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Books on the topic 'Ellison, Ralph – Invisible man'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Ralph Ellison: Invisible man. New York: Marshall Cavendish Benchmark, 2009.

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2

Invisible man, Ralph Elison. New York, NY: Spark Pub., 2002.

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3

Ralph Ellison's Invisible man. Woodbury, N.Y: Barron's, 1985.

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4

Nadel, Alan. Invisible criticism: Ralph Ellison and the American canon. Iowa City: University of Iowa Press, 1988.

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5

Ralph Waldo Ellison's Invisible man. Piscataway, N.J: Research & Education Association, 1996.

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6

Wrestling with the left: The making of Ralph Ellison's Invisible man. Durham [NC]: Duke University Press, 2010.

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7

Race in Ralph Ellison's Invisible man. Detroit: Greenhaven Press, 2012.

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8

Ralph, Ellison. Ralph Ellison's Invisible man: A casebook. New York, NY: Oxford University Press, 2005.

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9

Savery, Pancho, and Susan Resneck Pierce. Approaches to teaching Ellison's Invisible man. New York: Modern Language Association of America, 1989.

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10

Ralph Ellison in progress: From Invisible man to Three days before the shooting--. New Haven: Yale University Press, 2010.

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11

Bradley, Adam. Ralph Ellison in progress: From Invisible man to Three days before the shooting--. New Haven: Yale University Press, 2010.

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12

Bradley, Adam. Ralph Ellison in progress: From Invisible man to Three days before the shooting--. New Haven: Yale University Press, 2010.

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13

Pinçonnat, Crystel. Echos picaresques dans le roman du XXe siècle: Louis-Ferdinand Céline, Voyage au bout de la nuit, Ralph Ellison, Invisible man, Günter Grass, Le tambour. Neuilly: Atlande, 2003.

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14

Pinçonnat, Chrystel. Echos picaresques dans le roman du XXe siècle: Louis Ferdinand Céline, "Voyage au bout de la nuit", Ralph Ellison, "Invisible : man", Günter Grass, "Le tambour". Neuilly: Atlande, 2003.

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15

Prophets of recognition: Ideology and the individual in novels by Ralph Ellison, Toni Morrison, Saul Bellow, and Eudora Welty. Baton Rouge: Louisiana State University Press, 1999.

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16

Moreland, Richard C. Learning from difference: Teaching Morrison, Twain, Ellison, and Eliot. Columbus: Ohio State University Press, 1999.

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17

Ward, Selena. Invisible man, Ralph Elison. New York, NY: Spark Pub., 2002.

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18

Model für eine literarische Amerikakunde: Zugänge zum modernen schwarz-amerikanischen Roman am Beispiel von Ann Petrys The street, James Baldwins Go tell it on the mountain und Ralph Ellisons Invisible man. Frankfurt am Main, Germany: P. Lang, 1989.

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19

Harold, Bloom, ed. Ralph Ellison's Invisible man. New York: Bloom's Literary Criticism, 2009.

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20

Harold, Bloom, ed. Ralph Ellison's Invisible man. New York: Bloom's Literary Criticism, 2009.

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21

Harold, Bloom, ed. Ralph Ellison's Invisible man. New York: Bloom's Literary Criticism, 2009.

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22

Nadel, Alan. Invisible Criticism: Ralph Ellison and the American Canon. University Of Iowa Press, 1991.

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23

Ralph Ellison: Author of Invisible Man (World Writers). Morgan Reynolds Publishing, 2006.

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24

Harold, Bloom, ed. Ralph Ellison's Invisible man. New York: Bloom's Literary Critisicm, 2008.

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25

Harold, Bloom, ed. Ralph Ellison's Invisible man. Philadelphia: Chelsea House Publishers, 1999.

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26

Harold, Bloom, ed. Ralph Ellison's Invisible man. New York: Bloom's Literary Critisicm, 2008.

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27

Ralph Ellison's Invisible man. Chelsea House, 1997.

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28

Ralph Ellison's Invisible man. New York: Chelsea House Publishers, 1996.

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29

Germana, Michael. Time, History, and Becoming in Invisible Man. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682088.003.0002.

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Chapter 1 locates the origins of Ralph Ellison’s philosophy of temporality in the ideas of Henri Bergson and Friedrich Nietzsche, and reads Ellison’s debut novel Invisible Man in light of these observations. Anticipating the work of Gilles Deleuze, Ellison places Nietzsche’s concept of eternal recurrence into a Bergsonian context by combining Nietzsche’s arguments about history and immanence with Bergson’s claims about time and its fundamental creativity. The resulting philosophy prefigures Deleuze’s ideas about difference and repetition, or, the complex relationship between becoming and being. Because Invisible Man is the text where Ellison first fully articulates these concepts, this chapter treats the novel as a critical overture to Ellison’s corpus and the temporal and historical themes that recur throughout it. In the process, this chapter challenges long-held misconceptions about Ellison, including his debt to existentialism, his dedication to disorder, his commitment to surrealism, and his status as a modernist author.

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30

Invisible Man: Gordon Parks and Ralph Ellison in Harlem. Steidl, 2016.

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31

1940-, Callahan John F., ed. Ralph Ellison's Invisible man: A casebook. New York: Oxford University Press, 2004.

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32

Critical Insights - Invisible Man. Salem Press, Incorporated, 2018.

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33

J, Sundquist Eric, ed. Cultural contexts for Ralph Ellison's Invisible man. Boston: Bedford Books of St. Martin's Press, 1995.

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34

Foley, Barbara. Wrestling with the Left: The Making of Ralph Ellison's Invisible Man. Duke University Press, 2010.

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35

Bradley, Adam. Ralph Ellison in Progress: From Invisible Man to Three Days Before the Shooting... Yale University Press, 2012.

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36

1964-, Morel Lucas E., ed. Ralph Ellison and the raft of hope: A political companion to Invisible man. Lexington: University Press of Kentucky, 2004.

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37

Morel, Lucas E. Ralph Ellison and the Raft of Hope: A Political Companion to Invisible Man. University Press of Kentucky, 2004.

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38

Morel, Lucas E. Ralph Ellison And the Raft of Hope: A Political Companion to Invisible Man. University Press of Kentucky, 2006.

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39

1948-, O'Meally Robert G., ed. New essays on Invisible man. Cambridge: Cambridge University Press, 1988.

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40

Callahan, John F. Ralph Ellison's Invisible Man: A Casebook (Casebooks in Criticism). Oxford University Press, USA, 2004.

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41

Callahan, John F. Ralph Ellison's Invisible Man: A Casebook (Casebooks in Criticism). Oxford University Press, USA, 2004.

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42

Bradley, Adam. Ralph Ellison in Progress: The Making and Unmaking of One Writer's Great American Novel. Yale University Press, 2010.

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43

Bradley, Adam. Ralph Ellison in Progress: The Making and Unmaking of One Writer's Great American Novel. Yale University Press, 2010.

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44

Sundquist, Eric. Cultural Contexts for Ralph Ellison's Invisible Man: A Bedford Documentary Companion. Bedford/St. Martin's, 1995.

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45

Ralph Ellison's Invisible Man: A Reference Guide (Greenwood Guides to Multicultural Literature). Greenwood Press, 2008.

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46

Lerner. Ralph Ellison's INVISIBLE MAN: New Studies (Critical Studies in Black Life and Culture). Routledge, 2000.

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47

Ralph Ellison's Invisible Man/Monarch Notes (A Guide to Understanding the World's Great Writing). Barnes & Noble Books, 1998.

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48

Germana, Michael. Peristrephic Visions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682088.003.0003.

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Chapter 2 examines Ralph Ellison’s Invisible Man as a text that ekphrastically simulates a moving or “peristrephic” panorama in general, and an antebellum antislavery panorama in particular. In the process, this chapter reads Ellison’s debut novel as a text indebted to and allusive of, while ironically commenting on, the life and career of celebrated fugitive and peristrephic panoramist Henry Box Brown, who shipped himself in a sealed wooden crate from Richmond to Philadelphia and thus from slavery to freedom in 1849. Brown’s subsequent efforts to navigate the terrain of abolitionist discourse within a white supremacist culture led him to create a moving panorama called the Mirror of Slavery, which chronicled the cruelties of slavery, yet ended with the promise of universal emancipation. In appropriating the visual grammar of the antislavery panorama, Ellison also extends its ambivalent temporal logic to create his own alternative history in service of the future.

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49

Laski, Gregory. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190642792.003.0007.

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The Epilogue places Spike Lee’s Bamboozled into dialogue with the thought of Ralph Ellison, whose Invisible Man constitutes the silent source for Lee’s film. At the center of both works is the image of a falling body, which highlights the relationship between the present-past of slavery and the possibility of achieving a democratic future. Whereas Lee leaves viewers locked in the past of racial subjugation that his film’s treatment of blackface minstrelsy represents, Ellison revises Walt Whitman’s vision to underscore the ways nonprogressive temporal models can facilitate political progress. Limning the energies of progress and regress through the nonteleological trajectory he imbues in his novel’s key terms, “plunge” and “fall,” Ellison posits the definitive democratic movement. This idea remains recessed in the rhetoric of Barack Obama, who in his “speech on race” disavowed the politically transformative potential of the stasis associated with the racial worldview of the Reverend Jeremiah Wright.

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50

Germana, Michael. A Deep Pocket for the Truth of the Times. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682088.003.0006.

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Chapter 5 treats Ellison’s music criticism as an expression of his commitment to durational time and a critique of cultural forms like bebop that, in Ellison’s estimation, lend form to a discontinuous present. Rather than suggest, as many critics have, that Ellison was simply nostalgic for danceable swing music or hostile toward emerging musical forms, this chapter shows that Ellison’s primary criticism of bebop is that it formalizes a discontinuous sense of time and thereby affirms an historical view of the past structured by an analogous, sequentially static sense of time. Ellison’s problem with bebop, in other words, is neither musicological nor sociological, but temporal. Folk jazz and the blues, by contrast, affirm a durational view of time in the form of a “pocket” or groove entirely unlike the spatialized groove of history described in Invisible Man. In short, Ellison finds in musical grooves antidotes to the groove of history.

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