In tracing the various migrations of several generations of his family, Stepto is able to identify the importance of place in the lives of this African-American family.
This pioneering study of Afro-American narrative is far more critical, historical, and textual than biographical, chronological, and atextual. Robert Stepto asserts that Afro-American culture has its store of canonical stories or pregeneric myths, the primary one being the quest for freedom and literacy. This second edition includes a new preface and an afterward entitled "Distrust of the Reader in Afro-American Narratives.
The differences between Frederick Douglass and Martin Delany have historically been reduced to a simple binary pronouncement: assimilationist versus separatist. Now Robert S. Levine restores the relationship of these two important nineteenth-century African American writers to its original complexity. He explores their debates over issues like abolitionism, emigration, and nationalism, illuminating each man's influence on the other's political vision. He also examines Delany and Douglass's debates in relation to their own writings and to the work of Harriet Beecher Stowe. Though each saw himself as the single best representative of his race, Douglass has been accorded that role by history--while Delany, according to Levine, has suffered a fate typical of the black separatist: marginalization. In restoring Delany to his place in literary and cultural history, Levine makes possible a fuller understanding of the politics of antebellum African American leadership.
In this series of interlocking essays, which had their start as lectures inspired by the presidency of Barack Obama, Robert Burns Stepto sets canonical works of African American literature in conversation with Obama's Dreams from My Father. The elegant readings that result shed surprising light on unexamined angles of works ranging from Frederick Douglass's Narrative to W.E.B. Du Bois's Souls of Black Folk to Toni Morrison's Song of Solomon.
Aquest estudi analitza un ordre literari canviant: Amèrica com unitat i diversitat, com un ens nacional i transnacional. Els escrits crítics literaris reunits aquí ofereixen una sèrie de perspectives que tracen gran part de la geografia cultural en joc: la narrativa, l'autobiografia, el teatre, etc. Es presenten també un conjunt d'assajos i ressenyes que, amb diverses direccions d'enfocament, posen atenció als fonaments previs a Colón, a una antologia canònica nord-americana de poesia i al que s'ha omès; la narrativa llatina i als principals dramaturgs antics. Inclou entrevistes a creatius i acadèmics com Gerald Vizenor, Frank Chin, Louis Owens, John Cawelti i Rex Burns. La secció de ressenyes final ofereix una sèrie de monografies de rellevant erudició multicultural així com contribucions a l'emergent i ampli mural d'anàlisi.
Born in rural Mississippi, the grandson of slaves, Richard Wright overcame every social obstacle, including poverty, racism, and limited education to achieve literary recognition as the creator of some of America's most powerful Black literature. Written with unprecendented candor, Wright's works changed the cultural landscape by challenging old stereotypes and myths about race. Wright scholar Robert Felgar has written a critical volume to help students appreciate the literary significance of such groundbreaking works as Native Son and the autobiographical Black Boy. This study serves students of both literature and social history as it explores the themes of racism and all types of insitutionalized oppression that Wright exposed in his provocative writing. Felgar approaches each of Wright's major works in chronological order, offering insightful literary analysis of Uncle Tom's Children, Native Son, Black Boy, and The Outsider, as well as Wright's two works published posthumously, Eight Men, a collection of stories, and Lawd Today! The original, censored works are discussed and compared with the more recently re-published unexpurgated versions. This Student Companion introduces readers to Richard Wright with a biographical chapter, recounting the writer's struggles and achievements. A literary heritage chapter examines the genres, themes, and stylistic traditions that figured in Wright's work. Each of Wright's major works of fiction is given careful literary interpretation, with analysis of plot, character development, thematic concerns and a close alternate reading. A selective bibliography of critical works and reviews, in addition to the listings of Wright's stories, essays and full-length works will help students derive the most from their study of this important American writer.
This is the first comprehensive historical analysis of how black music and musicians have been represented in the fiction of African American writers. It also examines how music and musicians in fiction have exemplified the sensibilities of African Americans and provided paradigms for an African American literary tradition. The fictional representation of African American music by black authors is traced from the nineteenth century (William Wells Brown, Martin Delany, Pauline E. Hopkins, Paul Laurence Dunbar) through the early twentieth century and the Harlem Renaissance (James Weldon Johnson, Langston Hughes, Claude McKay, Zora Neale Hurston) to the 1940s and 50s (Richard Wright, Ann Petry, James Baldwin, Ralph Ellison) and the 1960s and the Black Arts Movement (Margaret Walker, William Melvin Kelley, Leroi Jones/Amiri Baraka, Henry Dumas). In the century between Brown and Baraka, the representation of music in black fiction went through a dramatic metamorphosis. Music occupied a representative role in African American culture from which writers drew ideas and inspiration. The music provided a way out of a limited situation by offering a viable option to the strictures of racism. Individuals who overcome these limitations then become role models in the struggle toward equality. African American musical forms-for both artist and audience-also offerd a way of looking at the world, survival, and resistance. The black musician became a ritual leader. This study delineates how black writers have captured the spirit of the music that played such a pivotal role in African American culture. (Ph.D. dissertation, State University of New York at Stony Brook, 1993; revised with new preface and index)
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.