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Journal articles on the topic 'African modernism'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Lathrop, Perrin M. "African Modernism in America, 1947–1967." African Arts 54, no. 3 (2021): 68–81. http://dx.doi.org/10.1162/afar_a_00601.

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12

James, Sule Ameh. "African Modernism: A Comparative Study of Resistance in the Modernist Art of Nigeria and South Africa." Critical Interventions 13, no. 2-3 (September 2, 2019): 228–53. http://dx.doi.org/10.1080/19301944.2019.1855045.

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13

Kalliney, Peter. "Modernism, African Literature, and the Cold War." Modern Language Quarterly 76, no. 3 (August 18, 2015): 333–68. http://dx.doi.org/10.1215/00267929-2920051.

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14

Foster, Jeremy. "Archaeology, aviation, and the topographical projection of ‘Paradoxical Modernism’ in 1940s South Africa." Architectural Research Quarterly 19, no. 2 (June 2015): 133–48. http://dx.doi.org/10.1017/s1359135515000214.

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At the time of his premature death in 1942, Rex Martienssen, the gifted South African architect who had helped make Johannesburg an outpost of modernism, had just completed a seminal PhD thesis on Greek space, and was documenting the layout of remote African settlements in South Africa's highlands. Martienssen's writings suggest that the link between these disjunct projects was topographical thinking, a form of architectural seeing and thinking that ontologically articulates time, place and culture. His research project was informed by the white colonial national intellectual search for an alternative to the racialised imaginary geography being promoted by white nationalism in the 1930s, a paradoxical modernity that would be progressive and cosmopolitan, yet also respected a timeless order threatened by European modernity. This re-envisioning of the 'place' of Western culture in Africa was encouraged by two seemingly-unrelated engagements with the sub-continent's terrain: archaeology and commercial aviation. Both practices came into their own in Southern Africa during this period, deploying Western technique and rationality in ways that constructed a vision of the subcontinent that unsettled the territorial limits and historical narratives of the post-colony, and inaugurated perceptions of the African landscape as modern and transcultural, yet situated in the Hegelian geographical movement of history. This made it possible to imagine, for the first time, that the topographical organisation of indigenous settlements might yield a spatial logic for new urban areas. A key figure in understanding this multiscalar geo-historical subjectivity was Le Corbusier, who had close ties with Martienssen and what he called le Groupe Transvaal. Le Corbusier's global journeys during the 1930s had made him increasingly interested in the anthropo-geographic traces left by the 'natural order of things' in human environments, and the possibility of a neo-syndicalist world order based on geo-political regions that were latitudinally complementary.

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15

Dainese, Elisa. "Histories of Exchange." Journal of the Society of Architectural Historians 74, no. 4 (December 1, 2015): 443–63. http://dx.doi.org/10.1525/jsah.2015.74.4.443.

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During World War II, interest in indigenous South African architecture deepened, leading to studies that challenged modernism and influenced architectural design. Histories of Exchange: Indigenous South Africa in the South African Architectural Record and the Architectural Review remaps the tension between modern and indigenous cultures during the 1940s and 1950s, examining the diaspora of ideas between South Africa and Britain and revealing a new genealogy of postwar architecture. Elisa Dainese addresses indigenous South African architecture as it was seen in the postwar years from the perspectives of two architectural magazines. In doing so, she provides a new theoretical framework that probes the role of architectural journals, considering them as alternative spaces where contact took place among European and African cultures.

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16

Krueger, A. "Die moderne self as toneelpop in Woyzeck on the Highveld." Literator 32, no. 2 (June 22, 2011): 65–78. http://dx.doi.org/10.4102/lit.v32i2.12.

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The modern self as puppet in Woyzeck on the HighveldThis article undertakes a semiotic investigation of identifications of the self in terms of a specifically South African modernism, via an exploration of an adaptation of Georg Büchner’s “Woyzeck”. William Kentridge’s production of “Woyzeck on the Highveld”(1992; 2009) marks at least three intersections of modernist and modernising discourses. Firstly, it uses as its principal source Georg Büchner’s protomodernist text, with its description of an individual alienated from his social context. Secondly, in making use of the puppets of the Handspring Puppet Company for its central characters, the play employs a style commensurate with modernist aesthetics, in terms of the objectification of subjectivity and the mechanisation of the subject. Thirdly, by re-contextualising Büchner’s German soldier as an African mineworker, the production deals with aspects of modernisation by examining the clash, confusion and concomitant syncretism of rural and urban cultures. The article concludes by identifying the all too human desire to be more than a puppet, more than machine, and the potential consequences of the fragmented modernist self on conceptions of identity and freedom.

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17

Kioko, Mumbua. "Tsitsi Ella Jaji, Africa in Stereo: Modernism, Music and Pan-African Solidarity." Volume !, no. 15 : 1 (December 5, 2018): 183–85. http://dx.doi.org/10.4000/volume.6250.

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18

Peffer, John, Olu Oguibe, and Okwui Enwezor. "African Modernism, from the Margins to the Marketplace." Art Journal 62, no. 4 (2003): 101. http://dx.doi.org/10.2307/3558495.

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19

Sell, Mike. "Performing Blackness: Enactments of African-American Modernism (review)." Theatre Journal 53, no. 3 (2001): 523–24. http://dx.doi.org/10.1353/tj.2001.0088.

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20

Lenssen, Anneka. "The Two-Fold Global Turn." ARTMargins 7, no. 1 (February 2018): 83–99. http://dx.doi.org/10.1162/artm_r_00201.

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This essay is a review of art historian Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015). The book offers a chronicle of artistic theories, practices, and institutions during Nigeria's independence years (1957–67) amid the historical frames of Third World liberation, African decolonization, and Cold War realpolitik. The essay explores in particular how Postcolonial Modernism revisits and explores the thematic of “national culture”—the concept presented by Frantz Fanon in 1959, with long-lasting impact on theories of postcolonial arts—in the (decentralized) Nigerian art world, with a focus on the synthetic studio practices of members of the Zaria Art Society. Fanon's “two-fold becoming” model of national culture, which implies catalyzing links to international liberation movements, impacts not only Okeke-Agulu's narrative of a generational opposition to the preceding cultural paradigms of Negritude, but also—the essay argues—the writing of global modernist history at-large.

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21

Liscombe, Rhodri Windsor. "Modernism in Late Imperial British West Africa: The Work of Maxwell Fry and Jane Drew, 1946-56." Journal of the Society of Architectural Historians 65, no. 2 (June 1, 2006): 188–215. http://dx.doi.org/10.2307/25068264.

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This article situates the educational architecture of Maxwell Fry and Jane Drew in British West Africa in 1946-56 in the context of late British colonial policy. The analysis extends discursive readings of architecture with contemporary literary texts as aspects of what might be termed the material cultural fabric. These different forms of articulation illuminate the sociocultural dynamic underlying the migration of modernism in the postwar era, and the extent to which the movement affected and was appropriated by British colonial enterprise. It also discloses modernism's simultaneous disruption and reinforcement of the objectives of modernity, among which were the ideological and technical systems of British imperial expansion. On this basis, it is argued that Fry and Drew were constrained in their endeavor to resolve the divergent expectations within modernist theory concerning the application of universal principles to local conditions, and thus also in their aim of initiating a legitimate modern African architecture.

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22

Opong, Adwoa K. "Africa in Stereo: Modernism, Music and Pan-African Solidarity, by Tsitsi Ella Jaji." Black Scholar 46, no. 3 (July 2, 2016): 69–72. http://dx.doi.org/10.1080/00064246.2016.1188363.

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23

Ajei, Martin Odei. "Trans-modernism and a Legon tradition of African philosophy." Legon Journal of the Humanities 29, no. 2 (December 3, 2018): 1. http://dx.doi.org/10.4314/ljh.v29i2.1.

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24

Underwood, Joseph L. "Framing African Modernism: A Defining Decade for Nigerian Art." Art Journal 75, no. 2 (April 2, 2016): 94–97. http://dx.doi.org/10.1080/00043249.2016.1202651.

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25

BROWN, N. "African Literature, Modernism, and the Problem of Political Subjectivity." Novel: A Forum on Fiction 41, no. 2-3 (June 1, 2008): 264–78. http://dx.doi.org/10.1215/ddnov.041020264.

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26

Iya, Philip. "Challenges and Prospects for Traditional Leadership in Africa: Towards Innovative Ideas to Enhance African Values among the Youth in South Africa." Southern African Public Law 29, no. 2 (December 18, 2017): 260–81. http://dx.doi.org/10.25159/2522-6800/3640.

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The highly contested public law issue of the recognition of African values in South Africa with emphasis on the youth is addressed in this article. The arguments mooted revolve around the hypothesis that the youth in Africa ngenerally, but particularly in South Africa, are seldom involved in debates relating to African values, with the instance of African traditional leadership as a case in point. In expanding on this hypothesis two different approaches/schools of thought relating to the recognition of traditional leadership are highlighted. On the one end we find the ‘traditionalists’ with their emphasis on the ‘continued existence of traditional leaders’ for various reasons. On the other end, we find the ‘modernists’ who campaign for the total abolition of the institution of traditional leadership. However, the adoption of a more pragmatic middle course (an ‘inter-entrenched’ goalpost) is advocated. Nevertheless, the central question remains ‘how the South African society should move between the two goalposts (between traditionalism and modernism)?’ The answer to this question is the challenge.

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27

Berube, Michael. "Masks, Margins, and African American Modernism: Melvin Tolson's Harlem Gallery." PMLA 105, no. 1 (January 1990): 57. http://dx.doi.org/10.2307/462343.

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Shaughnessy, Joe. "Olive Schreiner and African modernism: allegory, empire and postcolonial writing." Journal of Postcolonial Writing 56, no. 6 (May 24, 2020): 865–66. http://dx.doi.org/10.1080/17449855.2020.1766856.

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29

Dickerman, Leah. "Aaron Douglas and Aspects of Negro Life." October 174 (December 2020): 126–62. http://dx.doi.org/10.1162/octo_a_00411.

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In 1934, Aaron Douglas created an epic four-panel mural series, Aspects of Negro Life (1934), for the branch library on 135th Street in Manhattan, now the Schomburg Center for Research in Black Culture. The panels answered a call, issued by the first major program for federal support of the arts in the United States, to represent “an American scene.” In them, Douglas traced the trajectory of African American history in four stages and across two mass migrations: from Africa into enslavement in America; through Emancipation and Reconstruction; into the modern Jim Crow South; and then northward with the Great Migration to Harlem itself. The narrative Douglas constructed was remarkable in both its historical sweep and as a story of America seen through Black eyes. This essay explores how Douglas's approach to the trenchant and understudied Aspects of Negro Life panels was shaped by rich conversations across a decade-about what it meant to be Black in America, how the “African” in “African-American” was to be understood, and what a distinctly African-American modernism might be-with an interdisciplinary nexus of thinkers, activists, and artists that included W. E. B. Du Bois; a co-founder of the NAACP and co-editor of the Crisis, sociologist Charles S. Johnson; poet-activist James Weldon Johnson; bibliophile Arturo Schomburg; and philosopher-critic Alain Locke. Looking at Douglas's visual narrative in this context offers insight into how parallel practices of archive-building, art making, history writing, and criticism came together not only to shape a vision of America but also to champion a model of Black modernism framed through diaspora.

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30

Kemp, Melissa Prunty. "African American Women Poets, the Harlem Renaissance, and Modernism: An Apology." Callaloo 36, no. 3 (2013): 789–801. http://dx.doi.org/10.1353/cal.2013.0172.

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31

Glick, Elisa F. "Harlem's Queer Dandy: African-American Modernism and the Artifice of Blackness." MFS Modern Fiction Studies 49, no. 3 (2003): 414–42. http://dx.doi.org/10.1353/mfs.2003.0049.

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32

Dyer, Richard. "Singing Prettily: Lena Horne in Hollywood." Zeitschrift für Medien- und Kulturforschung 1, no. 2 (2010): 11–26. http://dx.doi.org/10.28937/1000107499.

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Lena Horne was the first African-American woman to be signed to a contract to a major Hollywood studio, who did however not know what to do with her. Her >colour< – in her voice as well as her looks – meant that she did not fit into the racial hierarchies of the day and she was largely confined oppressively to the margins. However, she was also able to some degree, and in collaboration with other African-American figures in Hollywood, to use this to give a glimpse of African-American modernism in Hollywood cinema. This is thus a case study of cultural production as struggle.

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Lazarus, Neil. "Modernism and Modernity: T. W. Adorno and Contemporary White South African Literature." Cultural Critique, no. 5 (1986): 131. http://dx.doi.org/10.2307/1354359.

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Obi Nwakanma. "MJC Echeruo: Occidentalism, Diaspora, Nationalist, and Transnationalist Trajectories of His African Modernism." Research in African Literatures 47, no. 3 (2016): 106. http://dx.doi.org/10.2979/reseafrilite.47.3.07.

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35

Silverman, Debora L. "Art Nouveau, Art of Darkness: African Lineages of Belgian Modernism, Part II." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 19, no. 2 (September 2012): 175–95. http://dx.doi.org/10.1086/668060.

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Mathuray, Mark. "The Famished Road after Postmodernism: African Modernism and the Politics of Subalternity." Callaloo 38, no. 5 (2015): 1100–1117. http://dx.doi.org/10.1353/cal.2015.0147.

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37

Wright, Laurence. "‘IRON ON IRON’: MODERNISM ENGAGING APARTHEID IN SOME SOUTH AFRICAN RAILWAY POEMS." English Studies in Africa 54, no. 2 (October 2011): 1–15. http://dx.doi.org/10.1080/00138398.2011.626177.

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Silverman, Debora L. "Art Nouveau, Art of Darkness: African Lineages of Belgian Modernism, Part III." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 20, no. 1 (March 2013): 3–61. http://dx.doi.org/10.1086/670975.

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39

Silverman, Debora L. "Art Nouveau, Art of Darkness: African Lineages of Belgian Modernism, Part I." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 18, no. 2 (September 2011): 139–81. http://dx.doi.org/10.1086/662515.

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40

Monroe, John Warne. "Surface Tensions: Empire, Parisian Modernism, and “Authenticity” in African Sculpture, 1917–1939." American Historical Review 117, no. 2 (April 2012): 445–75. http://dx.doi.org/10.1086/ahr.117.2.445.

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41

Dreyer, Elfriede. "Functionality and Social Modernism in the Work of Untrained South African Artists." Third Text 26, no. 6 (November 2012): 767–79. http://dx.doi.org/10.1080/09528822.2012.732288.

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42

Rosenblatt, Eli. "A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race." Slavic Review 80, no. 2 (2021): 280–89. http://dx.doi.org/10.1017/slr.2021.79.

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This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discourse about race and racism, the writings of James Weldon Johnson and W.E.B. Du Bois, with whom Magidoff corresponded, and the Yiddish modernist poetry of Shmuel Halkin, who edited the book series in which the anthology appears. When placed alongside Du Bois's and others’ visits to the Soviet Union in the 1930s, the appearance of African-American and Caribbean poetry in Yiddish translation shows how a transatlantic Jewish avant-garde interpreted and embedded itself within Soviet-African-American cultural exchange in the interwar years. Magidoff served as a Soviet correspondent for NBC and the Associated Press from 1935. He was accused of espionage and expelled from the USSR in 1948.

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43

Selepe, T. J. "‘Looting killed’ the audience: Africanlanguage writing, performance, publishing and the audience." Literator 22, no. 3 (June 13, 2001): 59–74. http://dx.doi.org/10.4102/lit.v22i3.1055.

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This article examines the role played by African-language writing, performance and publishing, including critical practice, in the demise of the indigenous audience in African-language literary practice. Using implicit materialism the argument is premised on the developments wrought by the era of Modernism that has lead to a univocal writing of world history, and the era of Postmodernism that has ushered in the era of a multivocal writing of world history. The transition from oral literature to written literature will also be used to advance the argument about the subsequent exclusion of the indigenous African- language audience from literary practice. This exclusion is considered to have a direct bearing on the under-development of African societies. Finally, possible solutions will be sought by revisiting some of the causes that characterize the African language problem as a medium of communication and research.

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44

SABER, YOMNA. "Langston Hughes: Fringe Modernism, Identity and Defying the Interrogator Witch-Hunter." Journal of American Studies 49, no. 1 (January 21, 2015): 173–79. http://dx.doi.org/10.1017/s002187581400190x.

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Langston Hughes (1902–67), the wondering wandering poet, has left behind a rich legacy of books that never grow dusty on the shelves. There seems to be no path that Hughes left untrodden; he wrote drama, novels, short stories, two autobiographies, poetry, journalistic prose, an opera libretto, history, children's stories, and even lyrics for songs, in addition to his translations. Hughes was the first African American author to earn his living from writing and his career spans a long time, from the 1920s until the 1960s – he never stopped writing during this period. The Harlem Renaissance introduced prominent black writers who engraved their names in the American canon, such as Countee Cullen, Claude McKay, Jean Toomer and Zora Neale Hurston, but Hughes markedly stands out for his artistic achievements and longer career. Hughes had been identified by many as the spokesperson for his race since his works dug deep into black life, and his innovative techniques embraced black dialect and the rhythms of black music. He captured the essence of black life with conspicuous sensitivity and polished his voice throughout four decades. His name also had long been tied to the politics of identity in America. Brooding over his position, Hughes chose to take pride in being black in a racist nation. In his case, the dialectics of identity are more complicated, as they encompass debates involving Africa, black nationalism and competing constructions surrounding a seeming authentic blackness, in addition to Du Bois's double consciousness. Critics still endeavour to decipher the many enigmas Hughes left unresolved, having been a private person and a controversial writer. His career continues to broach speculative questions concerning his closeted sexual orientation and his true political position. The beginning of the new millennium coincided with the centennial of his birth and heralded the advent of new well-researched scholarship on his life and works, including Emily Bernard's Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, 1925–1964 (2001), Kate A. Baldwin's Beyond the Color Line and the Iron Curtain: Reading Encounters between Black and Red, 1922–1963 (2002), Anthony Dawahare's Nationalism, Marxism, and African American Literature between the Wars: A New Pandora's Box (2002), Bruce R. Schwartz's Langston Hughes: Working toward Salvation (2003), and John Edgar Tidwell and Cheryl R. Ragar's edited collection Montage of a Dream: The Art and Life of Langston Hughes (2007), among others.

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Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (June 2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.

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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.

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Girard, Melissa. "J. Saunders Redding and the “Surrender” of African American Women's Poetry." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 281–97. http://dx.doi.org/10.1632/pmla.2017.132.2.281.

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J. Saunders Redding's To Make a Poet Black (1939) changed the way African American poetry would be read and valued. In an effort to articulate an African American modernism, Redding rewrote the recent history of the New Negro Renaissance, validating and skewing its literary production. The standards and values that Redding used helped to advance the reputations of Langston Hughes, Claude McKay, and Jean Toomer but also led to discrimination against femininity and its associated poetic forms. By incorporating the gendered matrix of the New Criticism into African American literary studies, he helped to create a new formal consensus, which cut across the black and the white academies and united critics on the left and the right of the ideological spectrum, in opposition to women's poetry.

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Mathuray, Mark. "Intimacies between men: modernism, African homosexualities and masculinist anxieties in Wole Soyinka’sThe Interpreters." Journal of Postcolonial Writing 50, no. 6 (July 4, 2014): 635–47. http://dx.doi.org/10.1080/17449855.2014.929294.

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See, Sam. "“Spectacles in Color”: The Primitive Drag of Langston Hughes." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 798–816. http://dx.doi.org/10.1632/pmla.2009.124.3.798.

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The chapter “Spectacles in Color” in Langston Hughes's first autobiography, The Big Sea (1940), envisions modernist Harlem culture as a drag performance and offers a useful rubric for understanding Hughes's The Weary Blues (1926), a lyric history of that culture whose poems characteristically cross gender, sexual, racial, and even formal lines. The Weary Blues employs a low-down, or nature-based, and down-low, or queer, aesthetic of racial and gender crossing that I term “primitive drag,” an aesthetic that ironically coincides with the stereotypes of African Americans and queers that were propagated by early-twentieth-century sexological science and degeneration theory: namely, that blacks and queers were unnatural and degenerate because they, unlike whites and heterosexuals, exhibited a lack of racial and gender differentiation. Disidentifying with those stereotypes, the primitive drag in The Weary Blues depicts queer feeling as natural and nature as queer, thus offering a productive paradox for rethinking literary histories of modernism and theories of sexuality by the rather Darwinian notion that “the nature of the universe,” as Hughes calls it, is always subject to change, or queering.

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de Jong, Ferdinand, and Brian Valente-Quinn. "Infrastructures of utopia: ruination and regeneration of the African future." Africa 88, no. 2 (May 2018): 332–51. http://dx.doi.org/10.1017/s0001972017000948.

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AbstractRuination has recently received much attention as a defining aspect of the materiality of modernity. Less attention is given to the processes of regeneration that occur within sites of ruination. In this article, we examine how processes of ruination and regeneration are folded into each other, by looking at the materiality of a single site, a small village in the vicinity of Dakar, Senegal. By building the University of the African Future at Sébikotane, the Senegalese president has sought to rekindle the spirit of excellence that inspired education at the École normale William Ponty in a Pan-African spirit. As part of a larger plan for urban expansion, the site of Sébikotane has inspired hope for development. Examining how the different temporalities of utopian modernism and Afro-nostalgia intersect in the ruined site, this article reflects on the ruination of African futures on a site of ever renascent utopian infrastructures.

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Jennifer C. Rossi. "African, Native, and Jewish American Literature and the Reshaping of Modernism (review)." Studies in the Novel 41, no. 3 (2010): 387–90. http://dx.doi.org/10.1353/sdn.0.0077.

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