Relevant bibliographies by topics / African modernism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'African modernism'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "African modernism"

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Kruzh Morzhadinu, Da Fonseka Vera. "HISTORICAL RESEARCH OF MODERNISM IN AFRICAN ARCHITECTURE OF LOW-RISE SOCIAL HOUSING." Construction Materials and Products 3, no. 2 (July 10, 2020): 55–62. http://dx.doi.org/10.34031/2618-7183-2020-3-2-55-62.

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the purpose of this study is to examine the emergence of modernism as a cultural response to the conditions of modernity to change the way people live, work and react to the world around them. In this regard, the following tasks were formulated: 1) study the development of modernism on the world stage, 2) identify its universal features, and 3) analyze how the independence of Central and sub-Saharan Africa in the 1950s and 1960s coincided with a particularly bright period of modernist architecture in the region, when many young countries studied and asserted their identity in art. The article analyzes several objects of modernist architecture in Africa: urban development projects in Casablanca (Morocco), Asmara (Eritrea), Ngambo (Tanzania). The main features and characteristics of modernism which were manifested in the African architecture of the XX century are also formulated. It is concluded that African modernism is developed in line with the international modernist trend. It is also summarized that modernism which differs from previous artistic styles and turned out to be a radical revolution in art is their natural successor.
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Love, Heather. "Introduction: Modernism at Night." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 744–48. http://dx.doi.org/10.1632/pmla.2009.124.3.744.

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Is Queer modernism simply another name for modernism?As Douglas Mao and Rebecca L. Walkowitz note in their introduction to the 2006 collection Bad Modernisms, “[T]here were numerous ways of being outside in the early twentieth century” (7). Efforts over the past several decades to imagine modernism as an expanded field have been remarkably successful. Female modernism, African American modernism, queer modernism, sentimental modernism, low- and middlebrow modernism, and colonial, postcolonial, and anticolonial modernism have all been integrated into a renewed understanding of modernism (or modernisms, as it is often written). In addition, the rethinking of modernism as a set of aesthetic movements in relation to a larger context of global modernity and modernization has turned the inside out. Since few modernists, on closer inspection, appear to have stayed high or dry, bad modernism, outsider modernism, and marginal modernism begin to look more and more like modernism itself.
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Asojo, Abimbola O., and Babatunde E. Jaiyeoba. "MODERNISM AND CULTURAL EXPRESSION IN UNIVERSITY CAMPUS DESIGN: THE NIGERIAN EXAMPLE." International Journal of Architectural Research: ArchNet-IJAR 10, no. 3 (November 28, 2016): 21. http://dx.doi.org/10.26687/archnet-ijar.v10i3.1102.

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In the early to mid-20th century as a result of colonialism and independence across Africa, modernism became prominent as urbanization rapidly affected major Nigerian cities and towns. Modernism was reflected in the public projects designed and executed by expatriate firms of modernist architects and designers for the colonialists. In literature, most of the discussion on modernism has predominantly been focused on Europe and the Americas. There is very limited information available about the African continent, especially West Africa and Nigeria. In this paper, we discuss the designs of the first generation Nigerian Universities. Our goal is to introduce audiences to cultural expression and diverse perspectives of Nigerian spaces of this era, and thus contribute to the global design discourse. We will illustrate how the designers and architects acculturated the international style into the tropical climate and sociocultural context of Nigeria. We will discuss the impact of Nigerian indigenous cultures on the site layout, building form, spatial configuration, interior and exterior relationships, materials, construction techniques, symbols and aesthetics.
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Callison, Jamie. "David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy." Modernist Cultures 12, no. 3 (November 2017): 439–62. http://dx.doi.org/10.3366/mod.2017.0186.

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Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.
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Maxwell, W. J. "Ghostwriting Modernism; Performing Blackness: Enactments of African-American Modernism." American Literature 75, no. 3 (September 1, 2003): 659–61. http://dx.doi.org/10.1215/00029831-75-3-659.

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Twitchin, Mischa. "Concerning “the Eurocentric African Problem” (Meschac Gaba)." Open Cultural Studies 3, no. 1 (January 1, 2019): 276–85. http://dx.doi.org/10.1515/culture-2019-0025.

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Abstract Even as it is often eclipsed by reference to the “contemporary,” modernity is widely celebrated in European museums and galleries. When refracted through the commitments of an avowedly Black artistic agenda, how might these institutions reconceive their understanding of modernism in light of African, diasporic, or Afropean perspectives? How might concerns with African agency be enacted in these cultural spaces as they project historical narratives and produce a “public” memory in their own image? What are the implications of the fact that critical resistance to modes of cultural appropriation may, nonetheless, reproduce a discourse that attempts to immunise itself from the association of modernism with colonialism? In the formation of modernist canons, what role might an example of African conceptual art have to play, even when consigned to a museum’s storage space? This paper explores such questions through the paradoxes engaged by Mechac Gaba’s reflections on his 1997-2002 project, “Museum for Contemporary African Art,” now owned by Tate Modern. In particular, it considers the dichotomy between “modern” and “traditional” as this has been constitutive of twentieth-century art history, informing a sense of the African presence within European museums. How might reference to the “contemporary” here relate to the potentials of decolonial cultural politics within such spaces?
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Kerr, David. "Africa in Stereo: modernism, music and pan-African solidarity." Social Dynamics 45, no. 3 (September 2, 2019): 455–56. http://dx.doi.org/10.1080/02533952.2019.1668623.

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Oliveira, Luiz Henrique Silva de. "Manifestações do negrismo no modernismo brasileiro: poesia e romance." Navegações 10, no. 2 (January 31, 2018): 156. http://dx.doi.org/10.15448/1983-4276.2017.2.23862.

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Este trabalho pretende analisar as manifestações do negrismo enquanto procedimento literário do século XX e estudar suas variantes no âmbito do modernismo brasileiro. Para tanto, tomaremos exemplares da poesia e do romance modernistas como elementos de análise. Será necessário para isso evidenciar as fontes e influências do negrismo e estabelecer diálogo com outros sentidos que o termo possui. Finalmente, deseja-se evidenciar como o negrismo no modernismo brasileiro representou uma etapa de transição entre a literatura de perspectiva etnocêntrica, em relação ao negro, e a chamada literatura afro-brasileira.********************************************************************Manifestations of “negrismo” in Brazilian Modernism: poetry and novelAbstract: This work aims to examine the manifestations of “negrismo” as a literary procedure of the twentieth century and study their variations in the Brazilian modernism. Therefore, we will take examples of poetry and romance modernists as elements of analysis. It will be necessary to show that the sources and influences to “negrismo” and establish dialogue withother senses that the term has. Finally , we want to show how the “negrismo” in Brazilian modernism represented a transitional stage between literature ethnocentric perspective, in relation to black, and the called african-Brazilian literature.Keywords: Negrismo; Modernismo; Poetry; Novel; Brazilian literature
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Uduku, Ola. "Review: Architecture of Independence: African Modernism." Journal of the Society of Architectural Historians 75, no. 4 (December 1, 2016): 512–14. http://dx.doi.org/10.1525/jsah.2016.75.4.512.

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Hassan, S. M. "African Modernism: Beyond Alternative Modernities Discourse." South Atlantic Quarterly 109, no. 3 (June 28, 2010): 451–73. http://dx.doi.org/10.1215/00382876-2010-001.

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Dissertations / Theses on the topic "African modernism"

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Davis, Omilade. "Modernism, Métissage and Embodiment: Germaine Acogny's Modern African Dance Technique, 1962-1975." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558814.

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Dance
Ph.D.
This dissertation positions Germaine Acogny’s Modern African Dance Technique (“the Technique”) as a mode of knowledge that reveals insight into nationalism, Négritude, modernism and perspectives on modernity during the early years of Senegal’s independence. By investigating the Technique in relationship to its historical context, this study aims to identify how cultural and political values, which comprise the Technique’s embodied knowledge, are evident in its aesthetic design and philosophical underpinnings. A hybrid methodological approach is employed that merges theoretical analysis with autoethnography. Fieldwork in Senegal, archival research, interviews and embodied practice informed this study. A new theoretical frame, Wòrándá, is introduced that contributes to existing theories on embodiment in African and Diasporic dance techniques and performance. The findings of this dissertation conclude that the Technique sits at the junction of African and Euro-American cultural templates, which coalesce in the production of a codified movement technique that both embodies and confronts constructivist influences. Correlations are suggested between the Technique, Africentric perspectives and cultural nationalism. The Technique also fulfills Léopold Sedar Senghor’s vision of métissage (cultural blending) and cultural progress. Each of these ideological influences underscores the Technique’s significance as a modernist intervention on the genre of neo-traditional African concert dance, as its progenitor seeks to challenge dominant expectations of the African body in dance.
Temple University--Theses
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Oppelt, Riaan N. "C. Louis Leipoldt and the making of a South African modernism." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80232.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: C. Louis Leipoldt had, in his lifetime and after his death, a celebrated reputation as an important Afrikaans poet in South Africa. He remains most remembered for his contribution to the growth of Afrikaans literature and for the significance of his poetry in helping to establish Afrikaans literature in the early part of the twentieth century in South Africa. He is also mostly remembered for his recipe books and food and wine guides, as well as his career as a paediatrician. Between 1980 and 2001, scholarly work was done to offer a reappraisal of Leipoldt’s literary works. During this period, previously unpublished material written by Leipoldt was made publicly available. Three novels by Leipoldt, written in English, were published at irregular intervals between 1980 and 2001. The novels cast Leipoldt in a different light, suggesting that as an English-language writer he was against many of the ideas he was associated with when viewed as an Afrikaans-language writer. These ideas, for the most part, linked Leipoldt to the Afrikaner nationalist project of the twentieth century and co-opted him to Afrikaner nationalist policies of racial segregation based on the campaigning for group identity. The three English-language novels, collectively making up the Valley trilogy, not only reveal Leipoldt’s opposition to the nationalist project but also draw attention to some of his other work in Afrikaans, in which this same ideological opposition may be noted. In this thesis I argue that Leipoldt’s Valley trilogy, as well as some of his other, Afrikaans works, not only refute the nationalist project but offer a reading of South African modernity in the nineteenth and twentieth centuries. This reading of historical events in South Africa that reveals the trajectory of the country’s modernity is strongly indicative of a unique literary modernism. It is my argument that Leipoldt’s Valley trilogy shows a modernist critique of the historical events it presents. Because the concept of a South African modernism in literature has not yet been fully defined, it is also an aim of this thesis to propose that Leipoldt’s works contribute a broad but sustained literary outlook that covers his own lifespan (1880-1947) as well as the historical period he examines in the Valley trilogy (the late 1830s -the late 1920s/early 1930s). This literary outlook, I argue, is a modernist outlook, but also a transplantation of a Western understanding of what modernism is to the South African context in which there are crucial differences. This thesis hopes to arrive at an outcome that binds Leipoldt’s anti-nationalism to his literary critique of the modernity he explores in the Valley trilogy, thereby proving that Leipoldt could be read as a South African literary modernist.
AFRIKAANSE OPSOMMING: C. Louis Leipoldt het in sy leeftyd en na sy dood 'n gevierde reputasie behou as 'n belangrike Afrikaanse digter in Suid-Afrika. Hy word die meeste onthou vir sy bydrae tot die groei van die Afrikaanse letterkunde en die belangrikeheid van sy poësie tot die Afrikaanse letterkunde, se stigting in die vroë deel van die twintigste eeu in Suid-Afrika. Hy word meestal ook onthou vir sy resepteboeke en kos en wyn gidse, sowel as vir sy loopbaan as 'n pediater. Tussen 1980 en 2001, is navorsingswerk gedoen om ‘n herwaardering van Leipoldt se literêre werk aan te bied. Gedurende hierdie tydperk was voorheen ongepubliseerde material geskryf deur Leipoldt publiek sigbaar gestel. Drie romans deur Leipoldt, wat in Engels geskryf is, is gepubliseer op ongereelde tussenposes tussen 1980 en 2001. Die romans stel Leipoldt in ‘n ander lig, wat daarop dui dat as 'n Engelse skrywer was hy gekant teen baie van die idees waarmee hy geassosieer was toe hy as 'n Afrikaanstalige skrywer beskou was. Hierdie idees het grootendeels vir Leipoldt gekoppel aan die Afrikaner-nasionalistiese projek van die twintigste eeu en het hom gekoöpteer tot Afrikaner nasionalistiese beleide van rasse-segregasie gegrond op die veldtog vir groepidentiteit. Die drie Engelstalige romans, gesamentlik die Valley-trilogie, openbaar nie net Leipoldt se teenkanting van die nasionalistiese projek nie, maar vestig ook aandag op sommige van sy ander werk in Afrikaans waarin hierdie selfde ideologiese opposisie aangeteken kan word. In hierdie tesis voer ek aan dat Leipoldt se Valley-trilogie, sowel as sommige van sy ander, Afrikaans werke, nie net die nasionalistiese projek weerlê nie, maar ook ‘n lesing aanbied van Suid-Afrikaanse moderniteit in die negentiende en twintigste eeus. Hierdie lesing van historiese gebeure in Suid-Afrika wat die trajek van die land se moderniteit openbaar is sterk aanduidend van 'n unieke literêre modernisme. Dit is my redenering dat Leipoldt se Valley-trilogie 'n modernistiese kritiek toon van die historiese gebeurtenisse wat dit aanbied. Omdat die konsep van 'n Suid-Afrikaanse modernisme in die letterkunde nog nie ten volle gedefineer is nie, is dit ook 'n doel van hierdie tesis om voor te stel dat Leipoldt se werke 'n breë maar volgehoue literêre kritiek bydra wat sy eie leeftyd dek (1880-1947) asook die historiese tydperk wat hy ondersoek in die Valley-trilogie (die laat 1830s tot die laat 1920s/vroë 1930s). Hierdie literêre vooruitsig, redeneer ek, is 'n modernistiese vooruitsig, maar ook 'n oorplanting van 'n Westerse begrip van wat die modernisme is tot die Suid-Afrikaanse konteks waarin daar belangrike verskille is. Hierdie tesis hoop tot 'n uitkoms wat Leipoldt se anti-nasionalisme bind tot aan sy literêre kritiek van die moderniteit wat hy ondersoek in die Valley-trilogie, en daardeur bewys dat Leipoldt gelees kan word word as 'n Suid-Afrikaanse literêre modernis
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Currie, Iain. "White writings : colonialism and modernism in South African literature since 1970." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/21613.

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This dissertation develops from the contention that a significant body of the literary activity of white South Africans since the 1970s can be characterised as a form of modernism. This characterisation devolves less upon the formal attributes of a body of literary writing than upon the particular position it occupies In the cultural sphere during this period . That position is one of political and cultural marginality. White writing is distanced from both the official culture of the state and an emergent populist culture associated with the urban social collectivities that begin to play an increasingly important role in the political life of South African society during the 1970s. In an introductory section, a comparison is drawn between the responses to social marginality within South African white writing and the reconsiderations of the political mission of literature by Jean-Paul Sartre and Roland Barthes, formulated in post - War France. The first chapter sets out a brief description of the cri sis that besets the South African social formation during the 1970s. The racial logic upon which the South African economy and social order is subtended comes under attack from two related sources. The first is the growing economic and political instability of the racial-capitalist system, while the second is renewed resistance to the manifest racially-ordered inequalities sponsored by that system. As discussed in the second chapter, this gathering crisis of their society impells white writers and intellectuals to question and revise long-held paradigms of thought and practices of representation, drawing on the resources of comparable revisions of established paradigms taking place in western thought. Equally, these writers and intellectuals become concerned with the critical re-examination of established accounts of the ethical vocation and social function of intellectual and literary work. But white writers and intellectuals were, in the polarised political conditions of the 1970s, unable to find a home in emergent internal opposition organisations predicated, for the most part, on versions of an anti- colonial nationalism. In the third chapter, consideration is given to the critique that begins to circulate in the period, of the associations of the South African literary and literary-critical establishment with the interests of white hegemony. This critique leads white writers such as Nadine Gordimer and JM Coetzee to reject a literary tradition found to be rooted in a colonial past and embodying colonial assumptions that are no longer tenable. This rejection of their cultural patrimony leads white writers to seek new ways of imagining the relationship between their writing and their society, as well as new forms capable of representing that altered relationship. At the same time however, this critical reflection upon the coloniality of established literary practices and forms, distances white writing from the populist and realist concerns of writers associated with emergent oppositional cultural formations . Developments during the 1970s serve to make the cultural sphere an important zone of political contestation. In the fourth chapter some of the tactics and manoeuvres in this contest are disc us sed. White writers adopt a modernist defence of their relative isolation from political actuality and their failure to conform to the requirements of a socially-committed literature. The development of a body of committed literature by black writers is discussed. However, the formal inconsistency of this literature ' s relationship to " realism" indicates that in the South African situation, "realism" and "modernism" are less a matter of the formal characteristics of a given body of literary work than a description of the differentiations in the audience, social function and ambitions of white and black writing. The dissertation is therefore aimed at pro vi ding an account of the historical ground that gives rise to this racial division of literature and literary activity in South Africa. Such an account serves to historicise and contextualise the various positions on commitment, artistic responsibility, the politicisation of art and the question of the capacity of cultural organisations to prescribe the form or content of artistic production, which are the subject of controversy in present-day South Africa.
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Wright, L. S. "'Iron on iron': Modernism engaging apartheid in some South African Railway Poems." Routledge, 2011. http://eprints.ru.ac.za/2208/1/Iron_on_Iron_for_ESiA.pdf.

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Abstract Modernism tends to be criticised, internationally, as politically conservative. The objection is often valid, although the charge says little about the quality of artistic achievement involved. This article argues that the alliance between Modernism and political conservatism is by no means a necessary one, and that there are instances where modernist vision has been used to convey substantive political insight, effective social critique and solid resistance. To illustrate the contrast,the article juxtaposes the abstract Modernism associated with Ben Nicholson and World War 2, with a neglected strain of South African railway poetry which uses modernist techniques to effect a powerful critique of South Africa’s apartheid dispensation. The article sustains a distinction between universalising modernist art that requires ethical work from its audiences to achieve artistic completion, and art in which modernist vision performs the requisite ethical work within its own formal constraints. Four very different South African railway poems, by Dennis Brutus, John Hendrickse, Alan Paton, and Leonard Koza, are examined and contextualised to demonstrate ways in which a modernist vision has been used to portray the social disruptions caused by apartheid. Modernist techniques are used to turn railway experience into a metonym for massive social disruption,without betraying the social reality of the transport technology involved.
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Curry, Elizabeth. "Refiguring the Animal: Race, Posthumanism, and Modernism." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24546.

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This dissertation explores the entanglements of racialized histories and experiences in America with conceptions of animals and animality and examines how African American and Native American writers render these intersections in early-twentieth-century American literature. While animals, with their physical and behavioral features and subordinate status within Western cultural frameworks, were fundamental figures in the US racial imaginary, which relied on dehumanization as a weapon of control, animals (and conceptions about them) also curiously offered a way around and outside of the categorically demeaning declarations of “the human.” Through literary explorations of the nonhuman, the writers in this project reveal forms of interspecies affinity and understanding that affirm biotic connection and also make fantastically strange creatures with whom humans share domestic and proximal space. The figure of “the human” as separate, above, and radically distinct from other life becomes not only strange as well through these readings, but becomes visible as a prominent obstacle to social egalitarian and ecologically cooperative ways of living. I build on research in animal studies and critical race studies approaches to posthumanism to observe how race inflects literary animal representations while also tracking how animality interacts with various notions of personhood. While animalization often coincides with racialized and dehumanized personhood status, writers like Anita Scott Coleman and Zitkala-Ša rupture those associations and engage the animal (comparisons to it and becomings with it) as a fundamentally humanizing figure. On the flip side, Zora Neale Hurston’s Their Eyes Were Watching God demonstrates how a racialized animalization trope operates in the novel to defend the killing of a black man. These writers all collapse the binary between human and animal while demonstrating how that binary operates in concert with racial binaries in an American context that extols the human. Reading animals through a lens that acknowledges how race and animality intersect ultimately opens routes for rethinking what it means to be human and defining how we view the nonhuman.
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Birch, Alannah. "A study of Roy Campbell as a South African modernist poet." Thesis, University of the Western Cape, 2013. http://hdl.handle.net/11394/4823.

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>Doctor Literarum - DLit
Roy Campbell was once a key figure in the South African literary canon. In recent years, his poetry has faded from view and only intermittent studies of his work have appeared. However, as the canon of South African literature is redefined, I argue it is fruitful to consider Campbell and his work in a different light. This thesis aims to re-read both the legend of the literary personality of Roy Campbell, and his prose and poetry written during the period of “high” modernism in England (the 1920s and 1930s), more closely in relation to modernist concerns about language, meaning, selfhood and community. It argues that his notorious, purportedly colonial, “hypermasculine” personae, and his poetic and personal explorations of “selfhood”, offer him a point of reference in a rapidly changing literary and social environment. Campbell lived between South Africa and England, and later Provence and Spain, and this displacement resonated with the modernist theme of “exile” as a necessary condition for the artist. I will suggest that, like the Oxford dandies whom he befriended, Campbell’s masculinist self-styling was a reaction against a particular set of patriarchal traditions, both English and colonial South African, to which he was the putative heir. His poetry reflects his interest in the theme of the “outsider” as belonging to a certain masculinist literary “tradition”. But he also transforms this theme in accordance with a “modernist” sensibility.
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Taylor, Corey Michael. "Ambiguous sounds African American music in modernist American literature /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 253 p, 2009. http://proquest.umi.com/pqdweb?did=1654487481&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

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Hester-Williams, Kim D. "(Re) making freedom : representation and the African American modernist text /." 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?p9945691.

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Savoie, Tracy Ann. "Cosmopolitanism and Twentieth-Century American Modernism: Writing Intercultural Relationships through the Trope of Interracial Romance." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1217981585.

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Books on the topic "African modernism"

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Kwami, Atta. Kumasi realism 1951-2007: An African modernism. New York: Columbia University Press, 2011.

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Performing blackness: Enactments of African-American modernism. London: Routledge, 2000.

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Ethnic modernism. Cambridge, Mass: Harvard University Press, 2008.

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Primitivist modernism: Black culture and the origins of transatlantic modernism. Oxford: Oxford University Press, 1998.

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Africa after modernism: Transitions in literature, media, and philosophy. New York: Routledge, 2008.

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An outline of the new African movement in South Africa. Trenton, NJ: Africa World Press, 2012.

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Extraordinary measures: Afrocentric modernism and twentieth-century American poetry. Tuscaloosa: University of Alabama Press, 2000.

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Powell, Richard J. The blues aesthetic: Black culture and modernism. Washington, D.C: Washington Project for the Arts, 1989.

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Crossroads modernism : descent and emergence in African-American literary culture. Minneapolis: University of Minnesota Press, 2002.

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Ann, Bari Martha, and Bonnell Letty, eds. Man Ray, African art, and the modernist lens. Washington, D.C: International Arts & Artists, 2009.

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Book chapters on the topic "African modernism"

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Nicholls, Peter. "African American Modernism." In Modernisms, 219–45. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-11492-1_11.

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Nicholls, Peter. "African American Modernism." In Modernisms, 219–45. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-24055-5_11.

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Picton, John. "Modernism and Modernity in African Art." In A Companion to Modern African Art, 311–29. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch16.

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Uduku, Ola. "West African modernism and change." In Time Frames, 355–64. New York: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315269863-9.

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Maxwell, William J. "African American Modernism and State Surveillance." In A Companion to African American Literature, 254–68. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch17.

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Salami, Gitti, and Monica Blackmun Visonà. "Writing African Modernism into Art History." In A Companion to Modern African Art, 1–19. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch1.

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Richards, David. "‘Canvas of Blood’: Okigbo‘s African Modernism." In Comparing Postcolonial Literatures, 229–39. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230599550_18.

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Vogl, Mary. "Algerian Painters as Pioneers of Modernism." In A Companion to Modern African Art, 195–217. Oxford: John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118515105.ch10.

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Maxwell, William J. "Ghostreaders and Diaspora-Writers: Four Theses on the FBI and African American Modernism." In Modernism on File, 23–38. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610392_2.

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Hörstmann, Lisa. "The Expressionist Roots of South African Modernism." In The Routledge Companion to Expressionism in a Transnational Context, 525–41. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315200088-29.

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Conference papers on the topic "African modernism"

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Matsanga Mackossot, Ginette Flore. "Education Africaine: entre tradition et modernité." In XVI Congreso Nacional Educación Comparada Tenerife. Universidad de La Laguna. Servicio de Publicaciones, 2018. http://dx.doi.org/10.25145/c.educomp.2018.16.024.

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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.

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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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