Studienarbeit aus dem Jahr 2005 im Fachbereich Amerikanistik - Literatur, Note: 2,0, Freie Universität Berlin (John-F.-Kennedy-Institut), Veranstaltung: Hauptseminar, 12 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Claude McKay, eine der wichtigsten literarischen Figuren der Harlem Renaissance, kann man keiner politischen Strömung eindeutig zuordnen. Er war eine sehr umstrittene Person. Einerseits verschaffte er sich mit seinen Werken Respekt und Anerkennung bei Schwarzen und Weißen, andererseits traf er mit den selben Werken wiederum auf Unverständnis und heftige Kritik. Ein besonderes Interesse galten in diesen Kontroversen eben seinem Roman Home to Harlem. Ich möchte deshalb versuchen, die Frage zu beantworten, ob die negativen Stimmen wie die von DuBois mit ihren Behauptungen recht haben, oder ob es im Roman um mehr geht als um die primitive Darstellung der Lebensweise der unteren schwarzen Bevölkerungsschicht. Dazu erkläre ich vorerst, welche Rolle Primitivismus in den 1920ern in Amerika gespielt hat, für Weiße und für Schwarze, und wie die Harlem Renaissance mit diesem Thema umging. Anschließend ordne ich Claude McKay in die literarische Bewegung dieser Zeit ein und untersuche dann Home to Harlem vor dem Hintergrund der Geschehnisse in dieser Epoche und seinem Leben hinsichtlich der Motive des Autors für diesen Roman.
It wasn't all black or white. It wasn't a vogue. It wasn't a failure. By restoring interracial dimensions left out of accounts of the Harlem Renaissance--or blamed for corrupting it--George Hutchinson transforms our understanding of black (and white) literary modernism, interracial literary relations, and twentieth-century cultural nationalism in the United States.What has been missing from literary histories of the time is a broader sense of the intellectual context of the Harlem Renaissance, and Hutchinson supplies that here: Boas's anthropology, Park's sociology, various strands of pragmatism and cultural nationalism--ideas that shaped the New Negro movement and the literary field, where the movement flourished. Hutchinson tracks the resulting transformation of literary institutions and organizations in the 1920s, offering a detailed account of the journals and presses, black and white, that published the work of the "New Negroes." This cultural excavation discredits bedrock assumptions about the motives of white interest in the renaissance, and about black relationships to white intellectuals of the period. It also allows a more careful investigation than ever before of the tensions among black intellectuals of the 1920s. Hutchinson's analysis shows that the general expansion of literature and the vogue of writing cannot be divorced from the explosion of black literature often attributed to the vogue of the New Negro--any more than the growing sense of "Negro" national consciousness can be divorced from expanding articulations and permutations of American nationality. The book concludes with the first full-scale interpretation of the landmark anthology The New Negro. A courageous work that exposes the oversimplifications and misrepresentations of popular readings of the Harlem Renaissance, this book reveals the truly composite nature of American literary culture.
Nathan Irvin Huggins showcases more than 120 selections from the political writings and arts of the Harlem Renaissance. Featuring works by such greats as Langston Hughes, Aaron Douglas, and Gwendolyn Bennett, here is an extraordinary look at the remarkable outpouring of African-American literature and art during the 1920s.
"Mr. Baker perceives the harlem Renaissance as a crucial moment in a movement, predating the 1920's, when Afro-Americans embraced the task of self-determination and in so doing gave forth a distinctive form of expression that still echoes in a broad spectrum of 20th-century Afro-American arts. . . . Modernism and the Harlem Renaissance may well become Afro-America's 'studying manual.'"—Tonya Bolden, New York Times Book Review
What? You don't know what a Burgess is? -- You can't outline the Monroe Doctrine? -- Recall the 14th Amendment? -- Explain the difference between a sputnik and a beatnik? Then you need The Cartoon History of the United Statesto fill those gaps. From the first English colonies to the Gulf War and the S&L debacle, Larry Gonick spells it all out from his unique cartoon perspective.
Author: Craig Thomas
Publisher: Virago Press
Seminar paper from the year 2002 in the subject American Studies - Literature, grade: 1 (A), University of Frankfurt (Main) (Institute for England and American Studies), course: Harlem Renaissance, 17 entries in the bibliography, language: English, abstract: This seminar paper will sketch some of the elements of the cultural “Zeitgeist” that shaped and was reflected in Nella Larsen’s writings. But it will concentrate on the novels that she left behind: Quicksand and Passing. An important topic Larsen is dealing with is race-identity. Larsen assimilates these themes in her two novels, not by representing the lower-class problem, but more by focusing on the life and problems of middle-class females. It is more the psychological than the sociological side she portrays. This paper demonstrates that race identity and race dualism reflects Larsen’s own life story. First I will give an introduction on the Harlem Renaissance era. Then I will focus on Nella Larsen’s life. I will examine her two novels Quicksand and Passing to find out how race identity and race dualism is assimilated in her novels.
The Harlem renaissance
Author: Amritjit Singh, William S. Shiver, Stanley Brodwin, Hofstra Cultural Center
Publisher: Scholarly Title
While the height of the Harlem Renaissance occurred more than seventy years ago, in many ways it still has an effect on our culture. "The Harlem Renaissance Re-examined" brings to light long-neglected writers and artists from that era for a second look at the roles that they played in developing the arts in America, and for a re-evaluation of thier talents.
Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: A (1), Southern Connecticut State University (English Department), course: The Harlem Renaissance, language: English, abstract: Jean Toomer is one of the leading figures in the Harlem Renaissance. His major contribution to literature is Cane, a novel comprised of poetry and prose. Cane’s structure is of three parts. The first third of the book is devoted to the black experience in the Southern farmland. The characters inhabiting this portion of the book are faced with an inability to succeed. The second part of Cane is more urban oriented and concerned with Northern life. The writing style throughout is much the same as the initial section with poetry interspersed with stories. The concluding third of the novel is a prose piece entitled “Kabnis” and can be regarded as a synthesis of the earlier sections. Cane is therefore designed as a circle. Aesthetically, it goes from simple forms to complex ones and then back to simple forms. Regionally, it goes from the South up into the North, and back into the South again. The emphasis of Cane is on characters as well as on setting. The sections entitled “Karintha,” “Becky,” “Carma,” “Fern,” “Esther,” “Rhobert,” “Avey,” and “Bona and Paul” illustrate psychological realism and truths about human nature. The reader is drawn into the characters’ lives, and learns by sharing their everyday trials and feelings. Their characterizations become indistinguishably merged with the landscape that surrounds them. Characteristically, beauty functions as a deceptive tool in Cane. Flowers, women, and the word, all of which generally represent beauty, are reduced to emblems lacking dimension in Toomer’s text. Meaning is flawed and violated. The reader is intentionally deceived by the forms of beauty and left with absence instead of significance. By means of linking beautiful images with violent, explosive, and disturbing thematic openings, Toomer confuses his readers’ sense of meaning. In Cane, Toomer moves the reader with deeply beautiful and intricate language by exploring many different kinds of beauty, such as the abstract qualities of aestheticism, the intimacy of nature’s beauty and the immediacy of human beauty. However, though Toomer begins many of his pictures with seemingly beautiful imagery or qualifies a female character in his writing by her beauty, the breakdown of the aesthetic within his work is widespread. Although beauty seems to be in proportion with reality it is rather distorted. It gives way to nightmarish images and relationships. [...]
The Day of Doom
Author: Michael Wigglesworth
The Sot-weed Factor
Author: John Barth
Publisher: Atlantic Books (UK)
Recounts the wildly chaotic odyssey of hapless, ungainly Ebenezer Cooke, sent to the New World to look after his father's tobacco business. The book is a tribute to the most insidious human vices and a hilarious ride through the 18th century in the company of heroes, villans, innocents and rogues.
Anthropology is a science whose most significant discoveries have come when it has taken its bearings from literature, and what makes Paul Radin’s Primitive Man as Philosopher a seminal piece of anthropological inquiry is that it is also a book of enduring wonder. Writing in the 1920s, when anthropology was still young, Radin set out to show that “primitive” cultures are as intellectually sophisticated and venturesome as any of their “civilized” counterparts. The basic questions about the structure of the natural world, the nature of right and wrong, and the meaning of life and death, as well as basic methods of considering the truth or falsehood of the answers those questions give rise to, are, Radin argues, recognizably consistent across the whole range of human societies. He rejects both the romantic myth of the noble savage and the rationalist dismissal of the primitive mind as essentially undeveloped, averring that the anthropologist and the anthropologist’s subject meet on the same philosophical ground, and only when that is acknowledged can anthropology begin in earnest. The argument is clearly and forcibly made in pages that also contain an extraordinary collection of poems, proverbs, myths, and tales from a host of different cultures, making Primitive Man as Philosopher not only a lasting contribution to the discipline of anthropology but a unique, rich, and fascinating anthology, one that both illuminates and enlarges our imagination of the human.