available to her (84n2).
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Duke, Dawn. "In Poetic Memory of Zumbi’s Palmares and Abdias do Nascimento’s Quilombismo. In Homage to Abdias do Nascimento (1914-2011)." Aletria: Revista de Estudos de Literatura 28, no. 4 (December 28, 2018): 11–29. http://dx.doi.org/10.17851/2317-2096.28.4.11-29.
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Modern urban formations of the Arts (such as the literary published phenomenon known as Cadernos negros) and activism have roots in the Zumbi-Palmares legacy. Quilombismo, created by Abdias do Nascimento, serves to explain this experience. A contemporary philosophy of identity and nationhood, Quilombismo mirrors Negritude, embracing transformations that erode injustice and inequality. It emerged as a product of Nascimento’s commitment to politics, the Black Movement, literature, and theater. He envisioned his art, speeches, essays, and activism as part of the global anti-racist democratization; his writings reveal influences from Pan-Africanism and a deep commitment to Afro-Brazil. The elevation of quilombo from maroonage and black rural communities to the level of philosophy has provided impetus to date, as literature and activism maintain momentum in an era of diversity. Moving beyond fleeing black bodies in search of Palmares, an image frozen in time, this thinker has provoked dynamic perceptions of cultural affirmation, ensuring the survival of values associated with Zumbi’s Palmares.
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Perisic, Alexandra. "Aimé Césaire’s Yugoslav Detour." Small Axe: A Caribbean Journal of Criticism 27, no. 2 (July 1, 2023): 1–17. http://dx.doi.org/10.1215/07990537-10795167.
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In 1935, while visiting his friend Petar Guberina in Dalmatia, Aimé Césaire saw an island by the name of Martinska (the equivalent of Martinique). Shocked by this discovery, he began writing his Notebook of a Return to the Native Land. While acknowledged, this Yugoslav connection tends to be mentioned as merely anecdotal. This essay argues that Yugoslavia represented an important detour for Césaire. Césaire’s friendship with Guberina and his discovery of Martinska allowed him to see how the particularity of his historical experience as a member of the African diaspora could also serve as the basis for solidarity with other oppressed people. Whereas the accusation of racial essentialism has long followed the founders of the Negritude movement, the Yugoslav connection invites a more layered and nuanced reading of the Notebook, whose unusual origins resonate throughout its verses, positioning it as a text always already in Relation.
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Mehta, Brinda J. "Migritude and Kala Pani Routes in Shumona Sinha’s Assommons les pauvres (Let Us Strike Down the Poor)." Minnesota review 2020, no. 94 (May 1, 2020): 85–103. http://dx.doi.org/10.1215/00265667-8128435.
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The term migritude was first coined by French theorist Jacques Chevrier to characterize “extracontinental” francophone sub-Saharan literatures that have their roots in negritude and immigration. Kenyan cultural artist Shailja Patel later expanded the term to include South Asian “migrants with attitude.” This article further expands the current framings of migritude by linking it to the historical movement of kala pani, or nineteenth-century Indian indenture. The idea of kala pani migritude reveals an engagement with clandestine migration, identity, language, translation, and geography, both rooted in France and routed along treacherous seaways. Shumona Sinha’s novel Assommons les pauvres also focuses on the experiences of the privileged immigrant narrator whose story is a core part of the novel. Sinha has the privilege to narrate the stories of the migrants for them in her coveted role as a translator. Her stories are mediated by her ambivalence toward the migrants, for whom she feels shame and disgust, and her own tentative attempts to assimilate Frenchness as a normative ideal. This article offers a contrapuntal reading of Sinha’s novel through the lens of kala pani migritude to determine whether migrant subjectivity in a mediated narrative is an ultimately temporary, fleeting, or failed act.
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MERDACI, Nadjia. "Émergence d’un genre littéraire. La poésie subsaharienne de langue française des lendemains de la Seconde Guerre mondiale aux indépendances." ALTRALANG Journal 4, no. 02 (December 30, 2022): 279–95. http://dx.doi.org/10.52919/altralang.v4i02.216.
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Emergence of a Literary Genre: French-Language Sub-Saharan Poetry from The Aftermath of the Second World War to Independence
ABSTRACT: Poetry emerged in the late 1940s in sub-Saharan Africa and Madagascar as a literary genre consecrated by anthologies highlighting the quality of authors and their works. If the figure of the Senegalese poet Leopold Sédar Senghor, one of the founders of the Negritude movement, was essential and decisive, pioneers of the genre, like the Senegalese Birago Diop, the Malagasy Rabearivelo, Rabemananjara and Rainovo, were able to fix culturalist and heritage inspirations. This inaugural poetry was not always attuned to reality, precisely to the colonial situation, sometimes marking a break with present history. A new generation arose in the 1950s, renewing poetic writing and its political orientation. The poetic itineraries and anti-colonial commitments of the Senegalese David Diop, the Cameroonian Ruben Um Nyobé and the Guinean Keita Fodéba introduce an evolution of the genre, both stylistically and thematically.
RÉSUMÉ : La poésie émerge, vers la fin des années 1940, en Afrique subsaharienne et à Madagascar comme un genre littéraire consacré par des anthologies mettant en évidence la qualité des auteurs et de leurs œuvres. Si la figure du poète sénégalais Léopold Sédar Senghor, un des fondateurs du mouvement de la Négritude, fut essentielle et déterminante, des pionniers du genre, à l’instar du Sénégalais Birago Diop, des Malgaches Rabearivelo, Rabemananjara et Rainovo, ont pu en fixer des inspirations culturalistes et patrimoniales. Cette poésie inaugurale ne fut pas toujours accordée au réel, précisément à la situation coloniale, marquant parfois une rupture d’avec l’Histoire présente. Une nouvelle génération se lève dans les années 1950, renouvelant l’écriture poétique et son orientation politique. Les itinéraires poétiques et les engagements anticoloniaux du Sénégalais David Diop, du Camerounais Ruben Um Nyobé et du Guinéen Keita Fodéba introduisent une évolution du genre, autant stylistique que thématique.
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Arnold, A. James. "The erotics of colonialism in contemporary French West Indian literary culture." New West Indian Guide / Nieuwe West-Indische Gids 68, no. 1-2 (January 1, 1994): 5–22. http://dx.doi.org/10.1163/13822373-90002658.
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Argues that creolité, antillanité and Negritude are not only masculine but masculinist as well. They permit only male talents to emerge within these movements and push literature written by women into the background. Concludes that in the French Caribbean there are 2 literary cultures: the one practiced by male creolistes and the other practiced by a disparate group of women writers.
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Garuba, Harry. "Race in Africa: Four Epigraphs and a Commentary." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1640–48. http://dx.doi.org/10.1632/pmla.2008.123.5.1640.
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“Look, a Negro!” It was an external stimulus that flicked over me as I passed by. I made a tight smile.“Look, a Negro!” It was true. It amused me.“Look, a Negro!” The circle was drawing a bit tighter. I made no secret of my amusement.“Mama, see the Negro! I am frightened!” Frightened! Frightened! Now they were beginning to be afraid of me. I made up my mind to laugh myself to tears, but laughter had become impossible.—Frantz Fanon, “The Fact of Blackness” (111–12)The racialization of the Tutsi/Hutu was not simply an intellectual construct, one which later and more enlightened generations of intellectuals could deconstruct and discard at will. More to the point, racialization was also an institutional construct. Racial ideology was embedded in institutions, which in turn undergirded privilege and reproduced racial ideology. It was this political-institutional fact that intellectuals alone would not be able to alter. Rather, it would take a political-social movement to be dismantled.—Mahmood Mamdani, When Victims Become Killers (87)Far back as one may go into the past, from the northern Sudanese to the southern Bantu, the African has always and everywhere presented a concept of the world which is diametrically opposed to the traditional philosophy of Europe.—Leopold Sedar Senghor, “Negritude: A Humanism of the Twentieth Century” (30)Sango's history is not the history of primal becoming but of racial origin, which is historically dated.—Wole Soyinka, Myth, Literature and the African World (9)These four epigraphs give a sense of the diversity of usages of the category of race in Africa and the discourses and practices that coalesce around these usages. I use the textual fragments to open up questions about race in Africa, to explore the various discursive economies in which race is articulated and circulates, and the registers and vocabularies in which responses to it have been conducted. The approach adopted is therefore metonymic: each fragment represents a larger body of texts and practices that broadly constitute a discourse defined by a set of shared characteristics. My purpose is not to discuss exhaustively these characteristics but rather to draw rough distinctions among the conditions that govern their articulation and circulation. In this way I can indicate the network of social, historical, and discursive relations in which the idea of race functions.
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Braz, Beatriz D'Angelo, and Dennys Silva-Reis. "Do verso poético à tomada fílmica: a cinematização de Cahier d’un retour au pays natal de Aimé Césaire / From the Poetic Verse to the Filmic Take: The Cinematization of Aimé Cesaire’s Cahier d’un Retour au Pays Natal." Caligrama: Revista de Estudos Românicos 25, no. 3 (December 18, 2020): 253. http://dx.doi.org/10.17851/2238-3824.25.3.253-275.
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Resumo: Este artigo visa a fazer uma análise exploratória sobre a adaptação de Cahier d’un retour au pays natal (1939), texto de Aimée Césaire (1913-2008), para sua versão audiovisual homônima (2008) realizada por Philippe Bérenger (1960-). Para isso, primeiro, faz-se uma reflexão sobre os elos entre literatura e cinema e, depois, uma análise em cotejo das duas obras. Exploram-se os vínculos com os movimentos da Negritude e do Surrealismo, e com a pouca percorrida trilha das adaptações fílmicas de poemas. Em suma, esta é uma contribuição para os estudos literários do cinema e para os estudos de literatura de expressão francesa negra no Brasil.Palavras-chave: Aimé Césaire, Philippe Bérenger, negritude, poema, filme.Abstract: This article aims at carrying out an exploratory analysis of the adaptation of Cahier d’un retour au pays natal (1939), text written by Aimée Césaire (1913-2008), into the homonymous feature film (2008) directed by Philippe Bérenger (1960-). In order to do so, it first addresses the links between literature and cinema, and then analyses and compares the two pieces. We have also explored the connection to both the Negritude and Surrealistic movements, as well as the lack of film adaptations of poems. Therefore, this is a contribution to literary studies of cinema and to studies of francophone African diaspora literature in Brazil.Keywords: Aimé Césaire, Philippe Bérenger, negritude, poem, film.
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Zamora, Omaris Z. "Transnational Renderings of Negro/a/x/*." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 93–99. http://dx.doi.org/10.1215/07990537-9901654.
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This essay takes on the task of reflecting on the keyword negro from a transnational standpoint that considers how negro/a/x, a sociopolitical identity, falls in and out of AfroLatinidad in Latin American and hispanic Caribbean diasporas. In particular, the author is concerned with re-centering Blacknesss in AfroLatinidad in response to the depoliticized usage of this identity. Through a focus on diaspora, movement, and the embodied fact of Blackness, the author argues that when thinking about negro (Black) and negritud (Blackness) from a transnational Spanish Caribbean context, we should remember that AfroLatinidad, or Black Latinidad, is first and foremost about Black lives, embodied experiences, movement, translatability, and untranslatability.
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Ostow, Robin. "Negritude, Americanization and human rights in Gorée, Senegal: The Maison de Esclaves 1966‐2019." International Journal of Francophone Studies 22, no. 3 (December 1, 2019): 271–97. http://dx.doi.org/10.1386/ijfs_00005_1.
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Abstract Based on historical research, and in situ observations, this article examines the history of the Maison des Esclaves as an example of Moyn's argument that interest in human rights arose as a response to the failures of previous idealistic movements, especially nationalism and socialism, and, by the 1970s, the feeling that decolonization had failed. Originating as an expression of Negritude idealism and cultural nationalism, with the Senegalese state's loss of interest in the Maison, the state's larger failure to promote the interests of its inhabitants and ongoing American ties with Senegal's universities and cultural institutions, the Maison shifted its perspective on the slave trade to a human rights approach. This change linked the museum to a supportive international network. But, today, as the Maison's new, human rights-oriented exhibits are still in preparation, they are already being overshadowed by the new Musée des Civilisations Noires, a monumental expression of Negritude and nationalism, supported by the Chinese government. This latest development points to challenges that human rights regimes and museums worldwide may be facing in the coming years.
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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.
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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negritude did not have quite the same revolutionary appeal as in Paris, where Josephine Baker was hailed as a Surrealist goddess of “natural” beauty and power. But the electric Haitian voodoo performances of dancer and choreographer Katherine Dunham attracted a diverse community of African-American artists, émigrés, intellectuals, and communist sympathizers in the off-limits clubs, cafés, and private parties in Harlem. In its uncontainable, carnivalesque power, open forms, and sexual energy, Haitian voodoo captured an attraction to the “primitive” that affected American intellectuals and popular culture alike. Before becoming a Hollywood star, Dunham, of mixed West African and Native American roots, traveled to Haiti to study voodoo rituals for an anthropology degree at the University of Chicago. Fusing American dance, European ballet, and voodoo movements, she became a symbol of the black diaspora. In a recent film interview, Dunham recalls how her young assistant (or “girl Friday,” in the parlance of the time) Maya Deren was fascinated by Haitian dance and would use it to steal the show in rehearsals, public performances, and glitzy parties. The daughter of Russian Jewish émigrés and Trotskyite activists, Deren was struck by the power of this syncretic dance, which blended different cultural backgrounds and formed political consciousnesses while always providing entertainment and energizing dinner parties and giving voice to invisible deities. In her experimental filmmaking, Deren infused this magnetic power of dance into cinema.
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Méndez Vega, Mauricio. "Francophonie and literature: Aimé Césaire and his literary trajectory." Repertorio Americano, no. 33 (May 31, 2023). http://dx.doi.org/10.15359/ra.1-33.14.
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This article begins with a general introduction on the Martinican writer Aimé Césaire. It briefly mentions the research project: “Main writers of the Francophonie and their literary trajectory during the second part of the 20th century and the first half of 21st century” and succinctly explains the concept of Francophonie. This article is divided into six parts: the author, his literary production, awards and distinctions, geographical location and the historical context of Martinique, the Negritude movement and finally, the study and analysis of three poems of this great writer
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Ngadi Maïssa, Laude. "Dernières nouvelles." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures, June 2, 2023. http://dx.doi.org/10.1075/rro.21003.nga.
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Abstract This article shows the relevance of “engaged” or “committed” literature for “post-colonial” African writers in the two collections of short stories called Dernières nouvelles. Through the analysis of narrative utterance, we argue that their position reflects the African fight against colonialism and neo-colonialism. The writers execute a kind of continuum by claiming a literary tradition inherited from the founders of the Negritude movement. However, inspired by the modern context, the writers distance themselves from the radical and racial engagement of their predecessors. This difference can be observed in the use of various literary means, such as on the pretext, “silent cry” and the oxymoron. The article finally argues that there is a contradiction between the criticism of neo-colonial practices and the writers’ collaboration with French publishing houses and different cultural associations.