Specters of Democracy examines how figurations of blackness were used to illuminate the fraught relationship between citizenship, equality, and democracy in the antebellum U.S. Through close readings of Frederick Douglass, William Wells Brown, Frances Ellen Watkins Harper, and Walt Whitman (on aurality), and Herman Melville, William J. Wilson, and a host of genre painters (on visuality), the book reveals how the difficult tasks of representing African Americans-both enslaved and free-in imaginative expression was part of a larger dilemma concerning representative democracy itself.
Communication helps readers see the relationships among the concepts, skills, theories, and contexts of communication by anchoring all discussion around five fundamental principles. Written by experienced and highly regarded textbook authors and teachers, Communication:Principles for a Lifetime provides readers with all the theory and skills necessary in the introductory course - in a manner that will help them to apply what they learn throughout their lives. Understanding that the challenge of basic communication is learning the myriad of skills, principles, and theories, Beebe/Beebe/Ivy emphasize five key principles of communication throughout their book: Be aware of your communication with yourself and others. Effectively use and understand verbal messages. Effectively use and understand nonverbal messages. Listen and respond thoughtfully to others. Appropriately adapt messages to others. For anyone interested in the art of communication.
Walt Whitman’s now-famous maxim about “containing the multitudes” has often been understood as a metaphor for the democratizing impulses of the young American nation. But did these impulses extend across the color line? Early in his career, especially in the manuscripts leading up to the first edition of Leaves of Grass, the poet espoused a rather progressive outlook on race relations within the United States. However, as time passed, he steered away from issues of race and blackness altogether. These changing depictions and representations of African Americans in the poetic space of Leaves of Grass and Whitman’s other writings complicate his attempts to fully contain all of America’s subject-citizens within the national imaginary. As alluring as “containing the multitudes” might prove to be, African American poets and writers have been equally vexed by and attracted to Whitman’s acknowledgment of the promise and contradictions of the United States and their place within it. Whitman Noir: Black America and the Good Gray Poet explores the meaning of blacks and blackness in Whitman’s imagination and, equally significant, also illuminates the aura of Whitman in African American letters from Langston Hughes to June Jordan, Margaret Walker to Yusef Komunyakaa. The essays, which feature academic scholars and poets alike, address questions of literary history, the textual interplay between author and narrator, and race and poetic influence. The volume as a whole reveals the mutual engagement with a matrix of shared ideas, contradictions, and languages to expose how Whitman influenced African American literary production as well as how African American Studies brings to bear new questions and concerns for evaluating Whitman.
Specters of Democracy examines how figurations of blackness were used to illuminate the fraught relationship between citizenship, equality, and democracy in the antebellum U.S. Through close readings of Frederick Douglass, William Wells Brown, Frances Ellen Watkins Harper, and Walt Whitman (on aurality), and Herman Melville, William J. Wilson, and a host of genre painters (on visuality), the book reveals how the difficult tasks of representing African Americans-both enslaved and free-in imaginative expression was part of a larger dilemma concerning representative democracy itself.
Walt Whitman’s now-famous maxim about “containing the multitudes” has often been understood as a metaphor for the democratizing impulses of the young American nation. But did these impulses extend across the color line? Early in his career, especially in the manuscripts leading up to the first edition of Leaves of Grass, the poet espoused a rather progressive outlook on race relations within the United States. However, as time passed, he steered away from issues of race and blackness altogether. These changing depictions and representations of African Americans in the poetic space of Leaves of Grass and Whitman’s other writings complicate his attempts to fully contain all of America’s subject-citizens within the national imaginary. As alluring as “containing the multitudes” might prove to be, African American poets and writers have been equally vexed by and attracted to Whitman’s acknowledgment of the promise and contradictions of the United States and their place within it. Whitman Noir: Black America and the Good Gray Poet explores the meaning of blacks and blackness in Whitman’s imagination and, equally significant, also illuminates the aura of Whitman in African American letters from Langston Hughes to June Jordan, Margaret Walker to Yusef Komunyakaa. The essays, which feature academic scholars and poets alike, address questions of literary history, the textual interplay between author and narrator, and race and poetic influence. The volume as a whole reveals the mutual engagement with a matrix of shared ideas, contradictions, and languages to expose how Whitman influenced African American literary production as well as how African American Studies brings to bear new questions and concerns for evaluating Whitman.
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