Relevant bibliographies by topics / Langston Hughes

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

Academic literature on the topic 'Langston Hughes'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 May 2024

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Journal articles on the topic "Langston Hughes"

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Gilyard, Keith. "Langston Hughes and Dream Deferral." Langston Hughes Review 28, no. 2 (September 1, 2022): 154–63. http://dx.doi.org/10.5325/langhughrevi.28.2.0154.

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ABSTRACT “Langston Hughes and Dream Deferral” examines the protests over George Floyd’s murder through the lens of Langston Hughes’s famous motif of dream deferral. Keith Gilyard argues that Hughes’s primary concern as a poet was illuminating the process by which black people’s dreams have been deferred throughout American history. However, much of the essay focuses on conflicting viewpoints on black resistance in the post-civil rights era. Gilyard shows how Hughes speaks to contemporary issues, interweaving between the poet’s commentaries on politics and the controversies over the use of violence during the protests.
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Komunyakaa, Yusef. "Langston Hughes." Callaloo 25, no. 4 (2002): 1137. http://dx.doi.org/10.1353/cal.2002.0155.

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Scott, Jonathan. "Langston Hughes - Patternmaster." Race & Class 48, no. 2 (October 2006): 23–37. http://dx.doi.org/10.1177/0306396806069521.

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Vrana, Laura. "Leyla McCalla’s Tributes to Langston Hughes." Langston Hughes Review 29, no. 1 (March 2023): 29–50. http://dx.doi.org/10.5325/langhughrevi.29.1.0029.

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ABSTRACT Classically trained Black musician Leyla McCalla’s album Vari-Colored Songs: A Tribute to Langston Hughes (2014) intertwines innovative folk- and blues-inspired settings of Hughes’s blues poetry, interpretations of traditional Haitian folk songs, and original compositions. This article argues that the album constitutes both a vital homage to Hughes’s impact on Black diasporic culture and a feminist boundary-breaking reshaping of the expectations of the hegemonic, white-washing contemporary music industry. It reads together the album’s ambitious liner notes, accompanying visual elements, and sonic choices of selected tracks to show how McCalla, by innovatively syncretizing typically disparate genres, inherits and extends the radical political and cultural tradition of the blues women whom Hughes’s poetry often depicted. Thus, it draws on frameworks from Hughes criticism and from performance studies scholars such as Daphne Brooks to suggest that Black female artists like McCalla warrant the attention of diasporic cultural critics equally to and alongside aesthetic ancestors like Hughes who inspire them. These women are epistemologically intervening in the construction of literary and cultural history through projects like Vari-Colored Songs, an impressive artifact that wrenchingly brings together traditions to address diasporic problems such as eco-precarity and to celebrate Black women’s resilient persistence through such endemic conditions.
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Repp, Anna. "Multicultural component and its linguistic representation in Langston Hughes’ poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 73–78. http://dx.doi.org/10.34079/2226-3055-2020-13-22-73-78.

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Nowadays, the problem of the representation of multiculturalism in modern poetry needs special consideration. Our research is devoted to the investigation of the specific features of the multicultural component in the poetry of Langston Hughes. The main tasks of the paper are to investigate such notions, as «multiculturalism», «realia», «national identity» and «blues»; and to analyze the linguistic and cultural specificity of Hughes’ poetry. Multiculturalism is a term that came into usage after the idea of a “melting pot». Such scholars as Glazer, Hollinger, and Taylor have been investigating this term. Multicultutralism is the way in which different authors maintain their identity through their work while educating others on their cultural ideas. Multicultural literature is oriented around issues of race, ethnicity, gender, etc. Multicultural American literature of the 20th century resonates with the hopes and fears of the whole of American history and reflects the rich complexity and variety of the American experience. James Mercer Langston Hughes, an American writer who was an important figure in the Harlem Renaissance and made the African American experience the subject of his works. His writings ranged from poetry and plays to novels and newspaper columns. We would like to pay special attention to Langston Hughes’ poetry. «The Negro Speaks of Rivers» was the first poem published in Langston Hughes’s long writing career. The poem first appeared in the magazine Crisis in June of 1921 and was subsequently published in Hughes’s first volume of poetry, The Weary Blues, in 1926, written when he was only 19. «The Negro Speaks of Rivers» as well as the rest of his works treats themes Hughes explored all his life: the experiences of African Americans in history, black identity and pride. Multiculturalism is connected with the notion of realia. It is a linguistic phenomenon, which refers to the culture-specific vocabulary. The works of such well-known scientists, as S. Vlahov, S. Florin, I. Kashkin, A. Fedorov have been central in the study of this issue. The key factor in defining any phenomenon as realia is national referring to the object of a certain country, nation, or social community. National identity is not an inborn trait. It is essentially socially constructed. A person's national identity results from the presence of elements from the «common points» in people's daily lives: national symbols, colors, nation's history, blood ties, and so on. We can find all these aspects (geographical realia, proper names, and many others) in the work of Langston Hughes. While analysing the poems of Langston Hughes we discover that his language is closely connected with the culture. Thus, the idea of multicultural writing is that racial and ethnic minority voices are a crucial element in United States literary history and culture
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BALDWIN, KATE. "Variegated Hughes: Rereading Langston Hughes's Soviet Sojourn." Russian Review 75, no. 3 (June 8, 2016): 386–401. http://dx.doi.org/10.1111/russ.12082.

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Harper, Donna Akiba Sullivan, and Hans Ostrom. "A Langston Hughes Encyclopedia." African American Review 37, no. 1 (2003): 162. http://dx.doi.org/10.2307/1512375.

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Harper, Akiba, and Edward J. Mullen. "Views of Langston Hughes." Phylon (1960-) 48, no. 3 (1987): 246. http://dx.doi.org/10.2307/274385.

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Foreman, P. Gabrielle, and Arnold Rampersad. "Langston Hughes Writ Large." American Quarterly 42, no. 3 (September 1990): 527. http://dx.doi.org/10.2307/2712949.

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Hardy, Myronn. "Are You Langston Hughes?" Callaloo 23, no. 4 (2000): 1193. http://dx.doi.org/10.1353/cal.2000.0199.

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Dissertations / Theses on the topic "Langston Hughes"

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EYANG, ALOYSE. "Langston hughes : aspects d'un humanisme afro-americain." Montpellier 3, 1990. http://www.theses.fr/1990MON30043.

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Nous avons defini l'humanisme afro-americain de langston hughes en relation avec la renaissance de harlem et decele trois preoccupations majeures dans son oeuvre : regenerer sa culture, affirmer la dignite de l'afro-americain et contribuer a assumer pleinement sa personnalite. Hughes s'inspire de l'heritage culturel noir, notamment la musique de blues et de jazz pour informer et s'informer de la communaute afroamericaine. L'endurance stoique du blues, sa musique, son style dialectale, son humour et son ironie servent de support esthetique et thematique a une oeuvre qui vise a l'epanouissement de l'homme. L'alternance des temps faibles et des temps forts de la musique de jazz se traduit chez hughes par une ecriture realiste ou se melent a la fois des pleurs et des rires, l'amour et la haine, des desillusions et des espoirs, la grossierete et la candeur, la douceur et la violence. L'oeuvre de hughes reflete a la fois la satire, la protestation des ecrivains de la renaissance noire et la colere, les drames absurdes des jeunes ecrivains actuels; mais il se distingue par son humour qui fait admettre le sens du relatif, refuse l'intolerance; et en posant comme fondement de son humanisme, la culture afro-americaine
We defined hughes's afro-american humanism in relation to the harlem renaissance and found three major aims in his writings: to regenerate black culture, assert the dignity of the afro-american and takean active part in helping him assume his personality. Langston hughes is inspired by black culture, especially blues and jazz to inform and be informed by the afro-american community. The blues outlook of stoic endurance, its music, its dialectal style and understatement, its ironic humor serve as thematic and esthetic supports of a body of writings wich aim at man's development and emancipation. The alternation of strong and weak notes in jazz music reflects on hughes's literary production through a realistic style made of laughs mingled with tears, love and hatred, disillusions and hopes, boorishness and ingenuousness, gentleness and violence. Hughes's writings include both the satire and protest of the renaissance writers and militant absurd dramas of the angry young writers of today. But he is distinguishable from them all because of his humor and in laving as the basis of his humanism afro american culture
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Ekoto, Grâce Etondé. "Langston Hughes et l'esthétique de la simplicité." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37597471c.

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Pandey, Kalyan. "The Poetic arts of Langston Hughes : a reappraisal." Thesis, University of North Bengal, 1992. http://hdl.handle.net/123456789/1185.

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SOUZA, Elio Ferreira. "Poesia negra das Américas: Solano Trindade e Langston Hughes." Universidade Federal de Pernambuco, 2006. https://repositorio.ufpe.br/handle/123456789/7579.

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Made available in DSpace on 2014-06-12T18:33:43Z (GMT). No. of bitstreams: 2 arquivo7576_1.pdf: 988172 bytes, checksum: 1edf741ffbf69d564053918849030287 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2006
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Esta tese prioriza o estudo da poesia negra do brasileiro Solano Trindade (1908-1974) e do norte-americano Langston Hughes (1902-1967). Minha pesquisa também freqüenta a obra de outros poetas como Countee Cullen (dos E.U.A.) e os caribenhos Nicolás Guillén (de Cuba), Aimé Césaire (da Martinica), de alguns poetas brasileiros, romancistas, narrativas escravas, canções, cantigas, contos, lendas, ritos religiosos e outras expressões da cultura afrodescendente. Inicialmente, analiso a poesia dos precursores e fundaroes da literatura negra no Brasil, e a escrita de algumas mulheres negras de hoje. Faço uma leitura comparativa entre a épica clássica do colonizador europeu e a épica quilombola Canto dos Palmares , de Solano Trindade. Enfatizo a relação, o entrecruzamento da literatura negra com a música das Américas, a performance do griot, poeta da antiga tradição africana, e de outros mestres de cerimônia da Diáspora. Enfoco a memória pessoal e coletiva no discurso poético, a construção da identidade negra, o discurso engajado da negritude marxista, a história da escravidão, a violência, o exílio social do negro, a cultura e suas estratégias de resistência. Conto minhas memórias de infância, falo sobre o Boi da minha cidade - o nascimento do Bumba-meu-boi no Piauí e sua transferência para o Maranhão. Relaciono os poemas de Hughes à alegria de ser negro, à reivindicação dos direitos civis e da América também para os negros, denunciando a ação terrorista da Ku Klux Klan. Analiso a poesia de Hughes que traduz os motivos temáticos, filosóficos e estéticos das canções de blues/jazz. Destaco a estética, a temática e a função social da poesia negra, do jazz, da capoeira. Mapeio semelhanças e diferenças na performance do poeta, do jazzista e do capoeirista, que evocam a memória gestual do corpo através da poesia, canto, música, dança, ginga, luta, trama e dissimulação. Abordo a poesia de Hughes e de Solano, a partir da perspectiva da memória pessoal, autobiográfica e coletiva desses autores, em relação com os contos populares e as narrativas de experiência dos ancestrais negros. Retomo minhas considerações acerca da tradição africana, da identidade negra e as experiências da vida moderna na Diáspora, que resultaram na Negralização das culturas das Américas. Faço ainda a tradução de catorze poemas de Langston Hughes, da língua inglesa para a portutuesa
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Murphy, Gregory. "Langston Hughes' struggle for artistic freedom, the role of patronage and politics in Hughes' writing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq26249.pdf.

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Oliveira, Pedro Tomé de Castro. "Os Blues Poems de Langston Hughes: por uma tradução musicada." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-21072017-161649/.

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Se a tradução envolve leitura e reescrita, nós poderíamos questionar o modo como se lê antes de questionar o modo como se reescreve. A tradução de poesia parece continuamente lidar com problemas de ritmo, rima, sintaxe, sentido, registro linguístico. Mas e se o tradutor, entendendo a leitura como performance, recolocar tais questões sob a perspectiva de outra mídia, que possa libertá-lo das restrições da escrita? O pesquisador Peter Low (2003) provoca os tradutores de poesia a se questionarem se desejam que seus textos sejam vocalizados (recitados, musicados etc.), e não apenas lidos silenciosamente. Haveria, então, uma alteração funcional e, consequentemente, um texto de chegada com um skopos diferente (REISS e VERMEER, 1996). Trata-se de trabalhar com a força latente da voz no texto; com uma possibilidade de performance inscrita na mídia escrita: a vocalidade, como coloca Paul Zumthor (1993). O poeta negro estadunidense Langston Hughes (1902-67) escrevia poemas semelhantes a letras de blues e recitava seus versos no ato da criação, o que pode sugerir algo a respeito de um possível modo de ler, absorver e recriar sua poesia em outra língua. Nosso objetivo, portanto, é traduzir seus poemas de blues ao cantá-los e tocá-los no violão. As canções de blues resultantes, em português, estão registradas em CD que foi inserido como apêndice da tese. Nosso método consiste em musicá-los enquanto os traduzimos, pois a simultaneidade dos processos é precisamente aquilo que interfere nas escolhas linguísticas, influenciando aspectos de ritmo, sintaxe, sentido etc. Nossa hipótese envolve, então, a questão de como os modos de dizer da canção popular, numa dada língua-cultura, determinariam o resultado da tradução. Essa experimentação deve, segundo esperamos, contribuir para os Estudos da Tradução por redimensionar alguns aspectos do texto de acordo com a dinâmica da vocalização. Esses resultados são tanto acadêmicos, em termos da discussão sobre a própria tradução, quanto artísticos, como música de blues composta para o público brasileiro, apresentando Langston Hughes, relativamente pouco conhecido e traduzido no Brasil, na forma de um gênero musical que é amplamente disseminado por aqui.
If translation involves reading and rewriting, we might question how we read a text before questioning the rewriting. Poetry translation seems to continually deal with problems of rhythm, rhyme, syntax, meaning, register. What if the translator understands reading as performance in order to reconceive all those issues within the perspective of another medium, which could free him from the constraints of writing? Researcher Peter Low (2003) suggests that poetry translators ask themselves whether they would like their texts to be recited, set to music etc., rather than just silently read. There would be, then, a functional alteration, and the target text would have a different skopos (REISS and VERMEER, 1996). We propose working with the latent force of the voice in the text; with a possibility of performance inscribed in the written medium: the vocality of Paul Zumthor (1993). The Afro-American poet Langston Hughes (1902-67) wrote poems very similar to blues lyrics and knowingly spoke (or even sung) his lines while creating them. That might suggest something about a way to read, absorb and recreate his poetry in another language. Our goal, therefore, is to translate his blues poems while singing and playing them on the guitar. The resulting blues songs in Portuguese are registered on a CD attached to this thesis. Our method is to set them to music while translating them, because the simultaneity of the processes is exactly what might interfere in the linguistic choices, influencing aspects of rhythm, meaning etc. Our hypothesis involves, then, the discussion of how the modes of expression of the popular song, in a given system of language-culture, would determine the results of the translation. That sort of experimentation will hopefully contribute to the Translation Studies by rearranging certain aspects of the text according to the dynamics of vocalization. These results are both academic, in terms of the discussion about translation itself; and artistic, as blues music composed for the Brazilian audience, presenting Langston Hughes, relatively unknown and non-translated in Brazil, in the form of a musical genre which is widely disseminated here.
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Sylvanise, Frédéric. "L'idéologie des formes dans le parcours poétique de Langston Hughes." Paris 10, 2003. http://www.theses.fr/2003PA100133.

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Le poète africain-américain Langston Hughes (1902-1967) a produit une oeuvre considérable. Partie prenante du moment esthétique de la Renaissance de Harlem, il s'y distingue en défendant le folklore africain-américain contre les tenants d'une tradition poétique britannique. Dans ses premiers recueils, il s'inspire des rythmes du blues et du jazz pour composer ses poèmes, qui font de lui le chantre du peuple noir. L'idéologie contestataire de son oeuvre s'inscrit alors autant dans ses choix formels que dans le contenu de ses travaux, alors assez peu dérangeant. Au cours des décennies 1930 et 1940 en revanche, Hughes se sert de la forme poétique à des fins de propagande bolchevique. Enfin, dans ses derniers recueils, publiés entre 1951 et 1961, le poète renoue avec les expériences musicales des années 1920, mais sur un mode plus complexe, hérité des techniques modernistes. L'influence des recherches formelles de Ilughes sur d'autres poètes est indéniable, surtout dans le domaine musical
The African-American poet Langston Hughes (1902-1967) has produced a considerable poetic oeuvre. Taking part in the aesthetic moment of the Harlem Renaissance, he stands out by defending the African-American folklore against the upholders of a British tradition of making verse. In his first works, he draws his inspiration from the rhythms of blues and jazz music to compose his poems which make him the mouthpiece of the Black people. The anti-authority ideology of his work is inscribed in his formal choices as much as in the content of the poems which was barely disturbing at the time. Contrary to what he did in the 1920s, he uses the poetic form as a means of Bolshevik propaganda in the 1930s and 1940s. Finally, in his last works, published between 1951 and 1961, he revives the musical experimentations of the 1920s, but in a more complex manner, inherited from Modernist techniques. The influence of Hughes's formal research on other poets is undeniable, especially in the musical field
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Kernan, Ryan James. "Lost and found in black translation Langston Hughes's translations of French- and Spanish-language poetry, his Hispanic and Francophone translators, and the fashioning of radical Black subjectivities /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481658191&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Bernath, Monica. "Black Atlantic expression in the poetry of Langston Hughes and Nicolás Guillén." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-86911.

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As Paul Gilroy has argued, the Black Atlantic is a cultural and literary network that has emerged in the aftermath of the Atlantic slave trade. The concerns of the Black Atlantic are made visible in the poetry of African American Langston Hughes and Cuban Nicolás Guillén. Gilroy’s theorization of the Black Atlantic draws on W.E.B. Du Bois’s idea of ‘double consciousness’ which describes the “doubleness” that blacks can experience when belonging to two groups at the same time which have been constructed as oppositional and exclusive in a society. One of Du Bois’s main concerns is to highlight the troublesome situation of the African Americans in the time after the emancipation, and to advocate for the inclusion of black people’s culture and identity into the U.S. national identity. Gilroy develops the idea of double consciousness to question national identities, notions of ethnicity, and the assumption that cultures always flow into congruent patterns with national borders; he further suggests that the Atlantic should be taken as a single, complex formation of black cultural expression. The analysis in this essay of the poems by Hughes and Guillén show that even though the poetry of these writers emerges in different contexts their poetry share essential similarities in their expressions of the Black Atlantic: the expression of a collective subject’s experience of slavery and displacement, the experience of double consciousness, and the aspiration for a whole identity, which can either, or simultaneously, be a desire of belonging to a national identity or to a cosmopolitan identity. Furthermore the analysis displays that the poems express a belonging to a certain kind of ‘rootless cosmopolitanism’ in which the subject’s experience of not belonging and the unification in the dispersion is fundamental; this rootless world identity is in itself a manifestation of the Black Atlantic culture which Gilroy describes.
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Hertzberg, McKnight Ralph. "Putting Jazz on the Page : "The Weary Blues" and "Jazztet Muted" by Langston Hughes." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-165209.

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The goal of this essay is to look at the poems “The Weary Blues” and “JAZZTETMUTED” (hereafter to be referred to as “JAZZTET”) by Langston Hughes andexamine their relationships to both the blues and jazz structurally, lyrically, andthematically. I examine the relationship of blues and jazz to the African-Americancommunity of Harlem, New York in the 1920’s and the 1950’s when the poems wererespectively published. Integral to any understanding of what Hughes sought toaccomplish by associating his poetry so closely with these music styles are the contexts,socially and politically, in which they are produced, particularly with respect to theAfrican-American experience.I will examine Hughes’ understanding of not only the sound of the two stylesof music but of what the music represents in the context of African-American historyand how he combines these to effectively communicate blues and jazz to the page.

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Books on the topic "Langston Hughes"

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Langston Hughes. Mankato, Minn: Creative Education, 1994.

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Harold, Bloom, ed. Langston Hughes. Broomall, PA: Chelsea House Publishers, 1998.

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Hill, Christine M. Langston Hughes. Springfield, NJ, USA: Enslow Publishers, 1997.

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Hughes, Langston. Langston Hughes. New York: New York Center for Visual History [producer], 1988.

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Langston Hughes. Minneapolis: ABDO Pub. Co., 2013.

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Peterson, Ingeborg. Langston Hughes. Boston, Mass: Houghton Mifflin, 2006.

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Harold, Bloom, ed. Langston Hughes. New York: Chelsea House, 1989.

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Meltzer, Milton. Langston Hughes. Brookfield, Conn: Millbrook Press, 1997.

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Harold, Bloom, ed. Langston Hughes. Philadelphia: Chelsea House Publishers, 2002.

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Langston Hughes. Los Angeles, CA: Melrose Square Publishing Co., 1994.

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Book chapters on the topic "Langston Hughes"

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Chinitz, David E. "Langston Hughes." In A Companion to Modernist Poetry, 536–50. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch45.

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Grandel, Hartmut. "Hughes, [James] Langston." In Englischsprachige Autoren, 140–44. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_55.

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Benesch, Klaus. "Hughes, James Mercer Langston." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5508-1.

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Benesch, Klaus. "James Mercer Langston Hughes." In Kindler Kompakt Amerikanische Literatur 20. Jahrhundert, 78–81. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05528-6_14.

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Slate, Nico. "Langston Hughes and Race as Propaganda." In The Prism of Race, 57–84. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137484116_4.

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Martinetti, Ronald. "Langston Hughes, Jack Kerouac, David Amram." In The Many Worlds of David Amram, 219–21. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003299745-51.

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Benesch, Klaus. "Hughes, James Mercer Langston: Das lyrische Werk." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5509-1.

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Tonn, Horst. "Hughes, James Mercer Langston: Not Without Laughter." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5510-1.

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Benesch, Klaus. "Hughes, James Mercer Langston: The Big Sea." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5511-1.

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Tonn, Horst. "Hughes, James Mercer Langston: Tambourines to Glory." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5513-1.

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Conference papers on the topic "Langston Hughes"

1

Thanos, Theresa. "Constructing Personhood and Race Within Dialogic Literary Argumentation in the Poetry of Langston Hughes." In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1684994.

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2

Marshall-Harper, Kenya. "The Writers' Journey Toward Eminence: The Lives and Stories of Maya Angelou and Langston Hughes." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1573294.

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