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Journal articles on the topic 'Protest literature; Black writers'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

TRODD, ZOE. "John Brown's Spirit: The Abolitionist Aesthetic of Emancipatory Martyrdom in Early Antilynching Protest Literature." Journal of American Studies 49, no. 2 (May 2015): 305–21. http://dx.doi.org/10.1017/s0021875815000055.

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Before his execution in 1859, the radical abolitionist John Brown wrote a series of prison letters that – along with his death itself – helped to cement the abolitionist aesthetic of emancipatory martyrdom. This article charts the adaptation of that aesthetic in antilynching protest literature during the decades that followed. It reveals Brown's own presence in antilynching speeches, sermons, articles, and fiction, and the endurance of the emancipatory martyr symbol that he helped to inaugurate. Between the 1880s and the 1920s, black and white writers imagined lynching's ritual violence as a crucifixion and drew upon the John Brown aesthetic of emancipatory martyrdom, including Frederick Douglass, Stephen Graham, James Weldon Johnson, Walter White, black Baptist ministers, and black educators and journalists. Fusing martyrdom and messianism, these antilynching writers made the black Christ of their texts an avenging liberatory angel. The testamentary body of this messianic martyr figure marks the nation for violent retribution. Turning the black Christ into a Brown-like prophetic sign of God's vengeful judgment, antilynching writers of the late nineteenth and early twentieth centuries warned of disaster, demanded a change of course, challenged white southern notions of redemption, and insisted that African Americans must reemancipate themselves and redeem the nation.

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2

Hu, Xiaoran. "Writing against innocence: Entangled temporality, black subjectivity, andDrumwriters revisited." Journal of Commonwealth Literature 55, no. 2 (April 15, 2018): 277–93. http://dx.doi.org/10.1177/0021989418766664.

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This article examines the representation of time in narratives of childhood experience in Es’kia Mphahlele’s Down Second Avenue (1959) and Bloke Modisane’s Blame Me on History (1963). These two autobiographies are among the most widely-known works by the group of South African writers who have been loosely associated with Drum magazine in the 1950s. Originating from the early years of the anti-apartheid struggle and resonating widely with the heightened anticolonial resistance movements across the continent, writings by the so-called Drum writers, many of whom later went into exile, have often been viewed and criticized as “protest literature”, as literary works whose aesthetic merits are somehow compromised by the overt political purposes they appear to serve. This article seeks to revise such a reading by revisiting the politics of the stylistic innovations in these autobiographical narratives. Themes and motifs directly derived from the rhetoric of political protest, as I argue, in fact problematize a developmental logic governing the biographical transition from childhood to adulthood and contribute to a radical critique of linear temporality and teleological historiography. While writing from polemical positions and from inside the historical juncture of political resistance, these writers’ narrative reflections on and re-orderings of the relationship between the past and the present also partake of the process of refashioning modern black subjectivity, a significant move of literary intervention that still has profound resonance in our postcolonial, post-apartheid, and post-revolutionary present.

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LeMahieu, Michael. "Post-54: Reconstructing Civil War Memory in American Literature after Brown." American Literary History 33, no. 3 (August 5, 2021): 635–56. http://dx.doi.org/10.1093/alh/ajab059.

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Abstract From a cultural fad of Confederate flags to a spate of schools named after Confederate generals, the 1954 Brown v. Board decision revived the memory of the US Civil War. In their collective effort of “massive resistance,” white southerners considered themselves carrying on the legacy of their Confederate ancestors, rebelling against the federal government and insisting upon states’ rights. In response to this revival, many mid-century writers revised Civil War memory. Ralph Ellison, for example, considered the Brown decision as yet another battle in an ongoing Civil War. The works of Black writers such as James Baldwin, Langston Hughes, Pauli Murray, and Margaret Walker, as well as white writers such as Robert Lowell, Carson McCullers, Flannery O’Connor, and Robert Penn Warren, revise Lost Cause cultural narratives as they reconstruct four sites of Civil War memory: monuments, schools, textbooks, and grandparents. Writers in the twenty-first century have extended the interest in Civil War memory, from the essays of Ta-Nehisi Coates to the plays of Suzan-Lori Parks, to the fiction of George Saunders to the poetry of Natasha Trethewey and Kevin Young. The return of Civil War memory in twenty-first-century literature anticipates and represents the resurgence of civil rights protest against ongoing, state-sanctioned racial violence.

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Mosito, Phomolo. "MEMORY IN LIMBO: THE RECONSTRUCTION OF IDENTITY IN MATING BIRDS (1986) BY LEWIS NKOSI." Imbizo 6, no. 2 (June 21, 2017): 49–56. http://dx.doi.org/10.25159/2078-9785/2806.

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Lewis Nkosi’s novel, Mating birds (1986) offers a significant intervention in a history as dispersed and fragmented as South Africa’s, by focusing on those specific and critical episodes of South Africa’s past. This much-colonised country has had an extended history of perennial violence under colonialism and apartheid Some fiction by Black writers on this phenomenon may be seen to be reactive, what Njabulo Ndebele (South African writer) terms ‘Protest Literature’-and seeks to show black people as victims (Ndebele 1994). Nkosi’s novels, Mating birds (1986) in particular reverse this order through the narratives of different characters, illustrating that black people were not the passive victims of apartheid but played an active role towards its opposition and eradication. This is achieved through complex portrayal of the first-person narrative technique and interstices of memory and recall. This article explores how identity as a porous and fluid, and fragmented and fractured concept that could be used to describe the individual or communa traits of some characters, and space (prison) are portrayed in Lewis Nkosi’s Mating birds (1986).

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Kurbak, Maria. "“A Fatal Compromise”: South African Writers and “the Literature Police” in South Africa (1940–1960)." Novaia i noveishaia istoriia, no. 4 (2021): 137. http://dx.doi.org/10.31857/s013038640016186-2.

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After the victory of the National Party (NP) in the 1948 elections and the establishment of the apartheid regime in South Africa, politics and culture were subordinated to one main goal – the preservation and protection of Afrikaners as an ethnic minority. Since 1954, the government headed by Prime Minister D. F. Malan had begun implementing measures restricting freedom of speech and creating “literary police”. In 1956 the Commission of Inquiry into “Undesirable Publications” headed by Geoffrey Cronje was created. In his works, Cronje justified the concept of the Afrikaners’ existence as a separate nation, with its own language, culture, and mores. Cronje considered the protection of “blood purity” and prohibition of mixing, both physically and culturally, with “non-whites” as the highest value for Afrikaners. The proposals of the “Cronje Commission” were met with hostility not only by political opponents but also by Afrikaner intellectuals One of Cronje's most ardent opponents was the famous poet N.P. Van Wyk Louw. Yet, the creation of a full-fledged censorship system began with the coming into power of the government headed by Prime Minister H. Verwoerd, who took a course to tighten racial laws and control over publications. 1960 became the turning point in the relationship between the government and the South African intelligentsia. After the shooting of the peaceful demonstrations in Sharpeville and Langa, the NP declared a state of emergency, banned the activity of the Communist Party and the African National Congress (ANC), and apartheid opponents turned to a military struggle. The political struggle against censorship became more difficult during the armed stand-off between the apartheid loyalists and the NP deposition supporters. The transition to the military struggle was an important force for the radicalization of the intellectuals and the appearance of the “literary protest” and “black voices”. The time for negotiations and searching for compromises was over.

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LANGMIA, FORTI ETIENNE. "From apartheid to Post-Apartheid: The Representational Trajectory to a Multiracial Nation in Nadine Gordimer’s None to Accompany Me, Andre Brink’s The Rights of Desire and Zakes Mda’s The Madonna of Excelsior." Advances in Social Sciences Research Journal 8, no. 5 (June 8, 2021): 707–24. http://dx.doi.org/10.14738/assrj.85.10277.

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This article, which draws inspiration from the literary works of three South African writers, focuses on the two (amongst many) major historic periods in the life of the present-day nation described as post-apartheid South Africa. The two periods, evident in the works of Andre Brink, Zakes Mda and Nadine Gordimer under review, are the reign of apartheid and the transition to a democratic multiracial society built on the principles of equality and the respect of the rights and freedoms of South Africans. From both historical and literary standpoints, the transition to multiracialism is the outcome of the struggle of the oppressed black population of South Africa against the oppressive monolithic racist regime which ruled the country on an official governance policy which it called ‘Apartheid’. In order to enforce this inhumane worldview, the said racist regime used means of brutality and savagery with the intention of transforming the country into a ‘white nation’ that would belong to a minority-turned majority known as the Afrikaners. The often callous and gruesome acts of inhumanity perpetrated by the different racist apartheid regimes (that ruled South Africa from 1948-1994) became a major concern to the world at large and South African anti-apartheid writers in particular. Thus this category of the country’s writers tended to use literature as an instrument of protest against racial discrimination, which brought untold hardship to the black population. Andre Brink, Zakes Mda, and Nadine Gordimer are among the writers whose works vividly trace the South African experience from apartheid to post-apartheid eras. Brink, Mda and Gordimer in their respective works attempt to portray the endeavours and challenges of reconstructing the new nation from the debris of close to four decades of the brutal regime. The main issues discussed in this article are analyzed from New Historicist and Postcolonial perspectives due to the peculiar postcolonial nature of South Africa.

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Kruger, Alet. "Translation, self-translation and apartheid-imposed conflict." Translation and the Genealogy of Conflict 11, no. 2 (June 8, 2012): 273–92. http://dx.doi.org/10.1075/jlp.11.2.06kru.

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Translation has played a major role alongside original literature in each of the South African languages in aiding the construction of their cultural and literary identities. Because of apartheid (literally, ‘apartness’), Afrikaans carried a political burden and literary authors in this language were considered the protectors of Afrikaner cultural and national identity. After outlining the historical origins and the consolidation of apartheid, this paper charts the emergence of a versetliteratuur (‘protest literature’) movement among disillusioned Afrikaans authors during the apartheid era. Growing censorship and the first banning of an Afrikaans novel under the 1974 Publications and Entertainment Act led to translation and self-translation (into English) being used as a tool of resistance by Afrikaans writers against the ideology of apartheid. The paper moves on to explore the effects of apartheid-imposed conflict on other authors such as South African authors writing in English. It then focuses on the ideological agenda informing the language policy-makers’ and Africanists’ selection of books to be translated into African languages, as part of the government’s attempts to promote mother tongue education in African schools and thus perpetuate the segregation of black South Africans. The concluding section discusses how changes in political life since 1990 have influenced the use of translation in South African literature.

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Keizer, Arlene R. "Gone Astray in the Flesh: Kara Walker, Black Women Writers, and African American Postmemory." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1649–72. http://dx.doi.org/10.1632/pmla.2008.123.5.1649.

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In the vigorous debate over Kara Walker's art—in particular, her life-size, black-on-white depictions of psychosexual fantasies seeded by American slavery—much attention has been paid to the objections raised by African American artists belonging to a generation older than Walker's. These older artists, including Betye Saar, Faith Ringgold, and Howardena Pindell, as well as commentators like Juliette Bowles, are often highlighted as Walker's main detractors, rendering the attack on her work a form of internecine, intergenerational warfare in African American intellectual and cultural life. This articulation of the debate obscures the extent to which themes and figures in Walker's oeuvre link it to the work of numerous African American women whose writing began to appear in the early 1970s. Walker is connected to literary counterparts like Gayl Jones, Carolivia Herron, Alice Randall, and Octavia Butler through her construction of characters marked by their sexual involvement with the master class. How these characters manage a set of exploitative relationships—in other words, how they explore their sexualities in the context of coercion—establishes them as a literary and visual sisterhood. Because Walker's silhouettes and other creations have been exhibited to large, integrated audiences in some of the most august international and domestic museums, they have provoked more comment and wider protests than the novels of contemporary African American women writers, but the differences in cultural reception mask the deep similarity between these bodies of work.

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Black, Alex W. "“A New Enterprise in Our History”: William Still, Conductor of The Underground Rail Road (1872)." American Literary History 32, no. 4 (2020): 668–90. http://dx.doi.org/10.1093/alh/ajaa029.

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Abstract This article presents the formal and material innovations of The Underground Rail Road (1872) and its author and publisher, William Still. Before the Civil War, Still chaired the Philadelphia Vigilance Committee, which assisted hundreds of fugitives from slavery in making their way to freedom. After the Civil War, Still wrote a book based on his records of their stories. The discrimination Black writers and readers experienced from the publishing business convinced Still to start his own. Still’s publishing business, like the movement his book documented, was the work of a collective. He called on family members, allies in reform, and friends in Black periodical publishing to produce and distribute the book. Still promoted the book and the business as an extension of the liberation movement. The labors of the fugitives he had helped, and of the booksellers he employed, would stimulate the economic progress, and protect the political and social gains, for which African Americans were striving. Still, a race man and a businessman, proposed a solution to the inequitable production and distribution of Black books. “The time has come,” he declared, “for colored men to be writing books & selling them too.”

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10

Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.

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This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an affinity with the surrealist notion of black humor in its vehement denial of epistemological and ethical certainty. Rejecting the efforts of Richard Wright and the existentialists to adopt an engaged form of political writing, Himes's crime fiction instead forges a kind of vernacular surrealism, one independent of the surrealist movement but nevertheless sharing surrealism's insistence on the volatility of written and political expression.

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11

KING, RICHARD H. "The Uncreated Conscience of My Race/The Uncreated Features of His Face: The Strange Career of Ralph Ellison." Journal of American Studies 34, no. 2 (August 2000): 303–10. http://dx.doi.org/10.1017/s0021875899006404.

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Ralph Ellison's career will undoubtedly provide students of American literature and biographers much to puzzle over in the coming years. He published his first novel, Invisible Man, in 1952 when he was 38, an age when Faulkner was in the midst of his great period and just poised to publish Absalom, Absalom! After the early 1950s, Ellison published two books of essays, Shadow and Act (1964) and Going to the Territory (1986), and a few excerpts from an ever more mythical work-in-progress. That work-in-progress, or some truncated version of it, has now appeared with the intriguing title, Juneteenth, which refers to the day, 19 June 1865, when the slaves in Texas learned they were free, some two months after the end of the Civil War.Without a doubt, Ralph Ellison considered himself, above all, an American writer of the modernist persuasion; indeed, he was one of the most patriotic of writer-citizens in the republic of letters. In the late 1960s and early 1970s, he was attacked by anti-war forces for his qualified support for the Johnson administration's prosecution of the Vietnam War, and black radicals for insufficient militance about his “blackness.” Through it all, Ellison resolutely resisted the obligation to make his art explicitly political. It was precisely that which was at issue in his famous polemical exchanges with Irving Howe.Yet, Ellison's writing always was political in at least two senses. First, as he asserted in 1964 before the civil rights movement gave way to Black Power and its cultural wing, the Black Arts movement: “protest is an element of all art, though it does not necessarily take the form of speaking for a political or social program.” In other words: art was political but not in the programmatic way demanded by others, whoever they might be.

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12

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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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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14

McDougall, Bonnie S. "Literary Decorum or Carnivalistic Grotesque: Literature in the People's Republic of China after 50 Years." China Quarterly 159 (September 1999): 723–32. http://dx.doi.org/10.1017/s0305741000003465.

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The profound silence that followed immediately after the 4 June massacres in 1989 was short-lived. As it became clear that the regime would stay in power, writers reacted as opportunity and circumstances allowed. Dissident writers associated with the protest movement were in danger of arrest and imprisonment: Duo Duo only just managed to get his flight to London on 4 June, joining those like Bei Dao who were already abroad and had no choice but to remain. Writers in high positions were also vulnerable: Wang Meng was forced to resign as Minister of Culture in 1989 and dropped from the Party's Central Committee at the 1992 Party Congress. Less prominent writers waited for a more propitious time to publish; younger writers barely paused.

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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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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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Gallego, Mar. "Sexuality and Healing in the African Diaspora: A Transnational Approach to Toni Morrison and Gyasi." Humanities 8, no. 4 (December 10, 2019): 183. http://dx.doi.org/10.3390/h8040183.

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This article examines the literary production of two writers from the African diaspora, specifically African American Toni Morrison’s A Mercy (2008), and Ghanaian-American Yaa Gyasi’s Homegoing (2016), to explore their significance as counter-narratives that defy the “official” historiography of enslavement times in order to set the records straight, as it were. By highlighting these women writers’ project of resistance against normative definitions of black bodies, it is my contention that these works effectively mobilize notions of race, gender, and sexuality. Revisiting the harmful and denigrating legacy of stereotypical designation of enslaved women, these writers make significant political and literary interventions to facilitate the recovery, wholeness, and sanctity of the violated and abjected black body. In their attempt to counter ongoing processes of commodification, exploitation, fetishization, and sexualization, I argue that these writers chronicle new forms of identity and agency that promote individual and generational healing and care as forms of protest and resistance against toxic definitions of hegemonic gender and sexuality.

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18

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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Holloway, Jonathan Scott, and Patrick Rael. "Black Identity and Black Protest in the Antebellum North." African American Review 37, no. 1 (2003): 151. http://dx.doi.org/10.2307/1512369.

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20

Prothero, Stephen. "On the Holy Road: The Beat Movement as Spiritual Protest." Harvard Theological Review 84, no. 2 (April 1991): 205–22. http://dx.doi.org/10.1017/s0017816000008166.

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For the beat generation of the 1940s and 1950s, dissertation time is here. Magazine and newspaper critics have gotten in their jabs. Now scholars are starting to analyze the literature and legacy of the beat writers. In the last few years biographers have lined up to interpret the lives of Jack Kerouac, Allen Ginsberg, and William Burroughs, and publishers have rushed into print a host of beat journals, letters, memoirs, and anthologies. The most recent Dictionary of Literary Biography devotes two large volumes to sixty-seven beat writers, including Neal Cassady, Herbert Huncke, Gary Snyder, Gregory Corso, John Clellon Holmes, Lawrence Ferlinghetti, Philip Lamantia, Peter Orlovsky, Michael McClure, and Philip Whalen.

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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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22

Draxler, Bridget. "Designing Publicly Engaged First-Year Research Projects: Protest Art and Social Change." Prompt: A Journal of Academic Writing Assignments 5, no. 1 (January 18, 2021): 7–14. http://dx.doi.org/10.31719/pjaw.v5i1.74.

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This research assignment invites students in a first-year writing preparation course to explore topics of social justice through protest art. The course is taught at a small, private liberal arts college in a course for “emerging writers.” I have taught this assignment at a predominantly White institution (PWI), in a course where the majority of students are Black, Indigenous, and people of color (BIPOC). Students choose a work of protest art from the campus library special collections, frame the social justice issue it addresses in a local context using local sources, and then write an essay that puts that research in conversation with their own story. Finally, linking public history to civic engagement, students create their own protest art as a community call to action. The multimodal, local, and personal nature of this writing assignment creates opportunities for students to see the connections between their emerging identities as writers and civic actors. This assignment can create space for students to use their multilingual identities to speak back to the structural inequality within our institution, developing confidence in their own voices to call for meaningful change.

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Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.

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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.

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Karimi‐Hakkak, Ahmad. "Protest and Perish: a history of the writers' association of Iran." Iranian Studies 18, no. 2-4 (June 1985): 189–229. http://dx.doi.org/10.1080/00210868508701657.

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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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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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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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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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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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30

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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Ferris, William. "Southern Literature: A Blending of Oral, Visual & Musical Voices." Daedalus 141, no. 1 (January 2012): 139–53. http://dx.doi.org/10.1162/daed_a_00136.

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The blending of oral traditions, visual arts, and music has influenced how Southern writers shape their region's narrative voice. In the South, writing and storytelling intersect. Mark Twain introduced readers to these storytellers in “Adventures of Huckleberry Finn.” Twain blends both black and white voices within Huck's consciousness and awareness – in Huck's speech and thoughts – and in his dialogues with Jim. A narrative link exists between the South's visual artists and writers; Southern writers, after all, live in the most closely seen region in America. The spiritual, gospel, and rock and roll are musical genres that Southern writers love – although jazz, blues, and ballads might have the most influence on their work. Southern poets and scholars have produced anthologies, textbooks, and literary journals that focus on the region's narrative voice and its black and white literary traditions. Southern writers have created stories that touch the heart and populate American literature with voices of the American South. Future Southern writers will continue to embrace the region as a place where oral, visual, and musical traditions are interwoven with literature.

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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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Ilchuk, Yuliya. "Hearing the voice of Donbas: art and literature as forms of cultural protest during war." Nationalities Papers 45, no. 2 (March 2017): 256–73. http://dx.doi.org/10.1080/00905992.2016.1249835.

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This paper analyzes literary, visual, and street art works of writers and artists from Eastern Ukraine produced during 2014. Two Donetsk artists, Serhii Zakharov and Anzhela Dzherikh, and two Luhansk writers, Serhii Zhadan and Olena Stepova, play with the myth of the proletarian Donbas, on the one hand, and debunk the popular perception of Donbas people as being in consent with the politics of the self-proclaimed Donetsk and Luhansk People's Republics, on the other. They explore familiar tropes and images of Donbas and use guerrilla tactics (shock effects, provocativeness, and deception) to initiate public reaction to the war. Their works are united by their search for a shared communication space and direct access to the audience on occupied territories. These artists challenge the accepted perception of Donbas as a free but uncivilized space and participate in the creation of a new Donbas text. The interaction between politics, art, and activism makes their voices and vision powerful and infectious and can help achieve civic consolidation in Donbas.

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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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Aberbach, David. "Moral Dilemmas and the Environment: The Hebrew Bible and the Literature of Industry." Journal of the Council for Research on Religion 2, no. 1 (December 30, 2020): 41–58. http://dx.doi.org/10.26443/jcreor.v2i1.37.

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Moral dilemmas are central in the literary genre of protest against the effects of industry, particularly in Romantic literature and “Condition of England” novels. Writers from the time of the Industrial Revolution to the present – William Blake, Elizabeth Gaskell, Charles Dickens, Emile Zola, Henrik Ibsen, Anton Chekhov, T.S. Eliot and John Steinbeck – follow the Bible in presenting environmental pollution and calamity in moral terms, and as a consequence of human agency. Dire implications for the environment are equally evident in literature of national rivalry and the misanthropic tradition.

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Amit-Kochavi, Hannah. "Sanctions, Censure and Punitive Censorship: Some Targeted Hebrew Translations of Arabic Literature from 1961-1992." TTR 23, no. 2 (May 16, 2012): 89–112. http://dx.doi.org/10.7202/1009161ar.

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Translations of Arabic literature into Hebrew have been marginally present in Israeli Jewish culture for the last 62 years. Their production and reception have been affected by the ongoing political Jewish-Arab conflict which depicts the Arab as a threatening enemy and inferior to the Jew. This depiction has often led to fear and apprehension of Arabic literary works. The present paper focuses on several cases where Hebrew translations of Arabic prose and poetry were publicly condemned as a potential threat to the stability of Israeli Jewish sociopolitical creeds and state security. The various sanctions imposed on the texts and their writers (though not on their translators!) by Israeli authorities, the Israeli Hebrew press and public opinion are described and explained. These sanctions were subsequently lifted after Israeli Jewish writers rose up against censure and censorship by raising their voices in protest.

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Seidel, Linda, Valerie Lee, and Dolan Hubbard. "Granny Midwives and Black Women Writers: Double-Dutched Readings." Tulsa Studies in Women's Literature 17, no. 1 (1998): 167. http://dx.doi.org/10.2307/464338.

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Cobham-Sander, Rhonda, and Gay Wilentz. "Binding Cultures: Black Women Writers in Africa and the Diaspora." American Literature 67, no. 2 (June 1995): 412. http://dx.doi.org/10.2307/2927817.

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Spires, Derrick R. "Genealogies of Black Modernities." American Literary History 32, no. 4 (2020): 611–22. http://dx.doi.org/10.1093/alh/ajaa032.

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Abstract This essay introduces the major themes and concerns of “Genealogies of Black Modernity in the Long Nineteenth Century,” a special issue of American Literary History. How does modernity look when read through Black diasporic literary production in the long nineteenth century, broadly conceived? What new narratives can we create by reading this literature as participating in and producing transatlantic genealogies of literary modernity? How does reading Black literary modernity in the nineteenth century disrupt our understandings of modernity as a conceptual framework both for contemporary scholarship and as an object of nineteenth-century Black intellectual inquiry? This introductory essay defines Black modernities of the long nineteenth century as a set of related, sometimes connected, practices and questions focused on the nature of Black life and culture in an ever-shifting antiblack world. Writers from Phillis Wheatley to Pauline Hopkins—to offer one framing—were invested in chronicling and intervening in the newness of their moment, even as they worked to imagine new possibilities for the future. Our task, then, was to deliberate over what something called modernity meant and means for and in African American literary history through the archive of Black writing and through the terms and forms these writers set forth.

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Pereira, Malin, and Dolan Hubbard. "Recovered Writers/Recovered Texts: Race, Class, and Gender in Black Women's Literature." African American Review 33, no. 3 (1999): 536. http://dx.doi.org/10.2307/2901227.

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Bell, Bernard W. "Black Writers, White Publishers: Marketplace Politics in Twentieth-Century African American Literature." Studies in American Fiction 36, no. 1 (2008): 124–27. http://dx.doi.org/10.1353/saf.2008.0003.

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Majul, Mary Ann Marcelino. "TURNING THE TIDE: PROTEST POEMS ON MARTIAL LAW AS COUNTER-MEMORY." Journal of Nusantara Studies (JONUS) 2, no. 1 (June 30, 2017): 111. http://dx.doi.org/10.24200/jonus.vol2iss1pp111-121.

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Memories of Martial Law and the burial of strongman Ferdinand Marcos at the Libingan ng mga Bayani on November 2016 prompted artists and writers to converge at a common platform—that of safeguarding national consciousness from the impending rewriting of history. Using Foucault’s concept of counter-memory, this paper attempted to illustrate how literature, specifically protest poetry, can be used to interrogate perceptions and knowledge of events and personalities on Martial Law. Six poems namely “Open Letters to Filipino Artists,” “A Furnace,” “Still Life for Mendiola,” “A Metaphysical Dialogue Between the Bronze Man and the Great Stone Face,” “Third World Opera,” and “Dead Man’s Tale” were used to challenge the existing texts written on Martial Law. The results revealed that literature can either deceive or enlighten readers. It also remains an important site where ideology is articulated and truth is interrogated.Keywords: Martial Law, counter-memory, protest poems, alternative history, subjugated knowledge Cite as: Majul, M.A.M. (2017). Turning the tide: Protest poems on martial law as counter-memory. Journal of Nusantara Studies, 2(1), 111-121.

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Harris, Trudier. "Christianity’s Last Stand: Visions of Spirituality in Post-1970 African American Women’s Literature." Religions 11, no. 7 (July 18, 2020): 369. http://dx.doi.org/10.3390/rel11070369.

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Christianity appealed to writers of African descent from the moment they set foot on New World soil. That attraction, perhaps as a result of the professed mission of slaveholders to “Christianize the heathen African,” held sway in African American letters well into the twentieth century. While African American male writers joined their female counterparts in expressing an attraction to Christianity, black women writers, beginning in the mid-twentieth century, consistently began to express doubts about the assumed altruistic nature of a religion that had been used as justification for enslaving their ancestors. Lorraine Hansberry’s Beneatha Younger in A Raisin in the Sun (1959) initiated a questioning mode in relation to Christianity that continues into the present day. It was especially after 1970 that black women writers turned their attention to other ways of knowing, other kinds of spirituality, other ways of being in the world. Consequently, they enable their characters to find divinity within themselves or within communities of extra-natural individuals of which they are a part, such as vampires. As this questioning and re-conceptualization of spirituality and divinity continue into the twenty-first century, African American women writers make it clear that their characters, in pushing against traditional renderings of religion and spirituality, envision worlds that their contemporary historical counterparts cannot begin to imagine.

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Sanchez, Alexandra J. "“Bluebeard” versus black British women’s writing." English Text Construction 13, no. 1 (July 24, 2020): 1–21. http://dx.doi.org/10.1075/etc.00032.san.

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Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.

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Shuddhodhan P. Kamble. "Repression and Resistance in Dalit Feminist Literature." Creative Launcher 6, no. 3 (August 30, 2021): 79–82. http://dx.doi.org/10.53032/tcl.2021.6.3.16.

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Feminist movements and Dalit feminist movement in India are mainly based on the experience of Repression and gender discrimination. Patriarchy, gender disparity and sexual violence are the basic reasons for these movements and they also find place prominently in the writings of Dalit women as they have come forward to write their experiences from women's point of view around 1980s. Baby Kamble, Urmila Pawar in Marathi, Geeta Nagabhushan in Kannada, P. Shivakami, Bama in Tamil have got national level consideration. Dalit women were raped; insulted and abused by the upper caste people. They are insecure in the society as they have been exploited on the various levels. This feeling of insecurity of the Dalit women is the central theme of their writings. These women writers have come forward to express their ideas, their experiences in social violence as well as in domestic violence and thus they protest their traditional existence with anger and anguish. Geeta Nagabhushan’s dalit novels, Barna’s Sangati (2005), P. Shivakani's Grip of Change (2006) are initial important writings of dalit feminism; Datit feminism writing is different from the conventional way of Feminist writing. Their experiences, expression, method of narration are extremely different from the upper caste women writers. It is found that every woman in the world has been degraded to second grade citizenship. The Dalit women in India suffer more due to their Dalit identity.

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Williamson, Vanessa, Kris-Stella Trump, and Katherine Levine Einstein. "Black Lives Matter: Evidence that Police-Caused Deaths Predict Protest Activity." Perspectives on Politics 16, no. 2 (May 16, 2018): 400–415. http://dx.doi.org/10.1017/s1537592717004273.

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Since 2013, protests opposing police violence against Black people have occurred across a number of American cities under the banner of “Black Lives Matter.” We develop a new dataset of Black Lives Matter protests that took place in 2014–2015 and explore the contexts in which they emerged. We find that Black Lives Matter protests are more likely to occur in localities where more Black people have previously been killed by police. We discuss the implications of our findings in light of the literature on the development of social movements and recent scholarship on the carceral state’s impact on political engagement.

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Knox, Claire E., and Gay Wilentz. "Binding Cultures: Black Women Writers in Africa and the Diaspora." MELUS 18, no. 2 (1993): 113. http://dx.doi.org/10.2307/467938.

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Nagel, James, and Michael Fabre. "From Harlem to Paris: Black American Writers in France, 1840-1980." American Literature 65, no. 1 (March 1993): 185. http://dx.doi.org/10.2307/2928117.

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Spillers, Hortense J. "A Tale of Three Zoras: Barbara Johnson and Black Women Writers." diacritics 34, no. 1 (2004): 94–97. http://dx.doi.org/10.1353/dia.2006.0026.

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Gardner, Eric, and Donna Bailey Nurse. "What's a Black Critic to Do?: Interviews, Profiles and Reviews of Black Writers." African American Review 38, no. 4 (2004): 736. http://dx.doi.org/10.2307/4134436.

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