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Relevant bibliographies by topics / Fiction, african american, erotica / Journal articles

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Journal articles on the topic 'Fiction, african american, erotica'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Boudreau, Kristin, and Maxine Lavon Montgomery. "The Apocalypse in African-American Fiction." American Literature 69, no. 1 (March 1997): 223. http://dx.doi.org/10.2307/2928187.

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2

Griffin, Barbara L. J., and Maxine Lavon Montgomery. "The Apocalypse in African-American Fiction." MELUS 24, no. 1 (1999): 249. http://dx.doi.org/10.2307/467919.

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3

Thornton, Jerome E. "The Paradoxical Journey of the African American in African American Fiction." New Literary History 21, no. 3 (1990): 733. http://dx.doi.org/10.2307/469136.

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4

Macleod, Christine, and Robert Butler. "Contemporary African American Fiction: The Open Journey." Modern Language Review 95, no. 3 (July 2000): 821. http://dx.doi.org/10.2307/3735528.

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5

Butler, Robert, and Phillip Page. "Reclaiming Community in Contemporary African American Fiction." African American Review 34, no. 3 (2000): 533. http://dx.doi.org/10.2307/2901398.

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6

Reilly, John M., and Robert Butler. "Contemporary African American Fiction: The Open Journey." African American Review 34, no. 4 (2000): 722. http://dx.doi.org/10.2307/2901443.

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7

House, E. B. "Reclaiming Community in Contemporary African American Fiction." American Literature 72, no. 2 (June 1, 2000): 441. http://dx.doi.org/10.1215/00029831-72-2-441.

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8

Lock, Helen, and Philip Page. "Reclaiming Community in Contemporary African American Fiction." South Atlantic Review 65, no. 2 (2000): 190. http://dx.doi.org/10.2307/3201826.

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9

Barlow, Daniel. "Blues Narrative Form, African American Fiction, and the African Diaspora." Narrative 24, no. 2 (2016): 134–55. http://dx.doi.org/10.1353/nar.2016.0012.

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10

Gibson, Simone. "Critical Readings: African American Girls and Urban Fiction." Journal of Adolescent & Adult Literacy 53, no. 7 (April 2010): 565–74. http://dx.doi.org/10.1598/jaal.53.7.4.

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11

Baillie, Justine. "Contesting Ideologies: Deconstructing Racism in African-American Fiction." Women: A Cultural Review 14, no. 1 (January 2003): 20–37. http://dx.doi.org/10.1080/0957404032000081683.

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12

Ngom, Ousmane. "Conjuring Trauma with (Self)Derision: The African and African-American Epistolary Fiction." European Scientific Journal, ESJ 14, no. 2 (January 31, 2018): 1. http://dx.doi.org/10.19044/esj.2018.v14n2p1.

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All the female narrators of the three stories examined here – So Long a Letter, The Color Purple, and Letters from France – suffer serious traumas attributable to their male counterparts. Thus as a healing process, letter-writing is an exercise in trust that traverses the distances between the addresser and the addressee. Blurring the lines in such a way results in an intimate narration of trauma that reads as a stream of consciousness, devoid of fear of judgment or retribution. This paper studies the literary device of derision coupled with a psycho-feminist analysis to retrace the thorny, cathartic journey of trauma victims from self-hate to self-acceptance and self-agency.

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13

Gilyard, Keith. "Genopsycholinguisticide and the Language Theme in African-American Fiction." College English 52, no. 7 (November 1990): 776. http://dx.doi.org/10.2307/377632.

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14

Dubey, Madhu. "Contemporary African American Fiction and the Politics of Postmodernism." NOVEL: A Forum on Fiction 35, no. 2/3 (2002): 151. http://dx.doi.org/10.2307/1346181.

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15

Payne, James Robert, and Terry McMillan. "Breaking Ice: An Anthology of Contemporary African-American Fiction." World Literature Today 66, no. 1 (1992): 136. http://dx.doi.org/10.2307/40147970.

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16

Bacharach, Nancy, and Terry Miller. "Integrating African American Fiction into the Middle School Curriculum." Middle School Journal 27, no. 4 (March 1996): 36–40. http://dx.doi.org/10.1080/00940771.1996.11495907.

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17

Henson, Kristin K. "Book Review: Reclaiming Community in Contemporary African American Fiction." Christianity & Literature 49, no. 2 (March 2000): 269–72. http://dx.doi.org/10.1177/014833310004900220.

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18

Nishikawa, Kinohi. "Driven by the Market: African American Literature after Urban Fiction." American Literary History 33, no. 2 (May 1, 2021): 320–49. http://dx.doi.org/10.1093/alh/ajab008.

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Abstract Kenneth W. Warren’s What Was African American Literature? (2011) compelled literary historians to question deeply held assumptions about periodization and racial authorship. While critics have taken issue with Warren aligning African American literature with Jim Crow segregation, none has examined his account of what came after this conjuncture: namely, the market’s wholesale cooptation of Black writing. By following the career of African American popular novelist Omar Tyree, this essay shows how corporate publishers in the 1990s and 2000s redefined African American literature as a sales category, one that combined a steady stream of recognized authors with a mad dash for amateur talent. Tyree had been part of the first wave of self-published authors to be picked up by major New York houses. However, as soon as he was made to conform to the industry’s demands, Tyree was eclipsed by Black women writers who developed the hard-boiled romance genre known as urban fiction. As Tyree saw his literary fortunes fade, corporate publishing became increasingly reliant on Black book entrepreneurs to sustain the category of African American literature, thereby turning racial authorship into a vehicle for realizing profits.

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19

Kumar, Fayaz Ahmad, and Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction." Global Language Review V, no. IV (December 30, 2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.

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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.

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20

Fernandes, Lilly. "A Survey of Contemporary African American Poetry, Drama, & Fiction." International Journal of Applied Linguistics & English Literature 2, no. 3 (May 1, 2013): 134–37. http://dx.doi.org/10.7575/aiac.ijalel.v.2n.3p.134.

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21

Dillender, Kirsten. "Land and Pessimistic Futures in Contemporary African American Speculative Fiction." Extrapolation 61, no. 1-2 (March 2020): 131–50. http://dx.doi.org/10.3828/extr.2020.9.

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22

Brown, Kimberly Nichele, and Stephen F. Soitos. "The Blues Detective: A Study of African American Detective Fiction." South Central Review 18, no. 3/4 (2001): 129. http://dx.doi.org/10.2307/3190363.

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23

Storhoff, Gary, and Stephen F. Soitos. "The Blues Detective: A Study of African American Detective Fiction." American Literature 68, no. 4 (December 1996): 873. http://dx.doi.org/10.2307/2928159.

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24

Terrence T. Tucker. "Contemporary African American Fiction: New Critical Essays (review)." Callaloo 33, no. 2 (2010): 561–64. http://dx.doi.org/10.1353/cal.0.0652.

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25

Grant, Leslie Campbell. "Keith Byerman, Remembering the Past in Contemporary African American Fiction." Journal of African American History 93, no. 2 (April 2008): 305–7. http://dx.doi.org/10.1086/jaahv93n2p305.

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26

Sherman, S. W. "Crossing Borders through Folklore: African American Women's Fiction and Art." American Literature 72, no. 3 (September 1, 2000): 655–56. http://dx.doi.org/10.1215/00029831-72-3-655.

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27

Fusco, Virginia. "Narrative representations of masculinity. The hard werewolf and the androgynous vampire in "Anita Blake: Vampire Hunter Series"." Journal of English Studies 15 (November 28, 2017): 71. http://dx.doi.org/10.18172/jes.3190.

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Laurell Hamilton in her “Anita Blake: Vampire Hunter Series” portrays a large community of monstrous creatures that populate a violent near-future American landscape. A number of critics have already explored the forms in which Anita, the leading heroine, emerges in the 1990s literary scene as a strong figure who challenges traditional narratives of female subordination and alters predictable romantic entanglements with the male protagonists (Crawford 2014; Veldman-Genz 2011; Siegel 2007; Holland-Toll 2004). Moving beyond this approach that centres on Anita, this paper explores the forms in which the author designs her male companions and lovers. Her choice of lovers suggests that there are multiple desires at play inHamilton’s popular fiction in relation to masculinity in the context of a heterosexual erotica. Following a methodological approach of cultural studies (Saukko 2003), this study seeks to illustrate how conflicting desires, emblemized by her plurality of lovers, represent a literary effect of paradoxical yearnings at play in contemporary white, middle-class American women’s lives.

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28

Gifford, James, Margaret Konkol, James M. Clawson, Mary Foltz, Sophie Maruéjouls-Koch, Orion Ussner Kidder, and Lindsay Parker. "XVI American Literature: The Twentieth Century." Year's Work in English Studies 98, no. 1 (2019): 1047–128. http://dx.doi.org/10.1093/ywes/maz017.

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Abstract This chapter has eight sections: 1. Poetry; 2. Fiction 1900–1945; 3. Fiction since 1945; 4. Drama; 5. Comics; 6. African American Writing; 7. Native Writing; 8. Latino/a, Asian American, and General Ethnic Writing. Section 1 is by James Gifford and Margaret Konkol; section 2 is by James M. Clawson; section 3 is by Mary Foltz; section 4 is by Sophie Maruéjouls-Koch; section 5 is by Orion Ussner Kidder; section 6 will resume next year; section 7 is by James Gifford and Lindsay Parker; section 8 will resume next year.

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29

Mehla, Anjila Singh. "The Self in Society: Exploring Cultural Embeddedness in Gloria Naylor’s Fiction." IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 7, no. 2 (June 10, 2017): 329. http://dx.doi.org/10.21013/jmss.v7.n2.p24.

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<div><p><em>A most significant development that has taken place on the global literary scene during the last few decades or so is the dramatic emergence of African-American voices as a distinct and dominant force. Along with Toni Morrison scores of African American Fiction writers, poets, playwrights, autobiographers, and essayists have mapped bold new territories; they have firmly entrenched themselves in the forefront of contemporary American Literature. This article retraces this exciting literary phenomenon in the context of the lives, works, and achievements of Gloria Naylor and her contemporaries. Naylor discovered feminism and African American Literature, which revitalized her and gave her new ways to think about and define herself as a black woman.</em></p></div>

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30

Barba Guerrero, Paula, and Maisha Wester. "African American Gothic and Horror Fiction: An Interview with Maisha Wester." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 159–74. http://dx.doi.org/10.37536/reden.2022.3.1832.

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Maisha Wester is an Associate Professor in American Studies at Indiana University. She is also a British Academy Global Professor, hosted at the University of Sheffield. Her research focuses on racial discourses in Gothic fiction and Horror film, as well as appropriations of Gothic and Horror tropes in sociopolitical discourses of race. Her essays include “Gothic in and as Racial Discourse” (2014), “Et Tu Victor?: Interrogating the Master’s Responsibility to—and Betrayal of—the Slave in Frankenstein” (2020) and “Re-Scripting Blaxploitation Horror: Ganja and Hess’s Gothic Implications” (2018). She is author of African American Gothic: Screams from Shadowed Places (2012) and co-editor of Twenty-first Century Gothic(2019).

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31

Harris, Trudier, and Eric J. Sundquist. "The Hammers of Creation: Folk Culture in Modern African-American Fiction." Western Folklore 53, no. 4 (October 1994): 329. http://dx.doi.org/10.2307/1499456.

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32

Storcheus, S. V. "Colour symbolism in the African American detective fiction of W. Mosley." Science and Education a New Dimension VI(150), no. 43 (February 20, 2018): 56–58. http://dx.doi.org/10.31174/send-ph2018-150vi43-14.

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33

Rowe, John Carlos. "The Hammers of Creation: Folk Culture in Modern African-American Fiction." MFS Modern Fiction Studies 41, no. 2 (1995): 340–42. http://dx.doi.org/10.1353/mfs.1995.0085.

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34

Amine, Laila. "The Paris Paradox: Colorblindness and Colonialism in African American Expatriate Fiction." American Literature 87, no. 4 (December 2015): 739–68. http://dx.doi.org/10.1215/00029831-3329578.

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35

Trousdale, Ann M., and Janie S. Everett. "Me and Bad Harry: Three African-American children's response to fiction." Childrens Literature in Education 25, no. 1 (March 1994): 1–15. http://dx.doi.org/10.1007/bf02355341.

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36

Stulov, Yuri. "The Cityscape in the Contemporary African-American Urban Novel." Respectus Philologicus 24, no. 29 (October 25, 2013): 65–71. http://dx.doi.org/10.15388/respectus.2013.24.29.5.

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This paper discusses the cityscape as an essential element of African American fiction. Since the time of Romanticism, the city has been regarded as the embodiment of evil forces which are alien to human nature and radiate fear and death. For decades, African-Americans have been isolated in the black ghettos of major American cities which were in many ways responsible for their personal growth or their failure. Often this failure is determined by their inability to find their bearings in a strange and alien world, which the city symbolizes. The world beyond the black ghetto is shown as brutal and terrifying, while the world inside is devoid of hope. Crime, vandalism, poverty, overcrowding, and social conflicts turn out to be the landmarks of big cities, because the people who migrate to them and make up most of their population are also the poorest and least adapted to urban life: they have lost their roots, and feel displaced in the anonymous urban society. A number of African-American novels depict protagonists who are unable to adapt to life in a big city, and end in degradation and misery. James Baldwin’s novels are among the most representative. His disordered and dislocated characters are products of the external world of the city of the machine age, and as such they are characteristic of all African-American fiction. This paper analyzes some of the recent black novels that reverberate with Baldwin’s ideas.

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37

Gruesser, John Cullen. "Chester Himes, "He Knew," and the History of African American Detective Fiction." Clues: A Journal of Detection 28, no. 1 (April 1, 2010): 15–21. http://dx.doi.org/10.3172/clu.28.1.15.

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38

한재환. "A Chiasmatic Reading of Haan and Blues in Postmodern African American Fiction." English & American Cultural Studies 9, no. 2 (August 2009): 207–31. http://dx.doi.org/10.15839/eacs.9.2.200908.207.

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39

Sedlmeier, Florian. "Postblack Aesthetics: The Freedom to Be Black in Contemporary African American Fiction." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (December 18, 2019): 447–49. http://dx.doi.org/10.1515/zaa-2019-0034.

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40

Cole, Jean Lee. "Theresa and Blake: Mobility and Resistance in Antebellum African American Serialized Fiction." Callaloo 34, no. 1 (2011): 158–75. http://dx.doi.org/10.1353/cal.2011.0029.

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41

Licato, Amanda. "Reading Contemporary African American Literature: Black Women’s Popular Fiction, Post-Civil Rights Experience, and the African American Canon by Beauty Bragg." Callaloo 39, no. 3 (2016): 702–4. http://dx.doi.org/10.1353/cal.2016.0097.

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42

Boyer-Kelly, Michelle Nicole. "Reading Contemporary African-American Literature: Black Women’s Popular Fiction, Post-Civil Rights Experience, and the African-American Canon. By Beauty Bragg." English: Journal of the English Association 67, no. 256 (2018): 81–83. http://dx.doi.org/10.1093/english/efy004.

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43

Cucarella-Ramon, Vicent. "The black female slave takes literary revenge: Female gothic motifs against slavery in Hannah Crafts’s "The Bondwoman’s Narrative"." Journal of English Studies 13 (December 15, 2015): 19. http://dx.doi.org/10.18172/jes.2786.

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The Bondwoman’s Narrative is a novel that functions as a story made up from Hannah Crafts’s experiences as a bondwoman and thus merges fact and fiction giving a thoroughly new account of slavery both committed to reality and fiction. Following and taking over the Gothic literary genre that spread in Europe as a reaction toward the Romantic spirit, Crafts uses it to denounce the degrading slavery system and, mainly, to scathingly attack the patriarchal roots that stigmatize black women as the ultimate victims. It is my contention that Hannah Crafts uses the female Gothic literary devices both to attack slavery and also to stand as a proper (African) American citizen capable of relating to the cultural outlets that American culture offered aiming to counteract the derogatory stereotypes that rendered African American women at the very bottom of the social ladder.

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44

LEE, KUN JONG. "Towards Interracial Understanding and Identification: Spike Lee's Do the Right Thing and Chang-rae Lee's Native Speaker." Journal of American Studies 44, no. 4 (February 19, 2010): 741–57. http://dx.doi.org/10.1017/s0021875810000022.

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African Americans and Korean Americans have addressed Black–Korean encounters and responded to each other predominantly in their favorite genres: in films and rap music for African Americans and in novels and poems for Korean Americans. A case in point is the intertextuality between Spike Lee's Do the Right Thing and Chang-rae Lee's Native Speaker. A comparative study of the two demonstrates that they are seminal texts of African American–Korean American dialogue and discourse for mutual understanding and harmonious relationships between the two races in the USA. This paper reads the African American film and the Korean American fiction as dialogic responses to the well-publicized strife between Korean American merchants and their African American customers in the late 1980s and early 1990s and as windows into a larger question of African American–Korean American relations and racialization in US culture. This study ultimately argues that the dialogue between Spike Lee's film and Chang-rae Lee's novel moves towards a possibility of cross-racial identification and interethnic coalition building.

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45

Ammons, Elizabeth, and Anna Maria Chupa. "Anne, the White Woman in Contemporary African-American Fiction: Archetypes, Stereotypes, and Characterizations." MELUS 17, no. 4 (1991): 139. http://dx.doi.org/10.2307/467274.

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46

Rankine, Patrice D. "Spiritual, Blues, and Jazz People in African American Fiction: Living in Paradox (review)." MFS Modern Fiction Studies 50, no. 2 (2004): 483–84. http://dx.doi.org/10.1353/mfs.2004.0042.

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47

Parker, Kendra R. "The Paradox of Blackness in African American Vampire Fiction by Jerry Rafiki Jenkins." Studies in the Novel 52, no. 1 (2020): 96–98. http://dx.doi.org/10.1353/sdn.2020.0004.

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48

Ivey, Adriane L., and John F. Callahan. "In the African-American Grain: Call-and-Response in Twentieth-Century Black Fiction." South Atlantic Review 67, no. 3 (2002): 123. http://dx.doi.org/10.2307/3201910.

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49

Troike, R. C. "CREOLE /l/ -> /r/ IN AFRICAN AMERICAN ENGLISH/GULLAH: HISTORICAL FACT AND FICTION." American Speech 90, no. 1 (January 1, 2015): 6–83. http://dx.doi.org/10.1215/00031283-2914692.

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50

Dean Franco. "Growing Up Ethnic: Nationalism and the Bildungsroman in African American and Jewish American Fiction (review)." MFS Modern Fiction Studies 54, no. 4 (2008): 899–92. http://dx.doi.org/10.1353/mfs.0.1574.

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