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Rahman, Jacquelyn. "Woman to woman". English World-Wide 32, nr 3 (25.10.2011): 309–37. http://dx.doi.org/10.1075/eww.32.3.03rah.
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Professional female comedians frequently face harassment from male fellow performers and from male audience members who take a sexist attitude, essentializing women as psychologically and temperamentally unsuited to the profession of comedy. This paper examines a strategy that African American female comedians employ to overcome the obstacles they face in performing before mixed gender African American audiences. While implementing features that emphasize their African American and female identity, the comedians direct their performances toward women in the audience, employing features and practices comparable to those researchers associate with close female friends in conversation. Intensive use of a strategy that includes taking stances such as confidence sharing and using gendered terms to directly address female audience members establishes solidarity with the women who are listening. Having a large portion of the audience as allies discourages the occurrence of sexist harassment.
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Adekunle, Idowu James. "Gender conflict resolution in Nigerian and African American standup performances". International Journal of Visual and Performing Arts 5, nr 2 (15.12.2023): 167–77. http://dx.doi.org/10.31763/viperarts.v5i2.1213.
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Stand-up comedy, a prominent facet of live theatrical entertainment, occupies a unique position in the entertainment industry, embodying a key element of popular culture. This comedic form reflects the sociological dynamics of both historical and contemporary societies, influencing and engaging both local and international audiences. Beyond providing psycho-physical therapy for performers, stand-up comedy plays a pivotal role in shaping societal perceptions. This article focuses on a gender-focused analysis of stand-up comedy, exploring its implications for domestic growth, marriage unity, and love. Utilizing three digital recordings featuring stand-up comedians, namely Bright Okpocha (Basket Mouth), Ayo Makun (AY), and Eddie Murphy, the study examines their unique approaches to addressing gender-based violence and resolving conflicts. The selection criteria were based on the comedians' distinct counseling methods and perspectives on gender-related issues. Drawing on Richard Schechner's performance theory, the analysis employs both performance and content analyses to elucidate the spectrum of gender conflicts and resolutions presented by the comedians. The findings underscore the importance of mutual understanding and communication in resolving gender conflicts. The article also delves into the influence of parental roles in household management and the pursuit of material wealth. Emphasizing the significant role of counseling modes, the study concludes that stand-up comedy, with its oratory counseling mode and therapeutic elements, serves as an effective means of addressing gender conflicts, contributing to mutual understanding and successful resolutions within society.
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Merid, Beza. ""Stroke's No Joke": Race and the Cultural Coding of Stroke Risk". Catalyst: Feminism, Theory, Technoscience 2, nr 2 (12.10.2016): 1–25. http://dx.doi.org/10.28968/cftt.v2i2.28804.
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Stroke is a leading cause of death in the US that disproportionately affects African Americans. In a 2009 PSA campaign, the American Stroke Association’s Stroke’s No Joke campaign collaborated with African American stand-up comedians to promote symptom recognition and discourage delays in care seeking among African Americans. Rather than frankly articulating their disproportionate incidence of and death from stroke, however, this campaign hailed African Americans and their stroke risk using an overly broad construction of blackness. This article joins the others in this special feature in examining how blackness becomes an object of knowledge production in medicine by considering how stroke risk becomes racially and culturally coded.
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Franklin, V. P., i Bettye Collier-Thomas. "Biography, Race Vindication, and African American Intellectuals". Journal of African American History 87, nr 1 (styczeń 2002): 160–74. http://dx.doi.org/10.1086/jaahv87n1p160.
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Johnson, Yvonne. "Black Lives: Essays in African American Biography (review)". Biography 23, nr 4 (2000): 777–81. http://dx.doi.org/10.1353/bio.2000.0051.
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Lynn M. Hudson. "Lies, Secrets, and Silences: Writing African American Women’s Biography". Journal of Women's History 21, nr 4 (2009): 138–40. http://dx.doi.org/10.1353/jowh.0.0107.
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Franklin, V. P., i Bettye Collier-Thomas. "Biography, Race Vindication, and African-American Intellectuals: Introductory Essay". Journal of Negro History 81, nr 1-4 (styczeń 1996): 1–16. http://dx.doi.org/10.1086/jnhv81n1-4p1.
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Dunning, Eric. "#BBQBecky & #PermitPatty: African-American Humor & Resistive Discourse on Twitter". Studies in Linguistics and Literature 4, nr 2 (8.05.2020): p33. http://dx.doi.org/10.22158/sll.v4n2p33.
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Humor has always been a social tool by which to navigate the slings and arrows of human existence. This has been exceptionally true for historically marginalized groups, such as African-Americans. Throughout U.S. history, “Black humor” has served to challenge authority, resist domination, lampoon the powerful and assuage injustices. It has served and both balm and weapon for a cultural group that has often found itself on the outside looking in, while being punished for being in that position. However, even within marginalized groups, canonical examples of cultural humor have been largely produced by a small segment of the population (i.e.,comedians, writers, poets, musicians). Social media, Twitter especially, has removed the barriers of production and gatekeeping of humor. Therefore, by examining responses to a cultural moment by “non-elite” African-Americans on Twitter, as the this paper does, helps to elucidate some evident trends, narratives, rhetorical strategies and tropes that may possibly be considered universal hallmarks of “Black Humor” as resistive discourse. Furthermore, these hallmarks can perhaps be understood to be the preeminent forms by which African-Americans create community, resist oppression and challenge hegemonic norms.
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Mood, Terry Ann. "Sources: Harlem Renaissance Lives from the African American National Biography". Reference & User Services Quarterly 49, nr 2 (4.08.2011): 198. http://dx.doi.org/10.5860/rusq.49.2.4173.
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Stulov, Yuri V. "Contemporary African American Historical Novel". Literature of the Americas, nr 14 (2023): 75–99. http://dx.doi.org/10.22455/2541-7894-2023-14-75-99.
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The paper discusses the works of African American writers of the end of the 1960s — the end of the 2010s that address the historical past of African Americans and explores the traumatic experience of slavery and its consequences. The tragedy of people subjected to slavery as well as their masters who challenged the moral and ethical norms has remained the topical issue of contemporary African American historical novel. Pivotal for the development of the genre of African American historical novel were Jubilee by the outstanding writer and poet Margaret Walker and the non-fiction novel Roots by Alex Haley. African American authors reconsider the past from today’s perspective making use of both the newly discovered documents and the peculiarities of contemporary literary techniques and showing a versatility of genre experiments, paying attention to the ambiguity of American consciousness in relation to the past. Toni Morrison combines the sacred and the profane, reality and magic while Ishmael Reed conjugates thematic topicality and a bright literary experiment connecting history with the problems of contemporary consumer society; Charles Johnson problematizes history in a philosophic tragicomedy. Edward P. Jones reconsiders the history of slavery in a broad context as his novel’s setting is across the whole country on a broad span of time. The younger generation of African American writers represented by C. Baker, A. Randall, C. Whitehead, J. Ward and other authors touches on the issues of African American history in order to understand whether the tragic past has finally been done with. Contemporary African American historical novel relies on documents, new facts, elements of fictional biography, traditions of slave narratives and in its range makes use of peculiarities of family saga, bildungsroman, political novel, popular novel enriching it with various elements of magic realism, parodying existing canons and sharp satire.
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Hughes, Richard. "Gates, Jr And Higginbotham, Eds., Harlem Renaissance Lives - From African American National Biography". Teaching History: A Journal of Methods 34, nr 2 (1.09.2009): 110–11. http://dx.doi.org/10.33043/th.34.2.110-111.
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With hundreds of accessible entries on the lives of African Americans directly or indirectly associated with this period, Harlem Renaissance Lives is an ambitious effort to highlight, and sometimes uncover, the role of African Americans in shaping the United States in the twentieth century. While the entries are brief, the book's strength is its breadth with portraits of not only writers, artists, actors, and musicians but also educators, civil rights and labor activists, entrepreneurs, athletes, clergy, and aviators. Students of history will find familiar figures of the period such as Langston Hughes, Josephine Baker, Duke Ellington, Marcus Garvey, W.E.B. Du Bois, and Adam Clayton Powell, Jr. However, the real value of the work is in highlighting, however briefly, the lives of hundreds of lesser-known African Americans. Some figures, such as educator Roscoe Bruce, the son of a U.S. Senator, grew up relatively privileged, but many of the biographies involve African-Americans whose unlikely contributions begin with a background that included slavery and sharecropping. Regardless, each entry includes a valuable bibliography and information about relevant primary sources such as an obituary and archival collections.
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Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success". Nineteenth-Century Music Review 3, nr 1 (czerwiec 2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.
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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.
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Harris, Calvin E. "Review: Black Lives: Essays in African American Biography by James L. Conyers, Jr." Ethnic Studies Review 23, nr 1 (1.01.2000): 140–41. http://dx.doi.org/10.1525/esr.2000.23.1.140.
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Perry, Robert L., i Melvin T. Peters. "The African-American Intellectual of the 1920s: Some Sociological Implications of the Harlem Renaissance". Ethnic Studies Review 19, nr 2-3 (1.06.1996): 155–72. http://dx.doi.org/10.1525/esr.1996.19.2-3.155.
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This paper deals with some of the sociological implications of a major cultural high-water point in the African American experience, the New Negro/Harlem Renaissance. The paper concentrates on the cultural transformations brought about through the intellectual activity of political activists, a multi-genre group of artists, cultural brokers, and businesspersons. The driving-wheel thrust of this era was the reclamation and the invigoration of the traditions of the culture with an emphasis on both the, African and the American aspects, which significantly impacted American and international culture then and throughout the 20th century. This study examines the pre-1920s background, the forms of Black activism during the Renaissance, the modern content of the writers' work, and the enthusiasm of whites for the African American art forms of the era. This essay utilizes research from a multi-disciplinary body of sources, which includes sociology, cultural history, creative literature and literary criticism, autobiography, biography, and journalism.
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Heideman, Paul M. "Hubert Harrison: The Voice of Harlem Radicalism, 1883–1918, Jeffrey B. Perry, New York: Columbia University Press, 2009". Historical Materialism 21, nr 3 (2013): 165–77. http://dx.doi.org/10.1163/1569206x-12341315.
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AbstractJeffrey B. Perry’s biography of Hubert Harrison restores the legacy of a central figure in the history of Black radicalism. Though largely forgotten today, Harrison was acknowledged by his early-twentieth-century peers as ‘the father of Harlem radicalism’. Author of pioneering analyses of white supremacy’s role in American capitalism, proponent of armed self-defence among African-Americans, and anti-colonial intellectual, Harrison played a central role in the development of Black politics in the United States. This review traces Harrison’s journey from socialist organiser to Black nationalist, considering its implications for the history of American radicalism.
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Alex Vernon. "Narrative Miscegenation: Absalom, Absalom! as Naturalist Novel, Auto/Biography, and African-American Oral Story". Journal of Narrative Theory 31, nr 2 (2001): 155–79. http://dx.doi.org/10.1353/jnt.2011.0080.
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Gray, LaVerne. "Naomi Willie Pollard Dobson: A Pioneering Black Librarian". Libraries: Culture, History, and Society 6, nr 1 (1.03.2022): 1–20. http://dx.doi.org/10.5325/libraries.6.1.0001.
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ABSTRACT Naomi Willie Pollard Dobson (1883–1971) was an educator, librarian, clubwoman, civic leader, and the first Black woman to graduate from Northwestern University in 1905. Despite her achievements, Dobson is not represented in the literature in Black librarianship history, African American history, or women’s history. This article takes a closer look at an early twentieth-century life well lived. A chance reading of the 1915 Wilberforce University catalog revealed her as the head librarian at Wilberforce, an Ohio historically Black college founded in 1856 by the African Methodist Episcopal Church. This article documents the process of uncovering an unknown and unsung figure in African American woman’s biography and library history. The text makes the case for inclusion of an under-researched woman who contributed to the intellectual and liberatory conscious of African Americans. To situate the subject in time and space the article recounts her familial influences through genealogy, explores her movements through the society and women’s columns, and outlines her professional work through institutional reports. Recounting Dobson’s life involved embracing the relational through the significance of a remarkable family, communities centered on self-determination, and progressive racial uplift.
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Shumakov, Andrey A. "Paul Cuffe: navigator, businessman, abolitionist". Tyumen State University Herald. Humanities Research. Humanitates 9, nr 2 (2023): 69–86. http://dx.doi.org/10.21684/2411-197x-2023-9-2-69-86.
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This article is the first in Russian historiography to provide a detailed biography of the legendary African American abolitionist and entrepreneur, Paul Cuffe. He is often referred to as the pioneer of the “Back-to-Africa” movement and a founder of the black nationalism ideological and political trend. Cuffe’s success story and public activism have inspired generations of fighters for black rights in the United States, making him one of the most revered figures in African American history. Two centuries after his untimely death, interest in Cuffe continues to grow, as evidenced by the increasing number of publications on this subject. The purpose of this work is to review Paul Cuffe’s biography using reports, letters, works, and materials from periodicals, as well as research materials from leading Western experts. The study aims to consider the early period of Cuffe’s life and his entrepreneurial and social activities. Historical-descriptive and comparative-historical methods are used to draw parallels with similar historical figures like Prince Hall. The author concludes that Cuffe’s entrepreneurial activity was closely linked to his social work. He saw the repatriation project as a promising economic venture, as evidenced by his long and systematic fundraising efforts. Cuffe’s views were influenced by the development of free trade in the late 18th and early 19th c. Regarding Cuffe’s representation as a founder of black nationalism and Pan-Africanism, the author does not find direct confirmation of this point of view during their research.
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Baaki, Brian. "Circulating the Black Rapist: Sketches of the Life of Joseph Mountain and Early American Networks of Print". New England Quarterly 90, nr 1 (marzec 2017): 36–68. http://dx.doi.org/10.1162/tneq_a_00584.
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This article examines texts produced in response to the criminal trial of Joseph Mountain to illuminate the early construction of the black rapist in American print. The central text in its analysis is Mountain's own “criminal confession,” Sketches of the Life of Joseph Mountain (1790). This article views Mountain's text as a response to a different set of concerns than later narratives of African Americans convicted of rape and positions Mountain's biography as a response not merely to concerns over black slave revolt alone, but to a related, if more immediate threat of cross-racial, proletarian revolution.
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WRIGGLE, JOHN. "Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet". Journal of the Society for American Music 6, nr 2 (maj 2012): 175–209. http://dx.doi.org/10.1017/s175219631200003x.
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AbstractThe American popular music tradition of “jazzing the classics” has long stood at the intersection of discourses on high and low culture, commercialism, and jazz authenticity. Dance band arrangers during the 1930s and 1940s frequently evoked, parodied, or straddled these cultural debates through their manipulations of European classical repertoire. This article examines Swing Era arranging strategies in the context of prevailing racial essentialisms, conceptions of modernism, and notions of technical virtuosity. The legacy of African American freelance arranger Chappie Willet, and his arrangement of Beethoven's Piano Sonata, op. 13 (“Pathétique”) for the black dance band of Jimmie Lunceford, suggests that an account of the biography and artistic voice of the arranger is critical to understanding the motivations behind these hybrid musical works.
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Porco, Alessandro. "The Life and Art of Mary Parks Washington (Fall 2018)". New Americanist 2, nr 2 (listopad 2023): 167–204. http://dx.doi.org/10.3366/tna.2023.0015.
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This essay presents a critical biography of African American visual artist Mary Parks Washington, with an emphasis on her creative development from 1942 to 1979. Washington's extant art is discussed in the context of her educational background, social network, and political affiliations, as well as the history of activist curation in the wake of the Black Arts and Black Power movements. As an undergraduate at Spelman College in the 1940s, Washington was mentored by muralist Hale Woodruff, who encouraged her to continue her studies at the Art Students League of New York, Black Mountain College, and the Universidad Nacional de México. These experiences introduced Washington to key figures of the international and American avant-gardes, including Josef Albers, Diego Rivera, and Jacob Lawrence. In 1958, Washington settled down with her family in the Bay Area, where she met poet Sarah Webster Fabio, a leading figure in the Black Arts Movement on the West Coast. Washington and Fabio's collaborative friendship over two decades culminated in 1979's Offshoots of Roots Unknown, a series of “poem-paintings” that elegize Washington's family in early twentieth century Atlanta and, formally, deal with the technical (and ethical) problem of remembering and representing history. Drawing extensively on archival materials from the Auburn Avenue Research Library on African American Culture and History, this essay recognizes Washington's contribution to post-WWII African American art and documents her unique artistic trajectory, traversing aesthetic, social, and political formations from pre-Civil Rights Atlanta to the post-Black Arts Movement Bay Area.
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Hirsch, Pam. "This Far By Faith: Readings in African-American Women's Religious Biography, by Judith Weisenfeld and Richard Newman (eds)". Women’s Philosophy Review, nr 17 (1997): 60–62. http://dx.doi.org/10.5840/wpr19971720.
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Krasner, David. "Alain L. Locke: The Biography of a Philosopher, and: Slave Songs and the Birth of African American Poetry". African American Review 43, nr 4 (2009): 759–62. http://dx.doi.org/10.1353/afa.2009.0076.
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Chybowski, Julia J. "Becoming the “Black Swan” in Mid-Nineteenth-Century America:". Journal of the American Musicological Society 67, nr 1 (2014): 125–65. http://dx.doi.org/10.1525/jams.2014.67.1.125.
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Elizabeth Taylor Greenfield was first in a lineage of African American women vocalists to earn national and international acclaim. Born into slavery in Mississippi, she grew up in Philadelphia and launched her first North American concert tour from upstate New York in 1851. Hailed as the “Black Swan” by newspapermen involved in her debut, the soubriquet prefigured a complicated reception of her musical performances. As an African American musician with slavery in her past, she sang what many Americans understood to be “white” music (opera arias, sentimental parlor song, ballads of British Isles, and hymns) from the stages graced by touring European prima donnas on other nights, with ability to sing in a low vocal range that some heard as more typical of men than women. As reviewers and audiences combined fragments of her biography with first-hand experiences of her concerts, they struggled to make the “Black Swan” sobriquet meaningful and the transgressions she represented understandable. Greenfield's musical performances, along with audience expectations and the processes of patronage, management, and newspaper discourse complicated perceived cultural boundaries of race, gender, and class. The implications of E. T. Greenfield's story for antebellum cultural politics and for later generations of singers are profound.
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Browne, Ray B. "Harlem Renaissance Lives: From the African American National Biography by Henry Louis Gates, Jr. and Evelyn Brooks Higginbotham, Editors". Journal of American Culture 32, nr 3 (wrzesień 2009): 279. http://dx.doi.org/10.1111/j.1542-734x.2009.00716_14.x.
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Cardany, Audrey Berger. "Muddy Waters: His Life and Music". General Music Today 31, nr 3 (15.02.2018): 73–79. http://dx.doi.org/10.1177/1048371318756626.
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The author reviews Mahin and Turk’s children’s book Muddy: The Story of Blues Legend Muddy Waters. This biography of McKinley Morganfield describes his challenges and successes in music and life. Illustrations reflect African American culture using color palettes to highlight the places Waters lived and the music connected to those places including the Mississippi Delta blues and the electric Chicago blues style. The musical writing of Mahin expresses Muddy’s story in a lyrical fashion, borrowing elements from the jazz idiom. The author includes a selected discography and suggestions for additional instruction in the music of Muddy’s life using the artistic processes of listening, responding, and performing appropriate for upper elementary and middle school students in general music.
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Hamilton, Charles V., i Fredrick C. Harris. "A Conversation with Charles V. Hamilton". Annual Review of Political Science 21, nr 1 (11.05.2018): 21–27. http://dx.doi.org/10.1146/annurev-polisci-090117-120451.
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Charles V. Hamilton is the Wallace Sayre Professor Emeritus of Political Science and Government at Columbia University. He is the author of several important books on the study of race and politics, focusing primarily on the African-American experience. He is the coauthor of Black Power: A Politics of Liberation with the late Stokely Carmichael (Kwame Ture), as well as The Black Preacher in America; Bench and the Ballot: Southern Federal Judges and Black Voters; Adam Clayton Powell, Jr.: The Political Biography of an American Dilemma; and coauthor with Dona Cooper Hamilton of The Dual Agenda: Race and the Social Welfare Policies of Civil Rights Organizations. He was interviewed by Fredrick C. Harris, Dean of Social Science and Professor of Political Science at Columbia University, on July 13, 2017, at the University of Chicago. This is an edited transcript; a video of the entire interview can be viewed below or at http://www.annualreviews.org/r/charlesvhamilton .
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Friar, Kendra Kay. "Scott Joplin: A Guide for Music Educators PART I—A Ragtime Life". General Music Today 34, nr 3 (kwiecień 2021): 29–35. http://dx.doi.org/10.1177/10483713211002150.
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Scott Joplin was an African American composer and pianist of singular merit and influence. Academic interest in Joplin has increased in recent years, leading to new discoveries about the composer’s activities, yet teaching materials have not been updated at the same pace as 21st-century findings. Joplin was an entrepreneur, a performer, and a teacher, yet his biography is often reduced to a “celebratory” narrative of a composer creating toe-tapping music for the masses. “A Ragtime Life,” the first article in a three-part series, presents a modern understanding of the biographical context which shaped Scott Joplin's music, thought, and practice. It also provides suggested classroom activities for exploring Joplin’s life and works written in accordance with NAfME’s 2014 National Music Standards.
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Shumakov, A. A. "THE LIFE OF MARTIN ROBINSON DELANY'S AND EVOLUTION HIS IDEOLOGICAL AND POLITICAL VIEWS". Vestnik Bryanskogo gosudarstvennogo universiteta 01, nr 05 (25.03.2021): 141–53. http://dx.doi.org/10.22281/2413-9912-2021-05-01-141-153.
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This article examines the evolution of the ideological and political views of Martin Robinson Delany, who is credited with the first conceptual justification of the doctrine of "black nationalism" in the United States. The author analyzes the main milestones of the biography of this figure, his rich literary heritage, focusing on the consideration of the internal dialectics of Delany's political philosophy, the variability and inconsistency of his views at various stages of life. Special attention is paid to Delany's attitude to the ideology of pan-Africanism and black nationalism, as well as his controversy with Frederick Douglass. The uniqueness of the study lies in the fact that it is the first attempt in Russian academic science to present the biography and analysis of the ideological and theoretical heritage of an outstanding African-American public figure, an assessment of his contribution to the struggle for the rights of the black population in the United States. The source base is the work of Delany himself and his biographies, none of which has been translated into Russian. A number of sources are being introduced into scientific circulation for the first time. The historical-genetic and historical-typological methods are used as specific historical methods in this work.
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Stewart, Maria W., i Eric Gardner. "Two Texts on Children and Christian Education". PMLA/Publications of the Modern Language Association of America 123, nr 1 (styczeń 2008): 156–65. http://dx.doi.org/10.1632/pmla.2008.123.1.156.
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The known biography of the early african american writer and lecturer Maria W. Stewart (1803–79) is as brief as it is fascinating. After the childhood loss of her parents, she married James W. Stewart, a Boston shipping agent, in 1826. The Stewarts had close ties with the black radical David Walker, whose fiery 1829 Appeal kindled fears of slave rebellion and was in its third edition when Walker died under suspicious circumstances in August 1830. After James Stewart's own untimely death, in December 1829, his executors swindled Maria Stewart out of her inheritance, and she turned to the church and to writing and lecturing. Revising Walker's combination of jeremiad and Enlightenment-influenced political argument to reflect her own sense of faith, racism and racial uplift, and gender politics, Stewart became one of the first American women to address “promiscuous” audiences. She published a series of probing meditations as well as a set of her lectures—texts still startling for their power and bluntness—in pamphlets and, later, as Productions of Mrs, Maria Stewart (1835).
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Knox, Katelyn. "The 7th Lawrence R. Schehr Memorial Award Winning Essay". Contemporary French Civilization: Volume 46, Issue 1 46, nr 1 (1.03.2021): 1–25. http://dx.doi.org/10.3828/cfc.2021.1.
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Popular music abounds in Afropean literature, yet to date scholars have primarily read novels’ musical elements through author biography. In this article, I focus narrowly on the rich musical peritexts and musico-literary intermediality of two novels by Insa Sané: Du plomb dans le crâne (2008) and Daddy est mort…: Retour à Sarcelles (2010). In addition to the abundant diegetic musical references, both novels also feature two structural musical layers. I argue that these three musical elements constitute critical sites through which the novels’ narratives, which center around young, black, male protagonists who seek to escape vicious circles of violence through recognition, emerge. Ultimately, these novels’ musical elements situate the narratives’ discussions of black masculinity within much broader conversations transpiring between French and African American communities, thereby providing a much larger cultural genealogy to supplement the characters’ fraught literal ones.
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Fielder, Brigitte. "John Brown, Black History, and Black Childhood: Contextualizing Lorenz Graham’s John Brown Books". Humanities 11, nr 5 (3.10.2022): 124. http://dx.doi.org/10.3390/h11050124.
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Lorenz Graham wrote two children’s books about the (in)famous abolitionist, John Brown—a picture book, John Brown’s Raid: A Picture History of the Attack on Harper’s Ferry, Virginia (1972) and a biography for young adults, John Brown: A Cry for Freedom (1980). Both books recount a history of Brown’s life and antislavery work, situated within Brown’s African American context and recounted from a Black perspective. While Graham’s books are exceptional in their extended treatment of this historic figure for a child audience, they are not unprecedented. This essay situates Graham’s children’s biographies of Brown in the long history of Black writers’ work on him—for both adults and children. Reading Graham’s John Brown in this context shows how Graham follows familiar traditions for encountering Brown within the larger context of Black freedom struggles. Graham’s books follow a rich tradition of presenting him to Black children.
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Kallenberg, Vera. "Die Pionierinnen der Pionierin. Zu Gerda Lerners »The Grimké Sisters from South Carolina. Pioneers for Women’s Rights and Abolition« (1967/2004)". Aschkenas 33, nr 2 (28.11.2023): 313–27. http://dx.doi.org/10.1515/asch-2023-2016.
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Abstract This article traces the history of the double biography »The Grimké Sisters« (1967/2004) by Gerda Lerner, an American Jewish historian who, as a Viennese Jew, escaped Nazi Europe for the United States in 1939. Focusing on the history of the making of »The Grimké Sisters«, the essay analyzes Lerner’s book as ›life writing‹. It demonstrates Gerda Lerner‘s (1920–2013) becoming scholarly persona in the context of her self-interpretation of the Grimké Sisters as her own figures of identification and role model. By showing the nexus of African Americans’ rights and women’s rights in the Grimké sisters’ engagement, Gerda Lerner processed the own in the foreign. In doing so, Lerner’s interest in white abolitionism and the women’s rights movement in the 19th century U.S. echoes her multiple outsider and persecution experiences as a Jewish emigrant, left-wing feminist, and pioneer in Women’s history in the 20th century.
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Baibakova, Larisa Vilorovna. "Peculiarities of perception by former slaves of their social status in the era of slavery (based on the collection of their memoirs in the Library of US Congress)". Исторический журнал: научные исследования, nr 4 (kwiecień 2020): 131–45. http://dx.doi.org/10.7256/2454-0609.2020.4.33626.
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Slavery has always been condemned across the world; however in the end of the XX century, such canonical concept was rectified based on the extensive examination by American scholars of compilation of narratives of the former slaves collected in 1930s in the United States. At that time, 2,300 former slaves from 17 states were interviewed about their life in the era of slavery. Later, these interviews were placed in open access on the website of the Library of US Congress, reconstructing a contradictory picture of everyday life of African-Americans in the conditions of plantation economy: some reminiscences convey almost a nostalgic feeling of the past, while others criticizes it severely. The author in his attempt explain the historical accuracy of the results of mass interviewing of African-Americans, tries to make sense why 70 years later, the eyewitnesses of the same event have polar viewpoints. Forming the new comparative-historical approaches towards examination of collective consciousness under the influence of anthropologization of historical knowledge, the interview materials allow reconstructing the period, demonstrating the value system of the entire population group, unlike biography that structures the chain of events in chronological order. Analysis of the archive “Born in Slavery: Slave Narratives from the Federal Writers' Project, 1936-1938” has not been previously conducted within the Russian historiography, just briefly mentioned as one of the documentary aspects of the institution of slavery. The contained material is important for scientific comprehension of the bygone era of slavery, reflected in the collective memory of long-suffering African-American sub-ethnos. The problem of slavery in the United States, which synthesizes heritage of the past with practices of everyday life in various manifestations, seems optimal from the perspective of historiographical interest.
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Trotter, LaTonya. "“Church Is Important to Our Clients”: Autonomy, Community, and Religious Expression within a Long-term Care Organization". Journal of Contemporary Ethnography 49, nr 5 (4.06.2020): 638–65. http://dx.doi.org/10.1177/0891241620922882.
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Autonomy and selfhood are primary concerns for scholars of long-term care. Previous work has shown how organizational routines threaten client autonomy and disrupt access to the material and symbolic resources that ground the biography of the self. In this article, I examine how a group of African-American older adults within an adult day service center ameliorated these threats through religious expression. In most health care settings, religion is delivered as an individual, clinical resource. At this site, religion and recreation became intertwined such that religion became a participatory resource that affirmed client membership to a community beyond the walls of the organization. However, as an institutionally provided resource, religion was delivered through work routines that constrained which versions of community to which clients could belong. I conclude by considering the implications for the expanding universe of long-term care organizations tasked with the maintenance of the body as well as the continuity of the self.
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Pickett, Carmelita N. "The African American National Biography2009186Editors in chief Henry Louis Gates and Evelyn Brooks Higginbotham. The African American National Biography. New York, NY and Oxford: Oxford University Press 2008. , ISBN: 978 0 19 516019 2 $995 8 vols". Reference Reviews 23, nr 4 (maj 2009): 47. http://dx.doi.org/10.1108/09504120910958629.
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Shumakov, Andrey A. "Gabriel’s plot of 1800: the story of the failed uprising". Tyumen State University Herald. Humanities Research. Humanitates 8, nr 3 (2022): 125–42. http://dx.doi.org/10.21684/2411-197x-2022-8-3-125-142.
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This article analyzes one of the most significant, yet understudied events in African-American history. The Virginia Conspiracy or the Gabriel Conspiracy of 1800 is considered the most famous case of organizing a mass armed uprising of slaves in the United States. Inspired by the ideas and examples of the American, Great French and Haitian revolutions, black slaves tried not just to raise an uprising and achieve liberation, but actually challenged the slave-owning orders of the entire white South. The scale and geography of the conspiracy leave no doubt that it originally implied a mass armed demonstration, which was to begin simultaneously in several cities of Virginia and spread to neighboring states. The purpose of this study is to analyze and restore the chronicle of the main events related to the Virginia Conspiracy of 1800. The materials of the trial and some periodicals act as a source base, while the author also relies on the research of leading American experts on this topic. The main objectives of the study include: to consider the background of the conspiracy and some issues of Gabriel’s early biography and to study the process of preparing a speech and the immediate implementation of the plan. The article also analyzes the consequences of the events of 1800 for the legislation of Virginia and the entire white South. The main methods are historical-descriptive and comparative-historical, allowing to draw the necessary parallels with similar historical phenomena, such as the Virginia Uprising led by Nat Turner in 1831. The conclusion shows that the slave conspiracy of 1800 was planned in the most careful way, while the reason for its failure was a combination of purely subjective factors. Simultaneously, Gabriel’s failed rebellion demonstrated the vulnerability of the White South in the face of slave uprisings, as well as the high degree of self-organization of the Black community and the beginning of the formation of an African-American identity.
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Baptiste, Bala. "Thomas Dyja, Walter White: The Dilemma of Black Identity in America. Chicago: The Library of African-American Biography, 2008. Pp. 212. Cloth $26.00." Journal of African American History 95, nr 2 (kwiecień 2010): 267–69. http://dx.doi.org/10.5323/jafriamerhist.95.2.0267.
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Siqueira, Samanta Vitória, i Karina De Castilhos Lucena. "Aquela que diz não à sombra: biografia e obra da escritora martinicana Françoise Ega / The One Who Denies Her Shadow: Life and Work of the Martinican Writer Françoise Ega". Caligrama: Revista de Estudos Românicos 25, nr 3 (18.12.2020): 57. http://dx.doi.org/10.17851/2238-3824.25.3.57-75.
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Resumo: Este artigo apresenta a biografia e as obras da escritora, empregada doméstica e militante social martinicana Françoise Ega (1920-1976) buscando dar visibilidade para sua trajetória de vida e para suas publicações ainda pouco conhecidas nos círculos acadêmicos e literários brasileiros. Primeiramente, apresentamos a biografia da autora com foco em seus deslocamentos e atuação política. Depois, comentamos brevemente suas obras Le temps de madras (1966), Lettres à une noire (1978) e L’Alizé ne soufflait plus (2000), relacionando-as com a vida da autora e com a sociedade martinicana. Por fim, sob uma perspectiva que não dissocia literatura e sociedade e que considera a história específica de socialização de mulheres diaspóricas afrodescendentes, propõe-se uma reflexão sobre o lugar de intelectuais negras na história da literatura latino-americana.Palavras-chave: Françoise Ega; escritoras diaspóricas; literatura antilhana.Abstract: This paper presents the biography and works of Martinican writer, laborer and social activist Françoise Ega (1920-1976), seeking to shed light on her life story and her lesser known publications among Brazilian academic and literary circles. Firstly, we present the writer’s biography, focusing on her relocations and political engagement. Secondly, we introduce Ega’s works Le temps de madras (1966), Lettres à une noire (1978) and L’Alizé ne soufflait plus (2000), and their relationship with both her life and the Martinican society. Ultimately, from a perspective which compromises literature and society, acknowledging the specific socialization history of diasporic women of African descent, we propose a reflection on the role of black women intellectuals in the history of Latin American literature.Keywords: Françoise Ega; diasporic writers; Antillean literature.
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Staples, Jeanine M. "The revelation(s) of Asher Levi: An iconographic literacy event as a tool for the exploration of fragmented selves in new literacies studies after 9/11". Qualitative Studies 2, nr 2 (3.10.2011): 79–97. http://dx.doi.org/10.7146/qs.v2i2.5511.
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This article considers the dynamics of an iconographic literacy event that functions as a tool for explorations of literacy practices and fragmented selves, particularly in relationship to the literate lives of marginalized individuals in the post 9/11 era. The author examines what happened when a group of 10 African American women in an urban area employed new literacies in the teaching/learning spaces of their personal lives (i.e. individual homes, familiar eateries, communicative digital technologies) to explore and respond to stories in post 9/11 popular culture narratives. The study employed ethnographic methods (interviews, journaling, email and instant message writing and critical observations) with members of the inquiry over the course of two years. The author investigated critically the meeting of biography, fiction and autoethnography as a literacy event used to couch the literacies and fragmented selves of these women in the post 9/11 era. Findings regarding the nature of their post 9/11 literacies, as expressed through fragmented selves, are shared, along with implications for new literacies research and teaching. Findings show that the women’s post 9/11 literacies include a range and variation of critical sensibilities that include, but are not limited to, multiple levels of sociolinguistic integration, sociocultural criticality and heightened awarenesses.
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Bundles, A’Lelia. "ReviewHenry Louis Gates, Jr. and Evelyn Brooks Higginbotham, eds., Harlem Renaissance Lives from the African American National Biography. New York: Oxford University Press, 2009. Pp. 608. Cloth $50.00." Journal of African American History 95, nr 2 (kwiecień 2010): 264–67. http://dx.doi.org/10.5323/jafriamerhist.95.2.0264.
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Ostaszewska, Aneta. "Between Grandma and Granddaughter – The Process of Becoming a Black Woman in a Racist Society. Analysis of Intergenerational Transmission on the Example of bell hooks’ autobiography Bone Black: Memories of Girlhood". Nauki o Wychowaniu. Studia Interdyscyplinarne 14, nr 1 (7.07.2022): 29–42. http://dx.doi.org/10.18778/2450-4491.14.03.
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The aim of the essay is to discuss an intergenerational transmission of family history and its impact on the process of becoming a Black woman in a racist society. The example chosen for analysis is the autobiography of bell hooks, Bone Black: Memories of Girlhood (1996), which is a story about girlhood. (B)ell hooks is a pen name of Gloria Jean Watkins, an African-American scholar and writer whose childhood and adolescence were during the period of racial segregation and desegregation in the 1960s of the twentieth century. (B)ell hooks writes Bone Black to reflect on being a Black girl growing up in racially segregated American society in the 60s of the twentieth century. She shows the historical and political contexts of her growing up, however, it is the local community and intergenerational family ties that she places at the center of her process of becoming the woman: bell hooks. Relationships with women, particularly a relationship between grandmother and granddaughter are of great significance in this process. The essay begins with a brief summary of the biography of bell hooks and a description of Bone Black, with particular emphasis put on the author’s interand intragenerational relationships with women. Next, I will move on to discuss the intergenerational transmissions of family history and their impact on the process of becoming a woman. For this purpose, I will refer to the life story concept introduced by Daniel Bertaux (2016), and the notion of subjective resources created by Catherine Delcroix (1999, 2014), in order to discuss the importance of intergenerational transmission of life stories in the process of becoming the woman knowns as “bell hooks.”
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Kroiz, Lauren. "Harold Cousins’s Plaiton Sculpture". Nka Journal of Contemporary African Art 2022, nr 51 (1.11.2022): 6–20. http://dx.doi.org/10.1215/10757163-10127111.
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In 1971, Harold Cousins published an essay explaining the sculptures that he had begun creating in the mid-1950s, following his relocation in October 1949 from New York to Paris. Cousins described his series named Plaiton, his own neologism combining the English word plate with the French word laiton (brass). This linguistic combination paralleled Cousins’s description of himself as a “sculptor-welder,” a practice that grew from experiments in oxyacetylene welding while studying in Paris with funding from the GI Bill. Providing the first scholarly analysis of sculptor Cousins’s rich career, this article recovers the artist’s early biography through family archives, including correspondence and period criticism. It then examines Cousins’s early artwork and his own description of his artistic practice culminating in Plaiton. Finally, it considers Cousins’s 1950s sculptures, particularly Plaiton Suspendu, and speculates on its relation to his later work. In considering Cousins’s sculpture in relation to racial constructions of the immediate postwar period, I draw on prior scholarship focused on postwar African American artists in Paris. I also look to studies of the ways Black artists employed abstraction—histories that often begin in the mid-1960s or 1970s. In examining the mid-1950s Plaiton works, I hope to both bring Cousins and his work back to visibility and suggest that this history actually began substantially earlier.
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Shumakov, Andrey A. "FROM AN OUTCAST TO THE PROPHET: THE EVOLUTION OF MALCOLM X’S RELIGIOUS AND POLITICAL PHILOSOPHY". Tyumen State University Herald. Humanities Research. Humanitates 7, nr 2 (2021): 192–209. http://dx.doi.org/10.21684/2411-197x-2021-7-2-193-209.
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The figure of the radical African-American preacher Malcolm X has always occupied and continues to occupy a special place in the history of the protest movement of the 1960s. This is due to a number of reasons, the main of which was the pronounced ambivalence and inconsistency of the political philosophy of this public figure, who was noted for both ultra-radical religious sermons and rather progressive revolutionary and national liberation ideas at the final stage of his life. The latter, in fact, made him one of the main characters of the “rebellious decade”. While the far-right radicalism of the Harlem preacher faded into the background and began to be perceived as some “mistakes and misconceptions” that were later rethought and overcome. The question of assessing the legacy and personality of Malcolm X has always caused a lot of controversy. On the one hand, his contribution to the development of the movement of the struggle of the Black population for their rights and the formation of the African-American mentality is undeniable; on the other — it can be said that in the academic environment for all this time they practically were not subjected to critical reflection. If, during his lifetime, the ideas of the Harlem preacher were perceived by the vast majority of Americans as frankly marginal, then after his tragic death in 1965, Malcolm X became one of the most popular and iconic figures in recent US history. Any criticism of him began to be perceived extremely painfully. In this article, the author tried to trace the process of formation and evolution of the ideological and political views of Malcolm X, which was the main goal of the study. The main difference from other works on this topic was that in this article, this phenomenon is considered in dynamics, the causes of transformations and the influence of related factors are noted. At the same time, the author tried to identify certain “variables and constants” of the religious and political philosophy of Malcolm X, not only fixing them, but assessing the degree and depth of changes. That led to rather unexpected conclusions on a number of issues, the main of which was the explanation of the reasons for the incredible popularity of Malcolm X in modern American society. The main method of research is materialistic dialectics, which allows considering the political philosophy of Malcolm X in dynamics in accordance with the principle of historicism. Special attention is paid to the issues of radicalism, the transformation of ideological and political views and attitudes to religion, the debunking of myths, stereotypical and hyperbolized ideas about this figure, and the key milestones of his biography. As for the specific historical methods, the historical-genetic and historical-typological approaches are used in this work.
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KITLV, Redactie. "Book Reviews". New West Indian Guide / Nieuwe West-Indische Gids 71, nr 1-2 (1.01.1997): 107–78. http://dx.doi.org/10.1163/13822373-90002619.
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-Peter Hulme, Polly Pattullo, Last resorts: The cost of tourism in the Caribbean. London: Cassell/Latin America Bureau and Kingston: Ian Randle, 1996. xiii + 220 pp.-Michel-Rolph Trouillot, Édouard Glissant, Introduction à une poétique du Divers. Montréal: Presses de l'Université de Montréal, 1995. 106 pp.-Bruce King, Tejumola Olaniyan, Scars of conquest / Masks of resistance: The invention of cultural identities in African, African-American, and Caribbean drama. New York: Oxford University Press, 1995. xii + 196 pp.-Sidney W. Mintz, Raymond T. Smith, The Matrifocal family: Power, pluralism and politics. New York: Routledge, 1996. x + 236 pp.-Raymond T. Smith, Michel-Rolph Trouillot, Silencing the past: Power and the production of history. Boston: Beacon, 1995. xix + 191 pp.-Michiel Baud, Samuel Martínez, Peripheral migrants: Haitians and Dominican Republic sugar plantations. Knoxville: University of Tennessee Press, 1995. xxi + 228 pp.-Samuel Martínez, Michiel Baud, Peasants and Tobacco in the Dominican Republic, 1870-1930. Knoxville; University of Tennessee Press, 1995. x + 326 pp.-Robert C. Paquette, Aline Helg, Our rightful share: The Afro-Cuban struggle for equality, 1886-1912. Chapel Hill: University of North Carolina Press, 1995. xii + 361 pp.-Daniel C. Littlefield, Roderick A. McDonald, The economy and material culture of slaves: Goods and Chattels on the sugar plantations of Jamaica and Louisiana. Baton Rouge: Louisiana State University Press, 1993. xiv + 339 pp.-Jorge L. Chinea, Luis M. Díaz Soler, Puerto Rico: desde sus orígenes hasta el cese de la dominación española. Río Piedras: Editorial de la Universidad de Puerto Rico, 1994. xix + 758 pp.-David Buisseret, Edward E. Crain, Historic architecture in the Caribbean Islands. Gainesville: University Press of Florida, 1994. ix + 256 pp.-Hilary McD. Beckles, Mavis C. Campbell, Back to Africa. George Ross and the Maroons: From Nova Scotia to Sierra Leone. Trenton NJ: Africa World Press, 1993. xxv + 115 pp.-Sandra Burr, Gretchen Gerzina, Black London: Life before emancipation. New Brunswick NJ: Rutgers University Press, 1995. xii + 244 pp.-Carlene J. Edie, Trevor Munroe, The cold war and the Jamaican Left 1950-1955: Reopening the files. Kingston: Kingston Publishers, 1992. xii + 242 pp.-Carlene J. Edie, David Panton, Jamaica's Michael Manley: The great transformation (1972-92). Kingston: Kingston Publishers, 1993. xx + 225 pp.-Percy C. Hintzen, Cary Fraser, Ambivalent anti-colonialism: The United States and the genesis of West Indian independence, 1940-1964. Westport CT: Greenwood, 1994. vii + 233 pp.-Anthony J. Payne, Carlene J. Edie, Democracy in the Caribbean: Myths and realities. Westport CT: Praeger, 1994. xvi + 296 pp.-Alma H. Young, Jean Grugel, Politics and development in the Caribbean basin: Central America and the Caribbean in the New World Order. Bloomington: Indiana University Press, 1995. xii + 270 pp.-Alma H. Young, Douglas G. Lockhart ,The development process in small island states. London: Routledge, 1993. xv + 275 pp., David Drakakis-Smith, John Schembri (eds)-Virginia Heyer Young, José Solis, Public school reform in Puerto Rico: Sustaining colonial models of development. Westport CT: Greenwood Press, 1994. x + 171 pp.-Carolyn Cooper, Christian Habekost, Verbal Riddim: The politics and aesthetics of African-Caribbean Dub poetry. Amsterdam: Rodopi, 1993. vii + 262 pp.-Clarisse Zimra, Jaqueline Leiner, Aimé Césaire: Le terreau primordial. Tübingen: Gunter Narr Verlag, 1993. 175 pp.-Clarisse Zimra, Abiola Írélé, Aimé Césaire: Cahier d'un retour au pays natal. With introduction, commentary and notes. Abiola Írélé. Ibadan: New Horn Press, 1994. 158 pp.-Alvina Ruprecht, Stella Algoo-Baksh, Austin C. Clarke: A biography. Barbados: The Press - University of the West Indies; Toronto: ECW Press, 1994. 234 pp.-Sue N. Greene, Glyne A. Griffith, Deconstruction, imperialism and the West Indian novel. Kingston: The Press - University of the West Indies, 1996. xxiii + 147 pp.-Donald R. Hill, Peter Manuel ,Caribbean currents: Caribbean music from Rumba to Reggae. Philadelphia: Temple University Press, 1995. xi + 272 pp., Kenneth Bilby, Michael Largey (eds)-Daniel J. Crowley, Judith Bettelheim, Cuban festivals: An illustrated anthology. New York: Garland Publishing, 1993. x + 261 pp.-Judith Bettelheim, Ramón Marín, Las fiestas populares de Ponce. San Juan: Editorial de la Universidad de Puerto Rico, 1994. 277 pp.-Marijke Koning, Eric O. Ayisi, St. Eustatius: The treasure island of the Caribbean. Trenton NJ: Africa World Press, 1992. xviii + 224 pp.-Peter L. Patrick, Marcyliena Morgan, Language & the social construction of identity in Creole situations. Los Angeles: Center for Afro-American studies, UCLA, 1994. vii + 158 pp.-John McWhorter, Tonjes Veenstra, Serial verbs in Saramaccan: Predication and Creole genesis. The Hague: Holland Academic Graphic, 1996. x + 217 pp.-John McWhorter, Jacques Arends, The early stages of creolization. Amsterdam/Philadelphia: John Benjamins, 1995. xv + 297 pp.
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Glantz, M. H. "Hurricane Katrina as a "teachable moment"". Advances in Geosciences 14 (10.04.2008): 287–94. http://dx.doi.org/10.5194/adgeo-14-287-2008.
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Abstract. By American standards, New Orleans is a very old, very popular city in the southern part of the United States. It is located in Louisiana at the mouth of the Mississippi River, a river which drains about 40% of the Continental United States, making New Orleans a major port city. It is also located in an area of major oil reserves onshore, as well as offshore, in the Gulf of Mexico. Most people know New Orleans as a tourist hotspot; especially well-known is the Mardi Gras season at the beginning of Lent. People refer to the city as the "Big Easy". A recent biography of the city refers to it as the place where the emergence of modern tourism began. A multicultural city with a heavy French influence, it was part of the Louisiana Purchase from France in early 1803, when the United States bought it, doubling the size of the United States at that time. Today, in the year 2007, New Orleans is now known for the devastating impacts it withstood during the onslaught of Hurricane Katrina in late August 2005. Eighty percent of the city was submerged under flood waters. Almost two years have passed, and many individuals and government agencies are still coping with the hurricane's consequences. And insurance companies have been withdrawing their coverage for the region. The 2005 hurricane season set a record, in the sense that there were 28 named storms that calendar year. For the first time in hurricane forecast history, hurricane forecasters had to resort to the use of Greek letters to name tropical storms in the Atlantic and Gulf (Fig.~1). Hurricane Katrina was a Category 5 hurricane when it was in the middle of the Gulf of Mexico, after having passed across southern Florida. At landfall, Katrina's winds decreased in speed and it was relabeled as a Category 4. It devolved into a Category 3 hurricane as it passed inland when it did most of its damage. Large expanses of the city were inundated, many parts under water on the order of 20 feet or so. The Ninth Ward, heavily populated by African Americans, was the site of major destruction, along with several locations along the Gulf coasts of the states of Mississippi and Alabama, as well as other parts of Louisiana coastal areas (Brinkley, 2006). The number of deaths officially attributed to Hurricane Katrina was on the order of 1800 to 2000 people. The cost of the hurricane in terms of physical damage has been estimated at about US $250 billion, the costliest natural disaster in American history. It far surpassed the cost of Hurricane Andrew in 1992, the impacts of which were estimated to be about $20 billion. It also surpassed the drought in the US Midwest in 1988, which was estimated to have cost the country $40 billion, but no lives were lost. Some people have referred to Katrina as a "superstorm". It was truly a superstorm in terms of the damage it caused and the havoc it caused long after the hurricane's winds and rains had subsided. The effects of Katrina are sure to be remembered for generations to come, as were the societal and environmental impacts of the severe droughts and Dust Bowl days of the 1930s in the US Great Plains. It is highly likely that the metropolitan area of New Orleans which people had come to know in the last half of the 20th century will no longer exist, and a new city will likely replace it (one with a different culture). Given the likelihood of sea level rise on the order of tens of centimeters associated with the human-induced global warming of the atmosphere, many people wonder whether New Orleans will be able to survive throughout the 21st century without being plagued by several more tropical storms (Gill, 2005). Some (e.g., Speaker of the US House of Representatives Hastert) have even questioned whether the city should be restored in light of the potential impacts of global warming and the city's geographic vulnerability to tropical storms.
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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity". Aspects of Historical Musicology 19, nr 19 (7.02.2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.
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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for the creation of this study was the desire to increase interest in the work of Gershwin as a “serious” composer and to draw the attention of domestic academic pianists to the value of his piano works, presented not only the “Rhapsody in Blue”, which has been mostly played lately. The purpose of our research is to prove the relevance of the performance of Gershwin’s instrumental works in the academic concert environment as the music of the classical tradition, tracing the formation of specific features of the composer’s instrumental creativity and their reflection in the cycle of “Three Preludes for Piano” in 1926. Studies of the life and work of G. Gershwin, illuminating a special path in music and the unusual genius of an outstanding musician, were created mainly in the 50–70s of the XX century. D. Ewen – the author of the most detailed biography of the composer (first published in 1956, the Russian translation – in 1989) – was personally acquainted with the great musician and his family, took numerous interviews from the composer’s relatives, friends and teachers, had access to his archives (Ewen, 1989: 3–4). The author of the book enters into the details of the life and creative work of the genius and creates a portrait of the composer as a person “in relationships” – as a son, brother, friend. A separate chapter devoted to the music of Gershwin is in the fundamental work of V. Konen (1965) “The Ways of American Music”, an extremely useful study of the folklore origins and musical foundations of jazz. Cognitive is the “popular monograph” by V. Volynskiy (1988) about Gershwin, carefully structured chronologically and thematically. The Internet-pages of A. Tikhomirov (2006–2020) on the resource “Classic Music News.ru” are also very valuable, in particular, thanks to retrospective photographs and audio recordings posted there. From the point of view we have chosen, the piano Preludes by G. Gershwin have not yet been considered by domestic researchers. Research methodology is based on comparative analysis and then synthesizing, generalization and abstraction when using data from biographical literature, and tested musicological approaches when considering musical samples and audio recordings of various versions of the Preludes (including the author’s playing). The results of reseaching. G. Gershwin, despite his Jewish-Slavic family roots (his parents emigrated to America from the Russian Empire at the end of the 19th century), is undoubtedly a representative of American culture. Outstanding artists have almost always turned to the folklore of their country. In Gershwin, this trait manifested itself in a special way, since American folklore, due to historical and political circumstances, is a very motley phenomenon. Indian, English, German, French, Jewish, African, Latin American melodies surrounded Gershwin everywhere. Their rhythms and intonations, compositional schemes were melted, transformed in professional music (Konen, 1965: 231–246). The first musical teacher of Gershwin was the sound atmosphere of New York streets. This is the main reason that the style of his musical works is inextricably linked with jazz: Gershwin did not encounter this purely American phenomenon, he grew up in it. Among the numerous other teachers of Gershwin who significantly influenced on the formation of his music style, one should definitely name the pianist and composer Charles Hambitzer, who introduced his student to the music of Bach, Beethoven, Chopin, Liszt, Debussy, Ravel (Ewen, 1989: 30–32). The most part of Gershwin’s creativity consisted of working on musicals, a typically American genre. The work with the musicals gave the composer the basis for writing his first jazz opera “Blue Monday“, 1922 (other name – “135th Street”), which became the predecessor of the famous pearl of the new genre, “Porgy and Bess” (1935). Following the production of “Blue Monday”, Gershwin began collaborating with the Paul Whiteman Orchestra, who was impressed by the piece. On the initiative of the latter, Gershwin created his masterpiece, “Rhapsody in Blue” (1924), which still remains a unique musical phenomenon, since the composer brought jazz to the big stage, giving it the status of professional music (Ewen, 1989: 79–85; Volynskiy, 1988: part 4). V. Konen (1965: 264–265) believes that Gershwin is a representative of symphonic Europeanized jazz, since he uses it in musical forms and genres of the European tradition. However, we cannot agree that Gershwin “used” jazz. For him, jazz was organic, inseparable from the author’s style, and this is what makes his music so attractive to representatives of both classical and pop traditions. For Gershwin, due to life circumstances, turning to jazz is not an attempt at stylization, but a natural way of expression. “Three Preludes for Piano” are significant in the composer’s work, because it is the only known concertо work for solo piano published during his lifetime. At first, Gershwin planned to create a cycle of 24 Preludes, but only seven were created in the manuscript, then the author reduced the number of works to five. A year after the creation of the Piano Concerto, in 1926, Gershwin presented this new opus. The pieces performed by the author himself sound impeccably technically and even austerely-strictly (audio recording has been preserved, see ‘Gershvin plays Gershvin 3 Preludes’, video on You Tube, published on 2 Aug. 2011). It can be noted that Gershwin is close to the European pianistic style with its attention to the accuracy of each note. The cycle is built on the principle of contrasting comparison: the first and third Preludes are performed at a fast pace, the second – at a slow pace (blues-like). The analysis of the cycle, carried out by the author of the article, proves that “Three Preludes” for piano reflect the main features of Gershwin’s creative manner: capriciousness of syncopated rhythms, subtle modulation play, improvisational development. Breathing breadth, volumetric texture, effective highlighting of climaxes bring the cycle closer to the composer’s symphonic works. Jazz themes are laid out at a high professional level, using traditional European notation and terminology. Thus, although Gershwin was a brilliant improviser, he made it possible for both jazz pianists and academic performers to master his works. Conclusions. The peculiarities of Gershwin’s development as an artist determined the combination of the jazz basis of his works with the compositional technique of European academic music. The versatility and musical appeal of the Preludes are the key to their long stage life. Plays are well received both in cycles and singly. Their perception is also improved by the fact that the original musical speech is combined in them with the established forms of academic music. The mastery of the Preludes by pianists stimulates the development of technical skill, acquaints with jazz style, sets interesting rhythmic problems. The pieces are bright and winning for concert performance. Thus, the presence of the composer’s piano pieces and other his instrumental works in the programs of classical concerts seems appropriate, useful and desirable.
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Neufeld, Matthew, Sean Greenwood, Gary Farnell, Peter Clark, Mark Bayer, John Thirsk, Sharon Ruston i in. "Reviews: History and Memory, Historiography: An Introduction, Theories of Reading: Books, Bodies, and Bibliomania, Biography, a Brief History, Shakespeare and the Rise of the Editor., Brave Community. The Digger Movement in the English Revolution, Bloody Romanticism: Spectacular Violence and the Politics of Representation, 1776–1832, the Feminization of Fame 1750–1850, the Collected Letters of Harriet Martineau, Master and Servant. Love and Labour in the English Industrial Age, William Faulkner: An Economy of Complex Words, Upward Mobility and the Common Good: Toward a Literary History of the Welfare State, Literary Modernity between the Middle East and Europe, Textual Transactions in Nineteenth-Century Arabic, English, and Persian Literatures., African Pasts: Memory and History in African Literatures, the Little MagazineCubittGeoffrey, History and memory, Manchester University Press, 2007, pp. viii + 272, pb. £12.99.RogerSpalding and ParkerChristopher, Historiography: An Introduction , Manchester University Press, 2007, pp. 156, pb. £9.99.KarinLittau, Theories of Reading: Books, Bodies, and Bibliomania , Polity Press, 2006, pp. xi + 194, £55, pb. £17.99.NigelHamilton, Biography, A Brief History , Harvard University Press, 2007, pp. 345, pb. £14.95.SoniaMassai, Shakespeare and the Rise of the Editor. Cambridge University Press, 2007. pp. xii + 254, £63.JohnGurney, Brave Community. The Digger Movement in the English Revolution , Manchester University Press, 2007, pp. xiii + 236, £55.IanHaywood, Bloody Romanticism: Spectacular Violence and the Politics of Representation, 1776–1832 , Palgrave Macmillan, 2006, pp. xi + 270, £50ClaireBrock, The Feminization of Fame 1750–1850 , Palgrave/Macmillan2006, pp. ix + 242, £45.DeborahLogan (ed.), The Collected Letters of Harriet Martineau , Pickering and Chatto, 2007, 5 vols: pp. xxxii + 356, viii + 345, viii + 392, viii + 376, viii + 501. $750.00CarolynSteedman, Master and Servant. Love and Labour in the English Industrial Age , Cambridge University Press, 2007, pp. xi + 263, £45, £17.99;LightAlison, Mrs Woolf and the Servants. The Hidden Heart of Domestic Service , Penguin/Fig Tree, 2007, pp. xxiii + 376, £20.RichardGodden, William Faulkner: An Economy of Complex Words , Princeton University Press, 2007. pp. x + 251, $39.50.BruceRobbins, Upward Mobility and the Common Good: Toward a Literary History of the Welfare State , Princeton University Press, 2006, pp. xviii + 328, $35KamranRastegar, Literary Modernity between the Middle East and Europe, Textual transactions in nineteenth-century Arabic, English, and Persian literatures. Routledge, 2007. pp. xv+176. £70.00.TimWoods, African Pasts: Memory and History in African Literatures , Manchester University Press, 2007, pp. xii + 291, £55.SuzanneW. Churchill, The Little Magazine Others and the Renovation of Modern American Poetry , Ashgate, 2006, pp. xii + 290, £55." Literature & History 17, nr 2 (listopad 2008): 82–101. http://dx.doi.org/10.7227/lh.17.2.6.
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"Harlem Renaissance lives from the African American national biography". Choice Reviews Online 47, nr 02 (1.10.2009): 47–0636. http://dx.doi.org/10.5860/choice.47-0636.
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"The Recent Discovery of the First Biography of an African-American". Journal of Blacks in Higher Education, nr 31 (2001): 46. http://dx.doi.org/10.2307/2679159.
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