Дисертації: "African American authors – Juvenile literature"

1

Eley, Dikeita N. "Color (Sub)Conscious: African American Women, Authors, and the Color Line in Their Literature." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1486.

Повний текст джерела

Анотація:

Color (sub)Conscious explores the African American female's experience with colorism. Divided into three distinct sections. The first section is a literary analysis of such works as Toni Morrison's The Bluest Eye, Gloria Naylor's The Women of Brewster Place, Maya Angelou's I Know Why the Caged Bird Sings and Alice Walker's "If the Present Looks Like the Past, What Does the Future Look Like?" an essay from her collection In Search of Our Mothers' Gardens. The second section is a research project based on data gathered from 12 African American females willing to share their own experiences and insights on colorism. The final section is a creative non-fiction piece of the author's own personal pain growing up and living with the lasting effects of colorism.

Стилі APA, Harvard, Vancouver, ISO та ін.

2

Raines-Sapp, Carol Lynn. "Using author studies to incorporate multicultural literature across the New Jersey core curriculum /." Full text available online, 2009. http://www.lib.rowan.edu/find/theses.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

3

Taylor, Juko Tana. "Misrecognized and Misplaced: Race Performed in African American Literature, 1900-2015." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984162/.

Повний текст джерела

Анотація:

In my dissertation, I explore the ways in which racial identity is made complex through various onlookers' misrecognition of race. This issue is particularly important considering the current state of race relations in the United States, as my project offers a literary perspective and account of the way black authors have discussed racial identity formation from the turn of the century through the start of the twenty-first century. I highlight many variations of misrecognition and racial performance as a response to America's obsession with race.

Стилі APA, Harvard, Vancouver, ISO та ін.

4

Sarnosky, Yolonda P. "Black female authors document a loss of sexual identity Jacobs, Morrison, Walker, Naylor, and Moody /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.

Повний текст джерела

Анотація:

Thesis (M.A.)--Kutztown University of Pennsylvania, 1999.
Source: Masters Abstracts International, Volume: 45-06, page: 2836. Typescript. Abstract appears on leaf [ii]. Includes bibliographical references (leaves 65-67).

Стилі APA, Harvard, Vancouver, ISO та ін.

5

Walker, Natasha Nicole. "An erratic performance constructing racial identity and James Baldwin /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04202007-170016/.

Повний текст джерела

Анотація:

Thesis (M.A.)--Georgia State University, 2007.
Title from title page. Margaret Harper, committee chair; Christopher Kocela, Daniel Black, committee members. Electronic text (63 p.) : digital, PDF file. Description based on contents viewed Oct. 11, 2007. Includes bibliographical references (p. 61-63).

Стилі APA, Harvard, Vancouver, ISO та ін.

6

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.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

7

Adams, Brenda Byrne. "Patterns of healing and wholeness in characterizations of women by selected black women writers." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/720157.

Повний текст джерела

Анотація:

Some Black women writers--Zora Neale Hurston, Toni Cade Bambara, Paule Marshall, Gloria Naylor, and Alice Walker--of American fiction have written characterizations of winning women. Their characterizations include women who are capable of taking risks, making choices, and taking responsiblity for their choices. These winning women are capable of accepting their own successes and failures by the conclusions of the novels. They are characterized as dealing with devastating and traumatic personal histories in a growth-enhancing manner. Characterizations of winning women by these authors are consistently revealed through five developmental stages: conditioning, awareness, interiorizing, reintegrating, and winning. These stages contain patterns that are consistent from author to author.While conditioning and awareness of the negative influcences of conditioning are predictable, this study introduces the concept of interiorizing and reintegrating as positive steps toward becoming a winning woman. Frequent descriptions of numbness and disorientation mark the most obvious stages of interiorizing. It is not until the Twentieth Century that we see women writers using this interiorizing process as a necessary step toward growth. Surviving interiorizing, as these winning women do, leads to the essential stage of reintegrating.Interiorizing is a complete separation from social interaction; reintegrating is a gradual reattachment to social process. First, elaborate descriptions of bathing rituals affirm the importance of a woman's body to herself. Second, reintegrating involves food rituals which signal social reconnection. Celebration banquets and family recipes offer an important reminder to the winning woman that the future is built on the past. Taking the best of what has been learned from the past into the future provides strength and stability.The characterization of a winning woman stops with potential rather than completion. A winning woman must still take risks, make choices, and bear the consequences of her choices. The winning woman does not accept a diminished life of harmful conformity. She is characterized as discovering how to use choice and power. Novels included in this study are: Zora Neale Hurston's Their Eyes Are Watching God; Toni Cade Bambara's The Salt Eaters; Paule Marshall's Brownstone, Brown Girl; The Chosen Place, the Timeless People; and Praisesong for the Widow; Gloria Naylor's The Women of Brewster Place, Linden Hills; and Alice Walker's Meridian, and The Color Purple.
Department of English

Стилі APA, Harvard, Vancouver, ISO та ін.

8

Robinson, Heather Lindsey. "Ours is the Kingdom of Heaven: Racial Construction of Early American Christian Identities." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849673/.

Повний текст джерела

Анотація:

This project interrogates how religious performance, either authentic or contrived, aids in the quest for freedom for oppressed peoples; how the rhetoric of the Enlightenment era pervades literatures delivered or written by Native Americans and African Americans; and how religious modes, such as evoking scripture, performing sacrifices, or relying upon providence, assist oppressed populations in their roles as early American authors and speakers. Even though the African American and Native American populations of early America before the eighteenth century were denied access to rights and freedom, they learned to manipulate these imposed constraints--renouncing the expectation that they should be subordinate and silent--to assert their independent bodies, voices, and spiritual identities through the use of literary expression. These performative strategies, such as self-fashioning, commanding language, destabilizing republican rhetoric, or revising narrative forms, become the tools used to present three significant strands of identity: the individual person, the racialized person, and the spiritual person. As each author resists the imposed restrictions of early American ideology and the resulting expectation of inferior behavior, he/she displays abilities within literature (oral and written forms) denied him/her by the political systems of the early republican and early national eras. Specifically, they each represent themselves in three ways: first, as a unique individual with differentiated abilities, exceptionalities, and personality; second, as a person with distinct value, regardless of skin color, cultural difference, or gender; and third, as a sanctified and redeemed Christian, guaranteed agency and inheritance through the family of God. Furthermore, the use of religion and spirituality allows these authors the opportunity to function as active agents who were adapting specific verbal and physical methods of self-fashioning through particular literary strategies. Doing so demonstrates that they were not the unrefined and unfeeling individuals that early American political and social restrictions had made them--that instead they were intellectually and morally capable of making both physical and spiritual contributions to society while reciprocally deserving to possess the liberties and freedoms denied them.

Стилі APA, Harvard, Vancouver, ISO та ін.

9

Campbell, Andrea Kate. "Narrating other natures a third wave ecocritical approach to Toni Morrison, Ruth Ozeki, and Octavia Butler /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Dissertations/Spring2010/a_campbell_042110.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

10

Sy, Kadidia. "Women's relationships female friendship in Toni Morrison's Sula and Love, Mariama Bâ's So long a letter and Sefi Atta's Everything good will come /." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04212008-135356/.

Повний текст джерела

Анотація:

Thesis (Ph. D.)--Georgia State University, 2008.
Title from file title page. Renee Schatteman, committee chair; Chris Kocela, Margaret Harper, committee members. Electronic text (158 [i.e. 156] p.) : digital, PDF file. Description based on contents viewed 23 June 2008. Includes bibliographical references (p. 146-156).

Стилі APA, Harvard, Vancouver, ISO та ін.

11

Wolfe, Andrea P. "Black mothers and the nation : claiming space and crafting signification for the black maternal body in American women's narratives of slavery, reconstruction, and segregation, 1852-2001." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1560845.

Повний текст джерела

Анотація:

“Black Mothers and the Nation” tracks the ways that texts produced by United States women throughout the nineteenth and twentieth centuries position the black maternal body as subversive to the white patriarchal power structure for which it labored and that has acted in many ways to abject it from the national body. This study points to the ways in which the black mother’s subversive potential has been repeatedly, violently, and surreptitiously circumscribed in some quarters even as it succeeds in others. Several important thematic threads run throughout the chapters of this study, sometimes appearing in clear relationship to the texts discussed and sometimes underwriting their analysis in less obvious ways: the functioning of the black maternal body to both support the construction of and undermine white womanhood in slavery and in the years beyond; the reclamation of the maternal body as a site of subversion and nurturance as well as erotic empowerment; the resistance of black mother figures to oppressive discourses surrounding their bodies and reproduction; and, finally, the figurative and literal location of the black mother in a national body politic that has simultaneously used and abjected it over the course of centuries. Using these lenses, this study focuses on a grouping of women’s literature that depicts slavery and its legacy for black women and their bodies. The narratives discussed in this study explore the intersections of the issues outlined above in order to get at meaningful expressions of black maternal identity. By their very nature as representations of historical record and regional and national realities, these texts speak to the problematic placement of black maternal bodies within the nation, beginning in the antebellum era and continuing through the present; in other words, these slavery, Reconstruction, and segregation narratives connect personal and physical experiences of maternity to the national body.
The subordination of embodied power : sentimental representations of the black maternal body in Harriet Beecher Stowe's Uncle Tom's cabin and Harriet Jacobs's Incidents in the life of a slave girl -- Recuperating the body : the black mother's reclamation of embodied presence and her reintegration into the black community in Pauline Hopkins's Contending forces and Toni Morrison's Beloved -- The narrative power of the black maternal body : resisting and exceeding visual economies of discipline in Margaret Walker's Jubilee and Sherley Anne Williams's Dessa Rose -- Mapping black motherhood onto the nation : the black maternal body and the body politic in Lillian Smith's Strange fruit and Alice Randall's The wind done gone -- Michelle Obama in context.
Access to thesis permanently restricted to Ball State community only
Department of English

Стилі APA, Harvard, Vancouver, ISO та ін.

12

Huguley, Piper Gian. "Why Tell the Truth When a Lie Will Do?: Re-Creations and Resistance in the Self-Authored Life Writing of Five American Women Fiction Writers." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04252006-174728/.

Повний текст джерела

Анотація:

Thesis (Ph. D.)--Georgia State University, 2006.
Title from title screen. Audrey Goodman, committee chair; Thomas L. McHaney, Elizabeth West, committee members. Electronic text (253 p.) : digital, PDF file. Description based on contents viewed May15, 2007. Includes bibliographical references (243-253).

Стилі APA, Harvard, Vancouver, ISO та ін.

13

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

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

14

Kim, Min-Jung. "Renarrating the private : gender, family, and race in Zora Neale Hurston, Alice Walker, and Toni Morrison /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9926560.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

15

Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.

Повний текст джерела

Анотація:

Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).

Стилі APA, Harvard, Vancouver, ISO та ін.

16

Bird, Lori. "Beauty in Bronzeville." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/BirdL2004.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

17

Jones, Esther L. "Traveling discourses subjectivity, space and spirituality in black women's speculative fictions in the Americas /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155665383.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

18

Brassaw, Mandolin R. "Divine heresy : women's revisions of sacred texts /." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/9153.

Повний текст джерела

Анотація:

Thesis (Ph. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 219-226). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

Стилі APA, Harvard, Vancouver, ISO та ін.

19

Erickson, Stacy M. "Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.

Повний текст джерела

Анотація:

In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.

Стилі APA, Harvard, Vancouver, ISO та ін.

20

Moore, Elizabeth Roosevelt. "Being Black existentialism in the work of Richard Wright, Ralph Ellison, and James Baldwin /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034939.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

21

Martin-Liggins, Stephanie Marie. "Georgia Douglas Johnson: The voice of oppression." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1240.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

22

Lucy, Robin Jane. ""Now is the time! Here is the place" : World War II and the black folk in the writings of Ralph Ellison, Chester Himes and Ann Petry /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0035/NQ66221.pdf.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

23

Roddy, Rhonda Kay. "In search of the self: An analysis of Incidents in the life of a slave girl by Harriet Ann Jacobs." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2262.

Повний текст джерела

Анотація:

In her bibliography, Incidents in the life of a Salve Girl, Harriet Ann Jacobs appropriates the autobiographical "I" in order to tell her own story of slavery and talk back to the dominant culture that enslaves her. Through analysis and explication of the text, this thesis examines Jacobs' rhetorical and psyshological evolution from slave to self as she struggles against patriarchal power that would rob her of her identity as well as her freedom. Included in the discussion is an analysis of the concept of self in western plilosophy, an overview of american autobiography prior to the publication of Jacobs' narrative, a discussion of the history of the slave narrative as a genre, and a discussion of the history of Jacobs' narrative.

Стилі APA, Harvard, Vancouver, ISO та ін.

24

De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.

Повний текст джерела

Анотація:

A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.

Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

Стилі APA, Harvard, Vancouver, ISO та ін.

25

Phiri, Aretha Myrah Muterakuvanthu. "Toni Morrison and the literary canon whiteness, blackness, and the construction of racial identity." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002255.

Повний текст джерела

Анотація:

Toni Morrison, in Playing in the Dark, observes the pervasive silence that surrounds race in nineteenth-century canonical literature. Observing the ways in which the “Africanist” African-American presence pervades this literature, Morrison has called for an investigation of the ways in which whiteness operates in American canonical literature. This thesis takes up that challenge. In the first section, from Chapters One through Three, I explore how whiteness operates through the representation of the African-American figure in the works of three eminent nineteenth-century American writers, Harriet Beecher Stowe, Walt Whitman, and Mark Twain. The texts studied in this regard are: Uncle Tom’s Cabin, Leaves of Grass, and Adventures of Huckleberry Finn. This section is not concerned with whether these texts constitute racist literature but with the ways in which the study of race, particularly whiteness, reveals the contradictions and insecurities that attend (white American) identity. As such, Morrison’s own fiction, written in response to white historical representations of African-Americans also deserves attention. The second section of this thesis focuses on Morrison’s attempt to produce an authentically “black” literature. Here I look at two of Morrison’s least studied but arguably most contentious novels particularly because of what they reveal of Morrison’s complex position on race. In Chapter Four I focus on Tar Baby and argue that this novel reveals Morrison’s somewhat essentialist position on blackness and racial, cultural, and gendered identity, particularly as this pertains to responsibilities she places on the black woman as culture-bearer. In Chapter Five I argue that Paradise, while taking a particularly challenging position on blackness, reveals Morrison’s evolving position on race, particularly her concern with the destructive nature of internalized racism. This thesis concludes that while racial identities have very real material consequences, whiteness and blackness are ideological and social constructs which, because of their constructedness, are fallible and perpetually under revision.

Стилі APA, Harvard, Vancouver, ISO та ін.

26

Munoz, Cabrera Patricia. "Journeying: narratives of female empowerment in Gayl Jones's and Toni Morrison's ficton." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210259.

Повний текст джерела

Анотація:

This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency.

Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.

My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature.

Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination.

In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.

Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).

Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

Стилі APA, Harvard, Vancouver, ISO та ін.

27

Omosupe, Ekua R. "Transgressions, African American womens' [sic] autobiography and literacy." Diss., 1997. http://catalog.hathitrust.org/api/volumes/oclc/37311943.html.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

28

Bernardin, Susan Katherine. "Naming the nation race, romance, and ethnography in foundational Native American and African American women's literature /." Diss., 1996. http://catalog.hathitrust.org/api/volumes/oclc/35274987.html.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

29

Rice, Maria J. "Migrations of memory postmemory in twentieth century ethnic American women's literature." 2007. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.13515.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

30

An, Jee Hyun. ""There was a whole lot of grayness here" : modernity, geography and "home" in black women's literature, 1919-1959 /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3088711.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

31

Tolbert, Tolonda Michel. "To walk or fly? the folk narration of community and identity in twentieth century Black women's literature of the Americas /." 2010. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000052213.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

32

"Making A Way Out Of No Way: Zora Neale Hurston's Hidden Discourse Of Resistance." 2016.

Знайти повний текст джерела

Анотація:

'Making a Way Out of No Way"': Zora Neale Hurston"'s Hidden Discourse of Resistance"u201d explores how Hurston used techniques she derived from the trickster tradition of African American folk culture in her narratives in order to resist and undermine the racism of the dominant discourse found in popular literature published during her lifetime. Critics have condemned her perceived willingness to use racist stereotypes in her work in order to pander to a white reading audience. This project asserts that Hurston did, indeed, don a "u201cmask of minstrelsy"u201d to play into her reading public"'s often racist expectations in order to succeed as an academic and as a creative writer. At the same time, however, she crafted her narratives in a way that destabilized those expectations through use of sometimes subtle and sometimes blatant points of resistance. In this way, she was able to participate in a system that was rigged against her, as a woman and as an African American, by playing into the expectations of her audiences for economic and professional advantages while simultaneously undermining aspects of those expectations through rhetorical "u201cwinks,"u201d exaggeration, sarcasm, and other forms of humor that enabled her to stay true to her personal values. While other scholars have examined Hurston"'s discourse of resistance, this project takes a different approach by placing Hurston"'s material in relation to the publishing climate at the time. Chapter One examines Mules and Men in the context of the revisions Hurston made to her scholarly work to transform her collection of folktales into a cohesive book marketed to a popular reading audience. Chapter Two focuses on Hurston"'s often-maligned anthropological travel book, Tell My Horse, as it forms a counter-narrative to the sensational and surreal travelogue by William Seabrook, The Magic Island. Chapter Three analyzes Their Eyes Were Watching God alongside DuBose Heyward"'s Porgy to demonstrate how Hurston resists the dominant narrative of black womanhood by creating a strong and self-affirming female role model.
Elizabeth A. Kalos-Kaplan

Стилі APA, Harvard, Vancouver, ISO та ін.

33

Huh, Jang Wook. "Imagining a Black Pacific: Dispossession in Afro-Korean Literary Encounters." Thesis, 2014. https://doi.org/10.7916/D8KD1WJR.

Повний текст джерела

Анотація:

"Imagining a Black Pacific" traces a literary history of political and cultural interaction between African Americans and Koreans from the late nineteenth to mid-twentieth centuries. It argues that black and Korean authors explored literary modes of antiracial solidarity against the Japanese and U.S. empires. Building on diverse archives of U.S. missionary and Korean Christian texts, State Department records, and military documents, as well as literary works, periodicals, and jazz songs, this dissertation examines the mediums and modalities of Afro-Asian aesthetic connection that invoked human freedom and liberation in transnational and multilingual contexts. Black intellectuals and Korean writers drew a parallel between the racialized U.S. and colonized Korea to contest the racial formations of the Japanese empire in an Asian cultural space until the end of the Pacific War. This cross-racial comparison challenged the imperialistic imposition of U.S. politics upon the Pacific Rim during the Cold War era. "Imagining a Black Pacific" is an interdisciplinary project that explores three facets of "Afro-Korean" connectedness: the trans-Pacific literary trajectories of W. E. B. Du Bois, Booker T. Washington, Langston Hughes, Eslanda and Paul Robeson, and J. B. Lenoir; the enduring elaborations of black radicalism by Korean writers such as Yun Chi-ho, Han Heuk-gu, and Bae In-cheol in Korea; and U.S. missionaries' intervention in cultural exchanges between African Americans and Koreans. Examining these three distinctive transcultural encounters, my work brings into focus the complicated configurations of an Afro-Asian alliance. It highlights the self-reflexive disorientation of so-called Afro-Orientalism and explores the experimental commensurabilities between U.S. racism and East Asian colonialism, facilitated by Afro-Korean critical inquiries into two forms of imperialism in Korea, namely, Japan's colonization of Korea and U.S. military intervention in Korea. While scholars have focused critical attention on the political alliance between African Americans and Asians, Korea has gone long unexplored in Afro-Asian conjunctures. By extending the scope of Afro-Asian convergences, this dissertation not only fills in Korea's absence in previous studies but also reconstructs lost legacies of black internationalism in the Pacific. In particular, it reconsiders Afro-Orientalism by exploring Koreans' deployment of African American cultural sources to engender anticolonial discourses. At the same time, it uncovers black intellectuals' investigations of racism in Asian and U.S.-Asian contexts. Afro-Korean connections, or the interplay between African Americans' antiracial sensibility and Koreans' anticolonial consciousness, made sensible the hidden forms of racism in the Japanese and U.S. empires beyond the black-white racial binary. By bridging the long-standing gulf between black and Korean cultures, this study opens up new scholarly terrain in the fields of African American literature and culture, comparative race studies, and Asian/Pacific studies.

Стилі APA, Harvard, Vancouver, ISO та ін.

34

Womack, Autumn Marie. "Social Document Fictions: Race, Visual Culture and Science in African American Literary Culture, 1850-1939." Thesis, 2014. https://doi.org/10.7916/D8BK19V9.

Повний текст джерела

Анотація:

When in 1928 Alain Locke coined the phrase "social document fiction" to describe W.E.B. DuBois' 1911 novel Quest of the Silver Fleece, he magnified a tenuous interplay between aesthetics, politics, and social science that underpins nineteenth and early twentieth century black intellectual activity. For Locke, social document fiction describes the small body of literature that, although important as "sociological" treatises, had yet to achieve the aesthetic sophistication that writers of the Harlem Renaissance would master. Even in his dismissal, Locke's phrasing suggests that black authors had succeeded in connecting two representational forms that continue to be positioned as polar opposites: those that use objective observation to index social life (surveys, statistics, photographs, and catalogs) and the imaginative realm of fiction. Indeed, in Quest of the Silver Fleece, DuBois combines technical analyses of agriculture, Southern economy, and Post-Reconstruction education with tales of magic cottonseed in order to convey a social world that remained opaque to positivist analysis. Belonging to neither the sphere of slave narratives, domestic family romance, or Realism, social document fiction combines formal innovation with scientific discourse to produce racial knowledge that exceeds the nineteenth century's emergent regimes of truth. This understudied genre of literature invites us to consider a simple but fraught question: what does it mean to think of social document fiction as a tool for the study of black life? This dissertation answers this question by reconstructing African Americans' responses to key moments between 1850 and the late 1920s when visual technology, like the microscope, the photograph, and film, joined with emerging fields of natural history, sociology, and anthropology to render black subjects as intelligible objects of scientific inquiry. Immersed in this "racial data revolution," blacks grappled to identify a strategy for transmitting new "facts of blackness." I consider social document fiction as an important strategy for reassembling racial epistemologies and reorienting the public's racialized gaze. I extend this genre beyond the work of DuBois to consider how literature by Martin Delany, Sutton Griggs, and Zora Neale Hurston each manifest a struggle to articulate a poetics and politics in relationship social science.

Стилі APA, Harvard, Vancouver, ISO та ін.

35

Richardson, Erica Nicole. "Beyond the Negro Problem: The Engagement between Literature and Sociology in the Age of the New Negro." Thesis, 2018. https://doi.org/10.7916/D8JH53P8.

Повний текст джерела

Анотація:

In Beyond the Negro Problem, I explore the engagement between black literature, black expressive culture, and sociology from the 1890s to the 1930s in order to consider the possibilities for imagining black social life that emerge through discoursive innovation during a time period of violent constraint. During this period, which followed Emancipation and the failure of Reconstruction, the struggle for black life or assimilation into American society was consolidated, examined, and contemplated as the so-called Negro problem. The Negro problem was a pervasive reality and metaphor that both black authors and social scientists grappled with. I argue that black leaders and intellectuals use different forms of sociology in their writing to respond directly to narratives of black social pathology and to imagine black life beyond the status of being a problem. In each chapter I explore a different engagement of sociology and literary production and each time find that the formations of black possibility that emerge are predicated on issues of gender and sexuality because the predominating foreclosing narratives about black social life tend to gravitate toward these same issues. Moreover, the racial knowledge about African American culture produced by sociology at the onset of modernity is acutely gendered. As my project details, a major consequence of these authors dismantling that racial knowledge is that they envision gendered possibilities that exceed the Negro problem itself.

Стилі APA, Harvard, Vancouver, ISO та ін.

36

Sneed, Roger Alex. "Virtually invisible the representations of homosexuality in black theology, African American cultural criticism, and black gay men's literature /." Diss., 2006. http://etd.library.vanderbilt.edu/ETD-db/available/etd-03292006-104642/.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

37

Henry, Kajsa K. Dickson-Carr Darryl. "A literary archaeology of loss the politics of mourning in African American literature /." 2006. http://etd.lib.fsu.edu/theses/available/etd-07042006-002318.

Повний текст джерела

Анотація:

Thesis (M.A.)--Florida State University, 2006.
Advisor: Darryl Dickson-Carr, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 26, 2006). Document formatted into pages; contains viii, 103 pages. Includes bibliographical references.

Стилі APA, Harvard, Vancouver, ISO та ін.

38

Gordon, Walter. ""Oh, Awful Power": Energy and Modernity in African American Literature." Thesis, 2021. https://doi.org/10.7916/d8-hm15-e553.

Повний текст джерела

Анотація:

“‘Oh, Awful Power’: Energy and Modernity in African American Literature” analyzes the social and cultural meaning of energy through an examination of African American literature from the first half of the twentieth century—the era of both King Coal and Jim Crow. Situating African Americans as both makers and subjects of the history of modern energy, I argue that black writers from this period understood energy as a material substrate which moves continually across boundaries of body, space, machine, and state. Reconsidering the surface of metaphor which has masked the significant material presence of energy in African American literature--the ubiquity of the racialized descriptor of “coal-black” skin, to take one example—I show how black writers have theorized energy as a simultaneously material, social, and cultural web, at once a medium of control and a conduit for emancipation. African American literature emphasizes how intensely energy impacts not only those who come into contact with its material instantiation as fuel—convict miners, building superintendents—but also those at something of a physical remove, through the more ambient experiences of heat, landscape, and light. By attending to a variety of experiences of energy and the nuances of their literary depiction, “‘Oh, Awful Power’” shows how twentieth-century African American literature not only anticipates some of the later insights of the field now referred to as the Energy Humanities but also illustrates some ways of rethinking the limits of that discourse on interactions between energy, labor, and modernity, especially as they relate to problems of race. These insights are made especially visible, I argue, by way of experiments with literary form, particularly through play with the expectations, limitations, and affordances of genre. I identify three particular generic formations which prove vital to the African American theorization of modern energy: the picturesque, tragedy, and naturalism. In my first chapter, I examine a 1986 novel by West Virginia-born novelist and politician J. McHenry Jones, entitled Hearts of Gold, which features the rare portrayal of black life in a convict coal mine at its narrative core. The feverish episode in the mine stands out against the otherwise genteel narrative of light-skinned striving and respectability, which aligns closely with Washingtonian ideologies of progress and the aesthetic sensibilities of the picturesque. In this depiction of the convict mine, Jones both poses a challenge to the social and political ideologies which subtend the picturesque, and draws a novel link between the rise of coal and the persistence of slavery in the form of the convict lease system. Chapter two extends Jones’ critique of the racial politics of coal mining through an examination of Shirley Graham’s Dust to Earth, a play briefly produced in 1941 which depicts the interracial conflicts that arise after a deadly collapse at a coal mine in Illinois. I argue that the play represents the fulfillment of Graham’s earlier project of rewriting Eugene O’Neill’s The Hairy Ape for an all-black cast—a project that O’Neill himself swiftly vetoed. Examining Dust to Earth’s intertwined plots of descent and sabotage, I show how the play exploits the generic conventions of tragedy in order to reconfigure familiar narratives of racial domination to fit the distinctly modern space of the coal mine. My third chapter reads the presence of two relatively “minor” forms of energy—hydroelectricity and solar power—in two novels by George Schuyler and W.E.B. Du Bois, Dark Princess (1928) and Black Empire (193638). In each of these texts, energy is written into the narrative as a powerful force, capable of affecting social and political life on a global scale. I argue that Du Bois’ romance is better understood as an experiment in naturalism, and that through conceiving of the body as a “human motor” Du Bois is able to form a critique of progressive era hydroelectric projects as aspects of an international war for colonial control. For Schuyler, on the other hand, solar power is figured as a potentially revolutionary form of energy that, despite its roots in a recent history of imperial expansion, nonetheless carries some promise once wrested from the control of the nation-state. In my final chapter, I interpret Ann Petry’s 1946 naturalist novel The Street as a drama of thermal management—a narrative in which the cultural politics of energy are refracted primarily through various characters’ bodily experiences of temperature. I argue that the protagonist’s struggle to maintain homeostasis represents an embodied critique of the often-elided racial politics of domestic heat. Finally, with the literary history of the furnace room as a backdrop, I argue that Petry’s depiction of the space foregrounds its paradoxical status as both a crucible of atavistic degeneration and a fount of humanist inspiration.

Стилі APA, Harvard, Vancouver, ISO та ін.

39

Rogg, Aline. "Creole Gatherings. Race, Collecting and Canon-building in New Orleans (1830-1930)." Thesis, 2021. https://doi.org/10.7916/d8-c6rq-s955.

Повний текст джерела

Анотація:

Creole Gatherings examines the relationship between canon formation and belonging. It studies the evolution of a print culture in New Orleans during the nineteenth and early twentieth century, and argues that textual collection and other paratextual practices were a means of claiming cultural belonging in a society organized around linguistic and racial hierarchies. It proposes an extensive study of the Creole print culture of New Orleans that also takes into account New Orleans’ position as a major American city that entertained connections with many other places in the Atlantic world. Stepping away from a regionalist framework, the dissertation seeks to expand existing literary scholarship on Louisiana and to participate in the production of knowledge about literary exchange in the Atlantic. The dissertation examines the category of identification “Creole,” which became racialized in the late nineteenth century, and the emergence of a scholarly discourse about a “Creole literature.” It argues that two canons were established in the twentieth century, an Afro-Creole canon that would, in time, become affiliated to the canon of African-American literature, and a white Creole canon that would fail to become part of either the American or French canons that formed in the second half of the twentieth century. The study of these canons relies on the analysis of a variety of texts, mainly anthologies, literary criticism, bibliographical essays, collections of poetry, and the literary sections of newspapers. These constitute a continuity of practices indicative of an attempt to record and organize literary production. This study reveals a tension between goals of protecting one’s culture and incorporating it into an emerging field of study and underscores the racializing processes at play within the category of “Creole literature.” Highlighting connections between New Orleans and Haiti’s literary cultures in the nineteenth century, the dissertation points to the need for a large-scale transnational study of these two cultures.

Стилі APA, Harvard, Vancouver, ISO та ін.

40

Birch, Campbell. "Afterlives of Violence: The Renewal and Refusal of American Carnage." Thesis, 2019. https://doi.org/10.7916/d8-c3hh-8131.

Повний текст джерела

Анотація:

This dissertation offers a history of the perilous American present. Through a series of timely case studies I investigate the constitutive force and present-day regeneration of political and racial violence in the United States. Drawing on a range of contemporary critical thought, "Afterlives of Violence" constellates scenes from recent works of memoir, fiction, poetry, nonfiction, and film, my principal interest in each case being to excavate the temporalities, the effects, and the disavowals of American carnage—understood less as a damaging deviation from a “great” past than as precisely that past’s unceasing, pernicious fallout. Where often violence continues to be conceived of as an event, my research and readings draw on examples from twenty-first-century American literature, politics, law, and culture to present it instead as a haunting structure that is enduring at least in part because of the very illegibility and deliberate obscuring of its aftermaths under certain idioms of thought and norms of representation. Bookended by discussions of a white supremacist’s massacre at a Charleston church (in July 2015) and of the national memorial to racial terror lynching established in Montgomery (in April 2018), the dissertation offers a series of figures for thinking through history’s afterlives—both in the grim renewal of its violences in the U.S. today and in the imaginative arts of refusal which its inheritance inspires. In the first two chapters of the dissertation, I critically explore the ways that recent African American and Native American literature maps, respectively, the residual afterlives of slavery and ongoing menace of antiblack animus, and, the blind spots in settler colonial law that simultaneously conceal and extend the violence of occupation, in particular exposing the lives of Native women to harm across time. Through extended readings of texts including Saidiya Hartman’s "Lose Your Mother," Dionne Brand’s "A Map to the Door of No Return," Louise Erdrich’s "The Round House," and Layli Long Soldier’s "WHEREAS," I demonstrate how the wounding attachments of history and the longing for a different future they prompt are, in turn, exacerbated and thwarted by injurious mnemonic and political legacies that the authors present as essentially unfinished with their lives. I also show how these texts perform a fundamental critique of liberal gestures of redress and apology, as well as concomitant invocations of closure associated with the politics of recognition. Here, the present is celebrated for its being newly distanced from a past we have come to identify as imprudent, with the meaning or substance of race additionally believed to have been at long last left behind. Quite to the contrary, the texts I analyze have us understand that these efforts too often only seek to acknowledge the traumatic specters of history in order to more quickly forget the tenacious continuing hold of their traces on modern American life. In the work of Hartman and Brand, for instance, the physical and metaphorical abyss which is the Door of No Return ensures that the losses of history remain irreparable, while Erdrich and Long Soldier each demonstrate how the precedents and aporias of settler law guarantee that they survive. Where the opening chapters are in some fashion concerned with the aftereffects of a violence often interpreted as historical, the later chapters of the dissertation shift to examine two emergent technologies of state violence: the drone and the border wall. Beyond the immediately notable racial dimension that ties them to the preceding case studies, these forms of violence also have their own genealogies, too, which I read back into them. Further, I propose that their ominous afterlives are prospectively prefigured in our own destitute times, even as I also insist the future necessarily remains undecided. Concentrating, in the first case, on the visual and temporal regimes of extraterritorial drone killing—which I argue can be revealingly likened to the death penalty in the conception of “future dangerousness” each shares—and, in the second, on the brutalist aesthetics and political rhetoric of walling plans for the U.S.-Mexico border—which in specific ways derealize the lives that this architecture is intended to target—these chapters use primary legal documents to draw out the logic and justification of preemptive and protective violence. I pay particular attention to how these respective forms of harm are frequently legitimated on the basis of their being humanitarian in character. In an extended analysis of a trio of Hollywood “drone films” I show how they troublingly come to adopt this same frame, staging targeted execution as a regrettable necessity and lesser evil, while in readings of executive orders and government reports pertaining to the southern border I unweave the misleading mobilization of human rights discourse to justify wall construction. With the assistance of decidedly more critical texts, including Solmaz Sharif’s "LOOK" and, in the context of the militarized borderlands, Sara Uribe’s "Antígona González" and Valeria Luiselli’s "Tell Me How It Ends," I provide a distinct rejoinder to this mode of thinking. I highlight the authors’ formal efforts to bring back into view, first, the ways of seeing and types of narrating that make possible the conversion of calculated erasure and cruel destitution into ethical action, and, just as importantly, the bodies affected and existences wrought in the wake of political violence. Beside its sustained insistence on the need to truly reckon with the fact that everything which has happened will never not have happened, ultimately at stake in the symphony of reflections offered by "Afterlives of Violence" are questions of how we recognize, think, describe, and, perhaps finally, refuse or resist violence. Inspired in large part by the multitemporal geographies of loss and hope, of suffering and flourishing, traced in the work of American studies and feminist scholars including Saidiya Hartman, Christina Sharpe, Colin Dayan, Avery Gordon, Patricia Williams, and Judith Butler, I wager to break the hold of the past—or to derail the perils of the present—in the service of a more just future, at minimum their multifarious and continuing afterimages of violence must first be properly pictured. Insofar as law, photography, and history must be understood as other names for the transmission of the past, I have found them useful instruments to think with in this endeavor, while literature, broadly conceived, I have interpreted as a site for the performance of thought’s suspension, its undoing, its reinauguration.

Стилі APA, Harvard, Vancouver, ISO та ін.

41

Ford, Na'imah Hanan McGregory Jerrilyn. "Toward a theory of Yere Wolo Michelle Cliff's Abeng and Paule Marshall's Brown Girl Brownstones as coming of age narratives /." 2004. http://etd.lib.fsu.edu/theses/available/etd-09102004-185511.

Повний текст джерела

Анотація:

Thesis (M.A.)--Florida State University, 2004.
Advisor: Dr. Jerrilyn McGregory, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Jan. 12, 2005). Includes bibliographical references.

Стилі APA, Harvard, Vancouver, ISO та ін.

42

Negrea, Irina C. ""This damned business of colour" : passing in African American novels and memoirs /." Diss., 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3167071.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

43

Speller, Chrishawn A. Montgomery Maxine Lavon. "Seeing is believing exploring the intertextuality of aural and written blues in Gloria Naylor's Bailey's Café, Gayl Jones' Corregidora and Toni Morrison's Jazz /." 2003. http://etd.lib.fsu.edu/theses/available/etd-11192003-221138.

Повний текст джерела

Анотація:

Thesis (M.A.)--Florida State University, 2003.
Advisor: Dr. Maxine Montgomery, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Apr. 9, 2004). Includes bibliographical references.

Стилі APA, Harvard, Vancouver, ISO та ін.

44

Butler-Evans, Elliott. "Race, gender and desire narrative strategies and the production of ideology in the fiction of Toni Cade Bambara, Toni Morrison and Alice Walker /." 1987. http://catalog.hathitrust.org/api/volumes/oclc/17792361.html.

Повний текст джерела

Стилі APA, Harvard, Vancouver, ISO та ін.

45

Courau, Rogier Philippe. "States of nomadism, conditions of diaspora : studies in writing between South Africa and the United States, 1913-1936." Thesis, 2008. http://hdl.handle.net/10413/162.

Повний текст джерела

Анотація:

Using the theoretical idea of ‘writing between’ to describe the condition of the travelling subject, this study attempts to chart some of the literary, intellectual and cultural connections that exist(ed) between black South African intellectuals and writers, and the experiences of their African- American counterparts in their common movements towards civil liberty, enfranchisement and valorised consciousness. The years 1913-1936 saw important historical events taking place in the United States, South Africa and the world – and their effects on the peoples of the African diaspora were signficant. Such events elicited unified black diasporic responses to colonial hegemony. Using theories of transatlantic/transnational cultural negotiation as a starting point, conceptualisations that map out, and give context to, the connections between transcontinental black experiences of slavery and subjugation, this study seeks to re-envisage such black South African and African-American intellectual discourses through reading them anew. These texts have been re-covered and re-situated, are both published and unpublished, and engage the notion of travel and the instability of transatlantic voyaging in the liminal state of ‘writing between’. With my particular regional focus, I explore the cultural and intellectual politics of these diasporic interrelations in the form of case studies of texts from several genres, including fiction and autobiography. They are: the travel writings of Xhosa intellectual, DDT Jabavu, with a focus on his 1913 journey to the United States; an analysis of Ethelreda Lewis’s novel, Wild Deer (1933), which imagines the visit of an African-American musician, Paul Robeson-like figure to South Africa; and Eslanda Goode Robeson’s representation of her African Journey (1945) to the country in 1936, and the traveller’s gaze as expressed through the ethnographic imagination, or the anthropological ‘eye’ in the text.
Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2008.

Стилі APA, Harvard, Vancouver, ISO та ін.

46

Kelley, Elleza. "Sites of Inscription: Writing In and Against Post-Plantation Geographies." Thesis, 2021. https://doi.org/10.7916/d8-5wad-te79.

Повний текст джерела

Анотація:

“Sites of Inscription” argues that creative works allow us to trace black epistemologies of space and time in the United States. Reading works of literature and art from the 19th century to the present, I trace how black people have creatively mis-used, reimagined, and transformed the spatial technologies of the plantation and its geographic afterlife. My project specifically asks how the “literary” in black literary geographies reveals and preserves black spatial praxes in ways that exceed the capacities of dominant modes of Western spatial representation such as conventional maps, blueprints or land surveys. Each chapter considers literary form in particular to be intimately related to the production and representation of space by black people—both as ways of expressing the experience of living under spatial technologies of racialized management, enclosure and exploitation, and as ways of expressing resistance to these technologies and the underwriting epistemologies they reproduce. Employing a palimpsestic practice of reading, I gather texts written across periods but which cohere around a single spatial formation that stages the tensions of (post)plantation geographies—fences, city blocks, apartments, and rooftops. Reading works by W.E.B. Du Bois, Frederick Douglass, and Zora Neale Hurston, I consider the relationship between writing and enclosure in the South during and immediately after slavery. Moving North and into the 20th century, I consider representations of the city block in work by Romare Bearden, Tonya Foster, and Langston Hughes. The art of apartment living in Chicago is explored through readings of Kerry James Marshall and Gwendolyn Brooks. I conclude on the rooftop, where Claude Brown, Piri Thomas, and Faith Ringgold document its creative re-production. All four chapters explore the impact of these radical acts of counter-planning, and efforts to represent them, on literary form and genre—concluding that formal experimentations are precisely what allow literature and visual art to archive these fugitive and fleeting engagements with space.

Стилі APA, Harvard, Vancouver, ISO та ін.

47

Nyhuis, Jeremiah E. ""A field lately ploughed" : the expressive landscapes of gender and race in the antebellum slave narratives of Frederick Douglass and William Grimes." Thesis, 2013. http://hdl.handle.net/1805/3628.

Повний текст джерела

Анотація:

Indiana University-Purdue University Indianapolis (IUPUI)
The complicated state wherein ex-slaves found themselves, as depicted in the narratives of Bibb, Jacobs, and others, problematizes the dualistic relationship between North and South that the genre’s structural components work to enforce, forging an odyssey that, although sometimes still spiritual in nature, does not offer the type of resolutions that might easily persuade fellow slaves to abandon their masters and seek a similarly ambiguous identity in the so-called “free” land of the North. For blacks and especially fugitive slaves, such restrictive legal provisions provided an “uncertain status” where, writes William Andrews, “the definition of freedom for black people remained open.” In those slave narratives that dare to depict the limits of liberty in the North, this “open” status is particularly reflected in the texts’ discursive terrain itself, which portends a series of candid observations and brutal details that actively work to deconstruct any sort of mythological pattern associated with the slave narrative genre, thereby offering a more expansive view of the experience for most fugitive slaves. The Life of William Grimes, a particularly frank and brutal diary of a man’s trials within and without slavery, is one such slave narrative, depicting a journey that, while more consistent with the general experience of ex-slaves in the antebellum U.S., often works outside the parameters of traditional, straight-forward slave narratives like Douglass’s. “I often was obliged to go off the road,” Grimes admits at one point in his autobiography, and although his remark refers to the cautious path he must tread as a fugitive slave, it might just as well describe the thematic and structural characteristics of his open-ended autobiography. Reputedly the first fugitive slave narrative, the publication of Grimes’s Life in 1825 initiated the beginning of a genre whose path had not yet been forged, which likely contributed to its fluid nature. At the time of his narrative’s publication, Grimes’s self-expressed testimony of injustice under slavery was about five years ahead of its time; it wouldn’t be until the 1830s that the U.S. antislavery movement would begin to consciously seek out ex-slaves to testify to their experience in bondage. Once this literary door was open, however, antislavery sentiment became for many early African American authors “a ready forum” for self-expression. Whereas in twenty years’ time Douglass would take full advantage of this opportunity by drawing inspiration from a number of already established narratives, Grimes as an author found himself singularly “off the road” and essentially alone in new literary territory, uncannily reflecting his sense of alienation and helplessness in the North after escaping from slavery aboard a cargo ship in 1815.

Стилі APA, Harvard, Vancouver, ISO та ін.

Дисертації з теми "African American authors – Juvenile literature"

Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями