Bibliografie tematiche / African American aesthetics

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Letteratura scientifica selezionata sul tema "African American aesthetics"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 1 agosto 2024

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Articoli di riviste sul tema "African American aesthetics"

1

Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music". Философия и культура, n. 12 (dicembre 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.

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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.
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Thomas, Ada C. M. "From Zora Neale to Missionary Mary: Womanist Aesthetics of Faith and Freedom". Religions 14, n. 10 (12 ottobre 2023): 1285. http://dx.doi.org/10.3390/rel14101285.

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In this essay, I discuss the art of Missionary Mary Proctor, a contemporary folk artist from Tallahassee, Florida, in the context of the literary aesthetics of the renowned twentieth-century anthropologist and writer Zora Neale Hurston. In comparing these Southern-born African American women artists, I argue that both are rooted in an aesthetic praxis deriving from their shared womanist ethics. My goal in this inquiry is to highlight the faith-based aesthetic traditions of African American women and reveal the manner in which discourses of freedom intertwine with literary and visual aesthetics and faith-based practices in African American folk art and literature. To that end, I analyze the prevalence of themes of liberation within the spiritual discourses of Southern African American women artists such as Missionary Mary Proctor and theorize the manner in which a landscape of Black female liberation is envisioned within their works.
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McGowan, Grace. "“I Know I Can’t Change the Future, But I Can Change the Past”: Toni Morrison, Robin Coste Lewis, and the Classical Tradition". Contemporary Women's Writing 13, n. 3 (novembre 2019): 339–56. http://dx.doi.org/10.1093/cww/vpaa001.

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Abstract “A central figure in transnational intellectual history” (Roynon, 2013), Toni Morrison’s oeuvre has helped deconstruct the triangulated relationship between a European Graeco-Roman classical tradition, Africa, and America. Morrison’s deconstruction of the classical past and its aesthetics have laid the foundation for the reconstructive work of a new generation of writers, including Robin Coste Lewis. Both writers renegotiate and reclaim a classical aesthetic by recovering its African roots and situating it in an African American context. In addition, the article (1) examines the role of a classical aesthetic in beauty discourse and Robin Coste Lewis’s re-vision of the black female body and (2) addresses what this means for canonicity, linking Lewis’s ambivalence about reclaiming a classical aesthetic to Morrison’s ambivalence in “Unspeakable Things Unspoken” (1987).
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Kumar, Fayaz Ahmad, e Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction". Global Language Review V, n. IV (30 dicembre 2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.

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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.
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Neupane, Khagendra. "African-American Cultural Expression: The Defiance of Black Aesthetics". Journal of Population and Development 4, n. 1 (31 dicembre 2023): 58–67. http://dx.doi.org/10.3126/jpd.v4i1.64239.

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This research delves into the transformative realm of Black Aesthetics as a profound and resilient cultural resistance strategy employed by African-Americans. In a historical context marked by the degradation of the genuine image of African-Americans through Western perspectives, Black Aesthetics emerges as a dynamic force challenging stereotypes and reclaiming agency over cultural narratives. The study explores the foundational influences of key socio-political movements, namely the Harlem Renaissance, the Black Power Movement, and the Civil Rights Movement, in shaping and catalyzing the development of Black Aesthetics. During the 1920s, the Harlem Renaissance served as a crucible for cultural revitalization amid the multifaceted struggles faced by African-Americans. Fueled by a desire to break free from racial stereotypes, this movement laid the groundwork for the emergence of Black Aesthetics as a tool for empowerment and self-expression. The subsequent impact of the Black Power Movement and the Civil Rights Movement on Black Aesthetics is examined, revealing how these movements contested prevailing Western perspectives and sought to redefine the narrative surrounding African-Americans. The Black Power Movement, emphasizing self-determination and autonomy, stood in stark contrast to the assimilations goals of the Civil Rights Movement, collectively contributing to the nuanced evolution of Black Aesthetics. Through an interdisciplinary lens, this research navigates the intersection of art, ideas, and socio-political dynamics, elucidating how Black Aesthetics serves as a cultural resistance mechanism. It explores the multifaceted dimensions of this resistance, including the creation of alternative narratives, the celebration of cultural identity, and the reclamation of dignity. Ultimately, this research contributes to a comprehensive understanding of Black Aesthetics as a transformative force in cultural resistance, shedding light on its historical roots, its evolution through significant movements, and its enduring impact on reshaping the narrative of African-American identity.
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DeFrantz, Thomas F. "African American Dance - Philosophy, Aesthetics, and ‘Beauty’". Topoi 24, n. 1 (gennaio 2005): 93–102. http://dx.doi.org/10.1007/s11245-004-4165-7.

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Gazit, Ofer, e Nili Belkind. "Affective Authenticity". Journal of Popular Music Studies 36, n. 1 (1 marzo 2024): 51–78. http://dx.doi.org/10.1525/jpms.2024.36.1.51.

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This article develops the concept of “affective authenticity” to explore the experiences and reception of US-based African migrant musicians in the 1960s and 1970s. Based on interviews, archival sources and musical analysis, we trace the migration stories of South African singer Letta Mbulu and the ways in which she negotiated conflicting demands for “authenticity” in her musical performances on the American stage. Affective authenticity represents a heterogenous, explorative sound, reflecting pan-African politics and aesthetics that created the very conditions for African and African American musical collaborations. This aesthetic was countered with expectations for “scientific authenticity:” an ethno-linguistically circumscribed performance that catered to colonial ears and conceptualized African musics as insular, ancient and unchanging – an aesthetic held and policed primarily by (white) music critics. Through analysis of the Yoruba hymn Ise Oluwa (1927) and its “translations” in Mbulu’s performance on the soundtrack for the television show Roots (1977), we show the careful balance of voices, texts, instruments, and rhythms African migrant musicians perform in order to adhere to conflicting demands for authenticity, and the rebuke they experience when they transgress them. We also place conceptualizations of affective and scientific authenticity applied to popular music in broader discourses occurring during the height of the civil rights movement in the United States, the decolonization of Africa, and the entrenchment of the apartheid regime in South Africa.
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DjeDje, Jacqueline Cogdell. "APPALACHIAN BLACK FIDDLING: HISTORY AND CREATIVITY". African Music: Journal of the International Library of African Music 11, n. 2 (1 dicembre 2020): 77–101. http://dx.doi.org/10.21504/amj.v11i2.2315.

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Discussions on Appalachian music in the United States most often evoke images of instruments such as the fiddle and banjo, and a musical heritage identified primarily with Europe and European Americans, as originators or creators, when in reality, many Europeans were influenced or taught by African-American fiddlers. Not only is Appalachian fiddling a confluence of features that are both African- and European-derived, but black fiddlers have created a distinct performance style using musical aesthetics identified with African and African-American culture. In addition to a history of black fiddling and African Americans in Appalachia, this article includes a discussion of the musicking of select Appalachian black fiddlers.
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Wang, Yulin, e Xiaodan Wang. "Resistance Against Oppression: African American Women’s Opposition to Gaze in The Bluest Eye". International Journal of Languages, Literature and Linguistics 9, n. 4 (dicembre 2023): 433–36. http://dx.doi.org/10.18178/ijlll.2023.9.6.445.

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Toni Morrison’s The Bluest Eye describes the pain and tragedy the minority group of African Americans suffered caused by the abandonment of cultural traditions with her affective depiction. Focusing on the efforts made by some of the African Americans in this novel to fight against the gazes they experienced from both white oppression and male domination, this paper intends to discuss the attitudes and actions taken by those African American women in the face of double oppression from the perspective of post-colonial feminism, analyze their resistance to gaze, rejection to white aesthetics, and adherence to traditional values, in order to reveal the courageous and tenacious image of African American women portrayed by Morrison as fighters against unjust gaze.
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Schur, Richard. "Post-Soul Aesthetics in Contemporary African American Art". African American Review 41, n. 4 (1 dicembre 2007): 641. http://dx.doi.org/10.2307/25426982.

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Tesi sul tema "African American aesthetics"

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Gibson, Ebony Z. "Art for whose Sake?: Defining African American Literature". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/aas_theses/17.

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This exploratory qualitative study describes the criteria that African American Literature professors use in defining what is African American Literature. Maulana Karenga’s black arts framework shaped the debates in the literature review and the interview protocol; furthermore, the presence or absence of the framework’s characteristics were discussed in the data analysis. The population sampled was African American Literature professors in the United States who have no less than five years experience. The primary source of data collection was in-depth interviewing. Data analysis involved open coding and axial coding. General conclusions include: (1) The core of the African American Literature definition is the black writer representing the black experience but the canon is expanding and becoming more inclusive. (2) While African American Literature is often a tool for empowerment, a wide scope is used in defining methods of empowerment. (3) Black writers should balance aesthetic and political concerns in a text.
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Potter, Lawrence T. "Harlem's forgotten genius : the life and works of Wallace Henry Thurman /". free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946287.

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Ellis, Aimé Jero. "The "bad nigger" in contemporary Black popular culture : 1940 to the present /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Silvio, Carl. "The institutional production of literary value studies of African-American popular music lyrics and the avant-garde /". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2061.

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Thesis (Ph. D.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains iii, 310 p. Includes abstract. Includes bibliographical references (p. 301-310).
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Moskowitz, Alex. "American Imperception: Literary Form, Sensory Perception, and Political Economy in Nineteenth-Century American Literature". Thesis, Boston College, 2021. http://hdl.handle.net/2345/bc-ir:109138.

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Thesis advisor: Robert S. Lehman
Thesis advisor: Jennifer Greiman
“American Imperception” explores how early American writers investigated the role that political economy plays in the relation between sensory perception and knowledge. This dissertation argues that nineteenth-century American writers used literature to teach their readers to understand how economic forms and forms of economic activity fundamentally shape and train the sensorium to sense in historically and contextually specific ways. In “American Imperception,” I show how literature can make legible otherwise insensible forms of social and economic relations. The impossibility of sensing social and economic form—and the way in which that impossibility is rendered through literature—is what I call in this project “imperception.” Imperception describes the way in which literary form makes intelligible the structures of social, political, and economic life: structures that themselves cannot be sensed directly and which therefore cannot be directly represented by literature. “American Imperception” is focused on how literature interacts with social life within a capitalist modernity defined by the value form and the commodity form, and how literature formalizes the structures of social life through a specifically literary logic, transforming them into something that can be read where they cannot be seen, heard, felt, or represented. This dissertation draws on Karl Marx’s thinking on the senses and the suprasensible to consider how U.S. writers of the nineteenth-century mobilized literary form to make thinkable forms of sociality that cannot be contained by the imperceptible nature of sociality under capital. As I show in this dissertation, the political economy of social life determines what can be sensed, just as what can be sensed marks the horizon of political and social possibility
Thesis (PhD) — Boston College, 2021
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Hopkins, Richard L. D. "Reggae in the Motor City: The Afropolitan Aesthetics of Reggae in Detroit, MI". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1573002146396538.

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Isaac, Rochell J. "AFRICAN HUMANISM: A PRAGMATIC PRESCRIPTION FOR FOSTERING SOCIAL JUSTICE AND POLITICAL AGENCY". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/186541.

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Abstract (sommario):
African American Studies
Ph.D.
This study explores an African conception of Humanism as distinct from the European model and challenges the notion that Humanism is an entirely European construct. I argue that the ideological core of Humanism originated in ancient Kemet, the basis of which frames the African worldview. Furthermore, the theoretical framework provided by the African Humanistic paradigm serves as a model for structuring inter and intra group relations, for tackling notions of difference and issues of fundamentalism, for addressing socio-economic political concerns, and finally, to shift the currents of political rhetoric from one of jouissance to a more progressive and pragmatic stance.
Temple University--Theses
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Reed, Caroliese Frink. "Aesthetic Re-Creation and Regeneration in African American Storytelling: The Works of Torrence, Goss and Alston". Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/362263.

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African American Studies
Ph.D.
From the animal and trickster tales told by enslaved Africans in America to current education and performance based storytelling by contemporary African American storytellers, this study traces the aesthetics and epistemologies of the collaborative African diasporic oral expressive traditions. Through systematic analysis based on data derived from bibliographic and archival sources, interviews, and participant observation, it delineates the progression of the repertoire and content of Blackstorytelling through the lives and works of national and internationally known storytellers, Jackie Torrence, Linda Goss and Charlotte Blake Alston. Its theoretical framework is inspired by Kariamu Welsh Asante’s aesthetic senses coupled with pertinent ideas of other scholars in the field. The study demonstrates the existence of significant evidence of cultural preservation and artistic re-interpretation of the African aesthetic in Blackstorytelling. The genre comprises both traditional and contemporary expressions of African American culture. As such, it is a major component of the universal African oral continuum
Temple University--Theses
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White, Theresa Renee. "Media as pedagogy and socializing agent influences of feminine beauty aesthetics in American teen-oriented films and magazines on African American adolescent female self image /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610103761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thompson, Sheneese. "Oshun, Lemonade and Other Yellow Things: Philosophical and Empirical Inquiry into Incorporation of Afro-Atlantic Religious Iconography". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555573211820986.

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Libri sul tema "African American aesthetics"

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1944-, Baer Hans A., Polk Noel e University of Southern Mississippi, a cura di. Black church ritual and aesthetics. Hattiesburg: University of Southern Mississippi, 1985.

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Driskell, David C. African American visual aesthetics: A postmodernist view. Washington: Smithsonian Institution Press, 1995.

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Omry, Keren. Cross-rhythms: Jazz aesthetics in African-American literature. London: Continuum, 2008.

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Kariamu, Welsh-Asante, a cura di. The African aesthetic: Keeper of the traditions. Westport, Conn: Greenwood Press, 1993.

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Sanders, Mark A. Afro-modernist aesthetics & the poetry of Sterling A. Brown. Athens, Ga: University of Georgia Press, 1999.

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1943-, Wintz Cary D., a cura di. The politics and aesthetics of "New Negro" literature. New York: Garland Pub., 1996.

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1952-, Shannon Sandra Garrett, e Williams Dana A. 1972-, a cura di. August Wilson and Black aesthetics. New York: Palgrave Macmillan, 2004.

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Shockley, Evie. Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry. Iowa City: University of Iowa Press, 2011.

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Gabbin, Joanne V. Sterling A. Brown: Building theBlack aesthetic tradition. Westport, Conn: Greenwood Press, 1985.

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Christian, Schmidt. Postblack aesthetics: The freedom to be black in contemporary African American fiction. Heidelberg: Universitätsverlag Winter, 2017.

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Capitoli di libri sul tema "African American aesthetics"

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Taylor, Clyde R. "Black Cinema and Aesthetics". In A Companion to African-American Philosophy, 399–406. Malden, MA, USA: Blackwell Publishing, 2007. http://dx.doi.org/10.1002/9780470751640.ch26.

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Simpson, Lorenzo C. "Critical Theory, Aesthetics, and Black Modernity". In A Companion to African-American Philosophy, 386–98. Malden, MA, USA: Blackwell Publishing, 2007. http://dx.doi.org/10.1002/9780470751640.ch25.

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Lewis-Mhoon, Abena. "Foraging Fashion: African American Influences on Cultural Aesthetics". In Soul Thieves, 61–75. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137071392_5.

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Schur, Richard. "Stomping the Blues No More? Hip Hop Aesthetics and Contemporary African American Literature". In New Essays on the African American Novel, 201–20. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1007/978-0-230-61275-4_14.

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Cooper, Preston Park. "“A Beautiful Black Butterfly”: Eastern Aesthetics and Postmodernism in Ishmael Reed’S Japanese by Spring". In Cross-Cultural Visions in African American Literature, 177–90. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119123_9.

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Klestil, Matthias. "Introduction: African American Environmental Knowledge at Niagara". In Environmental Knowledge, Race, and African American Literature, 1–41. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-82102-9_1.

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AbstractTo define the concept of environmental knowledge and illustrate its potential for ecocritical readings of nineteenth-century African American literature, this chapter turns to two texts about Niagara Falls, a handwritten note by Frederick Douglass (1843) and Charles W. Chesnutt’s short story “The Passing of Grandison” (1899). While Douglass’s note exemplifies how black writers could transform dominant aesthetic modes such as the sublime to utter social critique through expressing epistemological and ethical relations to non-human nature, Chesnutt’s story demonstrates a strategic subversiveness characteristic of African American environmental knowledge. My readings highlight how Environmental Knowledge, Race, and African American Literature employs a Foucauldian ecocritical concept of environmental knowledge to trace places and patterns of an African American ecoliterary tradition.
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Uwakweh, Pauline Ada. "Mobilities as Transnational Literary Aesthetics in Adichie's Americanah". In Women Writers of the New African Diaspora, 68–85. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429296383-5.

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Thompson, Mark Christian. "Aesthetic Hygiene: Marcus Garvey, W.E.B. Du Bois, and the Work of Art". In A Companion to African American Literature, 243–53. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch16.

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Sackeyfio, Rose A. "Negotiating identity and Pan-African aesthetics in Americanah by Chimamanda Ngozi Adichie". In West African Women in the Diaspora, 53–66. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003219323-5.

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Allen, Carolyn. "The Aesthetics of Natural Black Hairstyles". In Advances in Human Resources Management and Organizational Development, 179–95. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-8790-7.ch010.

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The chapter considers the three African aesthetic principles of polyrhythm, curvilinearity, and repetition and applies the aesthetic principles to natural Black hairstyles. Aesthetics are associated with the conception of beauty or what is considered beautiful. Afros, locs, twists, braids, and Bantu knots are natural hairstyles considered beautiful in the African aesthetic. However, natural Black hairstyle have been disparaged in the American workplace. Discrimination and bias against natural Black hairstyles will be reviewed. The purpose of the chapter is to discuss the links between African aesthetics and natural Black hairstyles. Further, the chapter explores bias against natural Black hairstyles and the rejection of African aesthetics by European standards.
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Atti di convegni sul tema "African American aesthetics"

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Cleckley, Elgin. "Becoming Credible: Developing Pedagogies for Inclusive Design Futures". In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.63.

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2020’s racial reckoning produced student, faculty, staff, and alumni calls for action to many North American schools of architecture and design. For example, Notes on Credibility, by the Harvard Graduate School of Design’s African American Student Union and AfricaGSD, demands that the GSD must “institutionalize anti-racism and acknowledge that pedagogy has a cultural obligation.[1] Many calls echo Notes, prompting a rethinking of architectural pedagogy from longheld Beaux-Arts models and late image-making practices. As we collectively advance, studio instruction requires new pedagogical and inclusive modes incorporating identity, culture, history, memory, and place. Empathic instruction, through a strategically designed collegial environment, allows for personal and instructional creativity resulting in personal discovery. To rise to the Calls, and this time, pedagogies must include a full human experiential perspective, whereby students develop a skill toolkit based on ethics and aesthetics to support design activism.
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Carlow, Jason F. "Desert Roofscapes: Reinterpreting Vernacular Forms". In 109th ACSA Annual Meeting. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.11.

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This paper presents new methodologies for the design of roof canopies for extreme desert climates based on per-formative aspects of vernacular architecture from the Middle East and North Africa (MENA) region. The research and design explorations have been undertaken within the context of an undergraduate, architectural design studio at American University of Sharjah. The research methodology for the studio included a survey and case studies of various traditional building types, technologies and materials to uncover design strategies. Lessons for climatic performance such as solar shading, natural ventilation and using thermal mass for cooling were important aspects of the precedent research, as were aspects of structural, material and aesthetic performance. In addition to a series of vernacular buildings, students were also asked to investigate a number of contemporary examples of architectural enclosures and roof systems. Students experimented with computational means of hybridizing concepts, technology and geometry from the two categories (vernacular and contemporary) into a prototypical envelope system. Through multiple, design exercises, the studio encouraged an iterative approach to design. The studio considered how parametric tools and or parametric thinking can be put to work to blend architectural forms to achieve canopies that perform in desirable ways and can adapt to different sites, structural spans and programmatic criteria. With the use of digital design tools and techniques, an experimental approach toward building design aims to create prototypes for a better performing building envelope.
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