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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<br>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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Previous issue date: 2006<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>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.<br>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<br>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.<br><p>A</p>
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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.
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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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Schwarz, A. B. Christa. "Gay voices of the Harlem Renaissance." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297966.
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Alwazzan, Aminah. "The Strong Voices of Black Women and Men in the Selected Poetry of Langston Hughes." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/161.
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This thesis discusses Langston Hughes’ poetry and details the African-American experience in a discriminatory society which was an essential theme of the Harlem Renaissance. The Harlem Renaissance was a cultural and artistic movement which enriched American life. Hughes’ body of work covers the entire range of the human experience, especially the experience of ordinary people. He believed that the role of the artist was to cover and illuminate every aspect of people’s lives. Part of this expansive philosophy towards art included giving a voice to African-American women and men who experienced both racist and patriarchal oppression.
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Mosley, Matthew. "The Feminine Representation of Booker T. Washington and W.E.B. DuBois in Langston Hughes' Not Without Laughter." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1176.
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Langston Hughes' novel Not Without Laughter works within the historically narrow framework of African American uplift ideology. Hughes implies Booker T. Washington's racial uplift ideology from Up From Slavery within Aunt Hager Williams. In addition, Hughes implies W.E.B. DuBois' racial uplift ideology from Souls of Black Folk within Tempy Siles. In both characters, he criticizes the ideologies. In addition, the ideologies work toward an initial construction of masculinity for Sandy, the protagonist, and ultimately undermine an argument for gender equality.
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Pape, Lily Florence. "MODERNISM IN SPAIN AND THE UNITED STATES: FEDERICO GARCIA LORCA AND LANGSTON HUGHES IN NEW YORK." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192572.
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Leitner, David J. "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1012.
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This study responds to the need for an understanding of the relation of form and political critique within the sonnet form, and hopes to demonstrate that the sonnet can be used to effectively articulate the experience of racism, especially the Du Boisian concept of "double- consciousness," a sense of two-ness born of being both black and American. The fundamental structure of the sonnet (octave, volta, sestet) is dialectical; it "contests the idea it just introduced" (Caplan, Poetic Form: An Introduction 75). The sonnet's self-reflexive structure has been adopted and adapted by poets such as McKay, Cullen, Hughes, and Brooks. The formal and social characteristics of sonnets by African-Americans function synergistically: the way that the octave and the sestet respond to each other in a single poem is also similar to the "call-and- response" movement of African American oral culture. Its tendency to mix two unlike things is like Harlem itself: a compressed space where the street sweeper rubs shoulders with the business tycoon. Perhaps most importantly, the sonnet can be a Trojan horse, a genteel container that conceals a potentially subversive message. This study is constructed around related lines of questioning: First, why did African American poets, in an era usually associated with free verse, choose to adopt a traditional form? Second, how do African American poets adapt a European form as a lens into African American experience? Sonnets by African Americans reflect the complexity of a seemingly simple triangulation between the traditional requirements of form, the promise of equality, and the reality of racism. African American poets infuse "Harlem in Shakespeare," pouring black consciousness into the European form, and they raise "Shakespeare in Harlem," elevating the status of African American forms to the highest levels of literary art. At the same time, this study demonstrates the value of a prosody-based approach for examining how small formal details contribute substantially to the reader's impression of the sonnet. These poets deploy the "rules" of the sonnet ingeniously and unexpectedly. Additionally, the sonnet is a way to separate from and simultaneously be a part of the dominant culture by writing a critical message in a recognizable form. Black culture can criticize white culture, while at the same time acknowledging the mutual, inescapable relationship that binds blacks and white Americans together. Additionally, the sonnet is a way to separate from and simultaneously be a part of the dominant culture by writing a critical message in a recognizable form. Black culture can criticize white culture, while at the same time acknowledging the mutual, inescapable relationship that binds blacks and white Americans together.
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Jalal, Kamali Shima. "Protégé poet to mentor : the evolution of Langston Hughes' personal/professional network and its influence on black cultural production." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/74560/.
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Jost, Levi James. "LINES THAT BIND: DISABILITY’S PLACE IN THE MODERNIST WRITINGS OF WILLIAM FAULKNER, AMY LOWELL, LANGSTON HUGHES, AND EZRA POUND." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/dissertations/1365.
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This dissertation explores the effects disability had on the aesthetics of American modernist writers like Langston Hughes, William Faulkner, Amy Lowell, and Ezra Pound at a time when eugenics' insistence on a superior and uniform humanity dominated social thought and how their writings complicate generalized conclusions espousing ablist tendencies in modernist literature, demonstrating that such generalizations can be complicated with careful attention to a broad range of modernist texts. The introduction highlights important ideas and events in the development of disability studies and applies the theory to Emily Dickinson’s “Safe in their Alabaster Chambers” to demonstrate how scholars have largely overlooked even well-known authors’ engagement with disability. The first chapter interrogates Faulkner's The Sound and the Fury to demonstrate that, rather than reify disability, Faulkner questions the idea of norms that imply a stable identity by alluding to and investigating ideas relevant to important events and conceptions of the time such as Henry H. Goddard’s The Kallikak Family and the U.S. Supreme court case of Buck v. Bell. Chapter two’s analysis of Langston Hughes's Fine Clothes to the Jew identifies a tendency in the poetry to enact Tobin Sieber’s concept of disability masquerade to assume but play against the intellectually disabled identity forced on Blacks at the time, rather than attempting to distance himself from the label as disability theorists such as Douglas Baynton posit generally occurs when racialized groups are associated with disability. In the third chapter, Robert McRuer’s concept of compulsory able-bodiedness is identified as a source for Amy Lowell’s fall from popularity and she is considered alongside conceptions of the freak to identify a source for her creativity most evident in the "polyphonic prose" of Can Grande's Castle, her invention to free poets of the restrictions of traditional cadenced verse. The final chapter offers a reading of Pound's Drafts & Fragments that, while highlighting this often neglected collection's importance because of the social awareness brought to it through Pound's twelve and a half years in a mental institution, also explores the limitations of readings that assume that his disabled status guided this poetry. Concluding the dissertation is an analysis of Sherman Alexie's Pulitzer prize winning young adult novel, The Absolutely True Diary of a Part-Time Indian, that demonstrates disability’s continued applicability after eugenics’ fall from grace and highlights Alexie’s use of humor to get readers to stare as a part of considering the serious topics he writes into the novel, instigating what Rosemarie Garland-Thomson calls the "good stare" that welcomes identification between staree and starer. Together, these chapters attempt to further expand the inclusivity of discussions of modernism and complicate long-standing understandings of disability.
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Bosse, Walter M. "Breaking the Iceberg: Ernest Hemingway, Black Modernism, and the Politics of Narrative Appropriation." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396533155.
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Loundagin, G. John. "Signing the blues : toward a theoretical model based on the intertextuality of psycholinguistic metonymy and jazz phraseology for reading the texts of Jack Kerouac and Langston Hughes." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897530.
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That marginalized discourse communities practice differing modes of communication is a claim recently argued; critics have focused on the trope of metonymy as a means of signifying a discriminated-against group's silenced status within the mainstream society. What seems to be ignored in this discussion is how differing media--literature, music, painting--constitute texts that cut across discursive space (the site of these media) in a similar fashion. By positing the intertextuality (i.e., the similarity) of psycholinguistic metonymy and jazz phraseology, this thesis demonstrates how literary texts issuing from marginalized discourse communities can speak their subjectivities' full names. In Langston Hughes' "The Blues I'm Playing," metonymy and jazz serve as methods of analysis which show the subject-object relationship in artistic production. Jack Kerouac's On The Road constitutes a narrative subjectivity that, like jazz music, metonymically disrupts itself as silences speak from the realm of an Other. By accounting for the similarities between metonymy and jazz, this thesis asserts that more accurate readings can be derived from literature issuing from discourse communities which use jazz to signify.<br>Department of English
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Laurent-Audiat, Dominique. "La quête d'identité Africaine-Américaine, de l'émergence de la négritude à l'accession au Rêve Américain : "Not without laughter" Langston Hughes, "Jubilee" Margaret Walker, "The autobiography of Miss Jane Pittman" Ernest Gaines, "Dreams from my father" Barack Obama." Paris 13, 2010. http://www.theses.fr/2010PA131010.
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Les Africains Américains ont longtemps été confrontés à un dilemme : comment exister au sein d‘une société vivant en contradiction avec les principes de Liberté et d‘Egalité énoncés par les Pères Fondateurs, et comment affirmer son identité personnelle sans renier sa communauté ? Cette étude retrace à travers la littérature le long chemin parcouru, de la négation à la reconnaissance de ces droits inaliénables et sacrés contenus dans la Déclaration d‘Indépendance. Not Without Laughter a été publié en 1930, à l‘apogée de la renaissance de Harlem — Jubilee et The Autobiography of Miss Jane Pittman ont été rédigés dans la deuxième partie du vingtième siècle, lors du Mouvement Black Aesthetic. L‘affirmation de fierté raciale marquant ces deux courants littéraires se retrouve dans la quête identitaire des protagonistes. Les trois romans illustrent les étapes majeures de l‘histoire africaine-américaine, de l‘esclavage à la lutte pour les Droits Civiques. L‘autobiographie de Barack Obama, analysée sous l‘angle littéraire, apporte un éclairage particulier à cette étude par la description de sa propre quête à la fin du vingtième siècle : Dreams From My Father porte l‘empreinte de ce lourd passé, mais contient aussi en germe le changement qui a permis son accession au Rêve Américain. Par sa promesse d‘égalité, de prospérité et de bonheur, exaltant les valeurs de courage et de travail, ce rêve a développé l‘individualisme au sein de la société, tandis que son inaccessibilité pour les Africains Américains a eu l‘effet contraire. On nommera « identité personnelle », l‘aspiration individuelle, et « identité collective » le rattachement à la communauté. La quête d‘identité africaine-américaine s‘accomplit dans une constante oscillation entre ces deux pôles, identité personnelle et identité collective, la prévalence de l‘une sur l‘autre reflétant l‘évolution historique et sociale<br>For a long time African Americans have been confronted with a dilemma: how to exist in a society living in contradiction with the Principles of Liberty and Equality enunciated by the Founding Fathers, and how to affirm one‘s personal identity without disavowing one‘s community? This study analyzes, through literature, the long way from denial to recognition of the sacred and unalienable rights included in the Declaration of Independence. Not Without Laughter was published in 1930, at the height of the Harlem Renaissance. Jubilee and The Autobiography of Miss Jane Pittman were written during the second part of the twentieth century, when the Black Aesthetic movement was in vogue. Both literary movements are built on a racial pride that pervades the quest for identity of the heroes. The three novels illustrate the major stages of African American history. Barack Obama‘s autobiography, analyzed as a literary work, throws light on this study in presenting his own quest for identity at the end of the twentieth century: Dreams From My Father bears the burden of the past, but also contains the seed of change which allowed Barack Obama to reach the American Dream. Through its promise of equality, wealth and happiness, embodying the values of courage and work, this dream has developed individualism in the American society; while being inaccessible to the black people, it has developed a strong community link. This individual longing will be called ―personal identity‖, and the belonging to the community will be called ―collective identity. ‖ The African American quest for identity is constantly oscillating between these two poles, the prevalence of the one on the other reflecting historic and social evolution
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Hahl, Victoria. "MAKING VICTIM: ESTABLISHING A FRAMEWORK FOR ANALYZING VICTIMIZATION IN 20TH CENTURY AMERICAN THEATRE." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3384.
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It is my belief that theatre is the telling of stories, and that playwrighting is the creation of those stories. Regardless of the underlying motives (to make the audience think, to make them feel, to offend them or to draw them in,) the core of the theatre world is the storyline. Some critics write of the importance of audience effect and audience reception; after all, a performance can only be so named if at least one person is there to witness it. So much of audience effect is based the storyline itself - that structure of which is created by the power characters have over others. Theatre generalists learn of Aristotle's well-made play structure. Playwrights quickly learn to distinguish between protagonists and antagonists. Actors are routinely taught physicalizations of creating "status" onstage. A plotline is driven by the power that people, circumstances, and even fate exercise over protagonists. Most audience members naturally sympathize with the underdog or victim in a given storyline, and so the submissive or oppressed character becomes (largely) the most integral. By what process, then, is this sense of oppression created in a play? How can oppression/victimization be analyzed with regard to character development? With emerging criticism suggesting that the concept of character is dying, what portrayals of victim have we seen in the late 20th century? What framework can we use to fully understand this complex concept? What are we to see in the future, and how will the concept evolve? In my attempt to answer these questions, I first analyze the definition of "victim" and what categories of victimization exist – the victim of a crime, for example, or the victim of psychological oppression. "Victim" is a word with an extraordinarily complex definition, and so for the purposes of this study, I focus entirely on social victimization - that is, oppression or harm inflicted on a character by their peers or society. I focus on three major elements of this sort of victimization: harm inflicted on a character by another (not by their own actions), harm inflicted despite struggle or protest, and a power or authority endowed on the victimizer by the victim. After defining these elements, I analyze the literary methods by which playwrights can represent or create victimization – blurred lines of authority, expressive text, and the creation of emotion through visual and auditory means. Once the concept of victim is defined and a framework established for viewing it in the theatre, I analyze the victimization of one of American theatre's most famous sufferers – Eugene O'Neill's Yank in The Hairy Ape. To best contextualize this character, I explore the theories of theatre in this time period – reflections of social struggles, the concept of hierarchy, and clearly drawn class lines. I also position The Hairy Ape in its immediate historical and theoretical time period, to understand if O'Neill created a reflection on or of his contemporaries. Finally, I look at the concept of victim through the nonrealistic and nonlinear plays of the 20th century – how it has changed, evolved, or even (as Eleanor Fuchs may suggest) died. I found that my previously established framework for "making victim" has change dramatically to apply to contemporary nonlinear theatre pieces. Through this study, I have found that the lines of victimization and authority are as blurred today in nonrealistic and nonlinear theatre as they were in the seemingly "black and white" dramas of the 1920s and 30s. In my research, I have found the very beginnings of an extraordinarily complex definition of "victim".<br>M.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre MA
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Marchbanks, Jack R. "Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil RightsMovement, 1955-1965." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1522929258105629.
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Beatrice and 張娉莉. "Langston Hughes' Spirit of Resistance Against White Domination." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/14299384439165274934.
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Borges, António Cristiano. "De Jim Crow a Langston Hughes: quando a música começou a ser outra." Master's thesis, 2008. http://hdl.handle.net/10451/380.
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Tese de mestrado, Estudos Anglísticos, Universidade de Lisboa, Faculdade de Letras, 2009<br>Esta dissertação é um estudo diacrónico sobre o trabalho literário dos poetas afro- -americanos, desde o século XVIII até às primeiras décadas do século XX. Neste estudo sublinha-se o empenhamento e os constrangimentos que os poetas negros americanos tiveram de enfrentar para poderem afirmar de modo progressivamente mais desinibido o valor da sua especificidade cultural. Inicialmente os poetas negros escreviam sem manifestação de diferença cultural significante pois só pretendiam que lhes fosse reconhecida capacidade literária e intelectual igual à dos autores brancos. Mas depois procuraram inscrever no texto branco a oralidade negra. As possibilidades poéticas do dialecto negro também foram exploradas no século XIX, principalmente pela tradição do menestrel e a da grande plantação que sedimentaram estereótipos preconceituosos acerca do negro contidos naquelas duas tradições. Paul Dunbar é o poeta afro-americano dos finais do século XIX e início do século XX que então usou com mestria o idioma negro na sua poesia, correndo o risco das conotações negativas associadas ao modo incorrecto de falar do negro iletrado. Nos anos vinte a cultura da gente negra nos E.U.A. teve condições para afirmar a sua especificidade própria, num momento de grande vitalidade criativa que ficou conhecido por Renascença de Harlem e cujos principais mentores foram Du Bois e Alain Locke, que buscavam superar um persistente sentimento de double-consciousness ou twoness e alcançar o reconhecimento de igualdade racial através da arte mais elevada que uma pequena elite de talentos, os Talented Tenth, fosse capaz de produzir. Mas Langston Hughes, um New Negro na sua missão de dignificação da raça , optará por usar as formas da tradição oral afro-americana, o dialecto, o blues, o jazz. E assim, ao usar estas formas da tradição popular como fonte de inspiração da sua poesia, Hughes deu visibilidade deliberada e nova dignidade à tradição oral negra, inscrevendo-a no texto moderno americano.<br>This dissertation is a diachronic study on the literary work of afro-american poets from the eighteenth century to the first decades of the twentieth century. Our focus here is on the commitment and the constraints endured by Negro American poets to affirm, in an uninhibited way, the worthiness of their cultural specificity. At first, Negro poets used to write with no evidence of cultural signifying difference, because they just wanted to be acknowledged as having the same literary skills and intellectual capacities as white authors. But afterwards they sought to inscribe black oral forms in the white text. The poetic possibilities afforded by negro dialect were also explored in the twentieth century, by the minstrel and the great plantation traditions thus reinforcing biased stereotypes on the negroes conveyed by such traditions. Paul Dunbar is the afro-american poet who by the end of the nineteenth century and the beginning of the twentieth century used Negro idiom with mastery on his poetry though risking the negative connotations associated with the poor speech of illiterate negroes. In the 1920s black people culture in the U.S.A. was able to affirm its specificity in a moment of great creative vitality later known as the Harlem Renaissance, whose main mentors were Du Bois and Alain Locke who aimed at overcoming a persistent feeling of double-consciousness or twoness and the acknowledgement of racial equality by means of the noblest art forms a small elite group the Talented Tenth could produce. However Langston Hughes as a New Negro on his mission for granting dignity to the common negro would choose folk oral tradition namely negro dialect, the blues and jazz as the inspiring sources for his poetry, thus giving a deliberate visibility and a new dignity to the vernacular black tradition inscribing it in the modern American text.
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Metzler, Jessica Lhamon W. T. "Genuine spectacle sliding positionality in the works of Pauline E. Hopkins, Zora Neale Hurston, Langston Hughes, and Spike Lee /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-01192006-155938.
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Thesis (M. A.)--Florida State University, 2006.<br>Advisor: W.T. Lhamon, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 9, 2006). Document formatted into pages; contains vii, 67 pages. Includes bibliographical references.
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De, Santis Christopher C. "The consistent vocation of Langston Hughes continuity of poetic voice and vision from the Harlem Renasissance to the Black Arts movement /." 1990. http://catalog.hathitrust.org/api/volumes/oclc/23112188.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1990.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves:99-107).
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Ball, Karlene N. "A comparative study of the poetry and politics of five poets that represent the afro voice in the literature across the Americas : Aimé Cesaire, Nicolás Guillén, Langston Hughes, Luis Palés Matos and Claude McKay /." 2006. http://www.consuls.org/record=b2801885.
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Thesis (M.A.) -- Central Connecticut State University, 2006.<br>Thesis advisor: Antonio García-Lozada. "... in partial fulfillment of the requirements for the degree of Master of Arts in Spanish." Includes bibliographical references (leaves 102-104). Also available via the World Wide Web.
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Elliott, Chiyuma. "Blackness and rural modernity in the 1920s." 2011. http://hdl.handle.net/2152/19824.
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The New Negro Movement (often called the Harlem Renaissance) made black creative production visible to an extent unprecedented in American History. Complex representations of African Americans started to infiltrate a popular culture previously dominated by stereotypes; people from all walks of life were confronted for the first time with art made by African Americans that asked them to think in new ways about the meaning of race in America.
The term Harlem Renaissance conjures up images of urban America, but the creative energies of many New Negro figures were actually focused elsewhere—on rural America. Urbanite Jean Toomer spent time teaching in an agricultural college in the rural South, and wrote award-winning poetry and prose about that experience. Langston Hughes wrote blues lyrics about the struggles of rural migrants in New York that highlighted the complex interconnections of rural and urban experience. And the pioneer black filmmaker Oscar Micheaux incorporated numerous fictionalized accounts of his own experiences as a homesteader in South Dakota into his race movies and novels.
New Negro writers asserted that their art shaped how people understood themselves and were understood by others. Accordingly, this project examines both literary representations, and how literary works related to the real lives and struggles of rural African Americans. My research combines archival, literary, and biographical materials to analyze the aesthetic choices of three New Negro authors (Hughes, Micheaux, and Toomer), and explain the interrelated literary and cultural contexts that shaped their depictions of African American rural life.
Houston Baker, in his influential 1987 book Modernism and the Harlem Renaissance, defined black modernism as an awareness of radical uncertainty in human life. My central contention is that one of the most radical uncertainties in interwar-period America was the changing rural landscape. I revisit the largely-forgotten (though large-scale) social movement to fight rural outmigration by modernizing rural life. And I argue that, rather than accepting the simple binary that took the urban to be modern and the rural backward, African Americans in the 1920s created and experienced complicated formulations of the rural and its connections to modern blackness.<br>text
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Zezuláková, Schormová Františka. "Us and Them: Presenting America 1948-1956." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352576.
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1 Abstract This MA thesis discusses contemporary US literature in Czechoslovakia between 1948 and 1956 in order to see how the US was represented through the chosen American writers and their works. The first two chapters look at how the parallel canon was established, both from historical and theoretical perspective. The third chapter discusses Langston Hughes as the representative of American poetry. It shows how Hughes was used to draw attention to racial inequality in the US. Howard Fast as the superstar of the "Czechoslovak America" is the focus of the fourth chapter. The cases of both Fast and Hughes show that contemporary US authors published in Czechoslovakia at that time were chosen for the way they depicted the US racial and social inequality and the repression of political opposition, and identified themselves as members of the so called progressive America. Reading Hughes and Fast from the Eastern side of the Iron Curtain contributes to Czech scholarship on the 1950s and adds new perspectives to the contemporary reconsiderations of American leftist writers.
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Marcoux, Jean-Philippe. "In The Circle : jazz Griots and the Mapping of African American Cultural Memory in Poetry." Thèse, 2009. http://hdl.handle.net/1866/3546.
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Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective.<br>My doctoral dissertation, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry studies the ways in which African American poets of the 1960s and 1970s, Langston Hughes, David Henderson, Sonia Sanchez, and Amiri Baraka employ jazz in order to ground their poetry in the tradition of performance. In so doing, each poet illustrates how black expressive culture, by conceptualizing through performance modes of resistance, has historically been used by people of African descent to challenge institutionalized racism and discriminatory discourses. Therefore, for the purpose of this dissertation, I focus on four poets who engage in dialogues with and about black musicology, aesthetics, and politics of the 1960s and 1970s; they assert the centrality of literary rendition for the survival and continuance of the collective cultural memory of Black Americans. In turn, I suggest that their theorization of artistry as political engagement becomes a central element in the construction of a Black Aesthetic based on performance. In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry thus proposes an original analysis of how the four poets infused jazz and political references in their poetics in order to re-educate later generations about a collective black memory.
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Tsai, Ching-tsun, and 蔡青圳. "The Inscription of Racial Identity in Langston Hughes's Poetry." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/11941538113166575969.
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碩士<br>國立東華大學<br>創作與英語文學研究所<br>92<br>Langston Hughes is a central literary figure in the Harlem Renaissance and the African American literature. He is both a meticulous observer of the sociopolitical situation of his era and an elaborate analyst of many racial issues concerning African American people. Among the major themes in his writing are the racially discriminated condition of black Americans, the plight of poor black masses, the oppression of black working class, and the loss of freedom and equality in black folks.
This thesis attempts to examine the interlacing issues of race, class, and gender in Hughes’s poems and their relations to African American people. In the introduction chapter, I provide a historical overview of Langston Hughes’s life and the Harlem Renaissance, which is an important cultural movement for Hughes and his race. The first chapter will explore the importance of racial consciousness and the establishment of a racial identity in Hughes’s poems. Chapter two concentrates on the social protest poems Hughes produced chiefly in the 1930s as a response to The Great Depression and its aftermath. The third chapter aims to make manifest the issues of gender in black women represented vividly in Hughes’s poems. In the final chapter, I make a conclusion that with a close attention to the interconnected operation of race, class, and gender, Hughes has achieved a comprehensive representation of the history and life of black Americans: their pain, sorrow, oppression, joy, laughter, and dreams.
He always strives to tell his black people that they should “hold fast to their dreams.”
Key Words:
race; class; gender; racial identity; racist ideology; black women; the Harlem Renaissance;
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Chen, Louise Yi-ning, and 陳怡寧. "Racial Identity and the Blues in Langston Hughes's The Weary Blues and Fine Clothes to the Jew." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/72646985617811386637.
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碩士<br>輔仁大學<br>英國語文學系<br>89<br>Langston Hughes was an important figure in the Harlem Renaissance of the 1920s’ America. Like other blacks, he faced the dilemma of double-consciousness. My thesis focuses on his attitude toward dual-identity in The Weary Blues, “The Negro Artist and the Racial Mountain,” and Fine Clothes to the Jew. His essay plays a significant role as a bridge between the two books of poetry. Created and defined first by W. E. B. Du Bois, double-consciousness was a problem of identity confronted by black writers and artists. For a black, being an “American” means to see his self through the eyes of the whites and the veil of primitivism; while being a black means to express his individuality and racial reality. In other words, in double-consciousness, the blacks had to “negotiate between representations of self, and representations of blackness fixed in the minds of audience accustomed to white caricatures” (Krasner 9).
In my discussion, I argue that there is a progressive change in Hughes’s attitude toward double-consciousness. In The Weary Blues, Hughes is ambiguous about his identity. On the one hand, he declares black solidarity, unity, and achievement. On the other hand, in his portrait of the blacks, he cannot escape the stereotypes of primitivism. His poetry implies a compromise with the white audience. However, in “The Negro Artist and the Racial Mountain,” Hughes begins to identify with the black proletariat, whose culture was a “vulgar secret shame” in the eyes of the black middle class. Despite his class-consciousness, Hughes’s presentation of the black masses is still in the shadow of primitivism. Not until Fine Clothes to the Jew does Hughes present a realistic portrait of the black masses. In the naturalistic tradition of the blues, Hughes’s presentation of the black proletariat subverts the white primitive stereotype and poetical framework. Therefore, his identity becomes clearer, when he chooses not to be an “American” in primitivism but to be a black in blues realism. Standing with the black proletariat and the blues tradition, Hughes’s poetry becomes a literary model in the 1920s.
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(8088539), Keturah C. Nix. "History Will Be My Judge: A Cultural Examination of America's Racial Tensions Presented Through the Symbolization of Booker T. Washington." Thesis, 2019.
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<i> History Will Be My Judge: A Cultural Examination of America's Racial Tensions Presented Through the Symbolization of Booker T. Washington</i> is an interdisciplinary study about the emergence of Booker T. Washington as a black cultural hero. By the turn of the twentieth century, Washington had become the most prominent African American educator, economic reformer, entrepreneur, and race leader in the United States. He is most recognized as the founder of Tuskegee Institute (now University) and his highly acclaimed autobiography, <i>Up From Slavery</i>, which recounts his life growing up enslaved to becoming an international icon. Since his death in 1915, several monuments, memorials, landmarks, and commemorative tributes have been established in his honor. During the 1940s, Washington became the first African American pictured on the United States postage stamp and minted silver half-dollar. Additionally, he was spotlighted in a series of media campaigns called "Famous American Firsts," and was the first African American inducted into the Hall of Fame for Great Americans. Moreover, amidst the presidential transition between Barack Obama and Donald Trump, black popular media has alluded to Washington's economic philosophy through music videos, documentaries, and television programs. I argue that each of these posthumous commemorations belong to larger social justice movements, namely, the Civil Rights movement and Black Lives Matter movement. Throughout these eras, Washington's legacy has served to counter white supremacy and symbolize the rise of integration, the black middle class, economic justice, black self-made, black education, and the legacy of slavery.<div> The purpose of this study is to examine how during periods of racial unrest, African Americans leverage Booker T. Washington's image to counter racist stereotypes and reaffirm black citizenship. The primary framework applied in this study is William L. Van Deburg's theory of the <i>black cultural hero. </i>Two emergent theories from this research are my developing frameworks called <i>Black Hustle Theory</i> and <i>nostalgic tension</i>. Using literary and visual analysis, I assess historical archives from popular press, black literature, American memorabilia, and black popular culture to examine Washington's commemorative legacy through a black radical lens. Specifically, I explore how the following four people have connected Washington's legacy to the Civil Rights movement and Black Lives Matter movement: Major Richard Robert Wright, Sr., founder of Savannah State University; Langston Hughes, famed Harlem Renaissance poet and author; Stanley Nelson, award-winning producer; and, Beyonce Knowles-Carter, singer and pop mogul. I put Washington's legacy in conversation with each of these cultural producers to simulate a call-and-response between his lifework and the generations after him.<br><div><br></div></div>
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Fleming, Alicia Ann-Marie. "CAMBIOS DIALECTALES E IDIOSINCRACIAS EN LA ENSEÑANZA DEL SEGUNDO IDIOMA A ESTUDIANTES MINORITARIOS A TRAVÉS DE LA POESÍA AFROCUBANA." Thesis, 2013. http://hdl.handle.net/1805/3201.
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Indiana University-Purdue University Indianapolis (IUPUI)<br>Cotidianamente los profesores se hacen esta pregunta: ¿cómo pueden relacionarse mis estudiantes con la lección? Saben que si los estudiantes pudieran acoplarse con el contenido de la lección, entenderían y aprenderían con gran eficacia. En la mayoría de los distritos escolares urbanos de Indianapolis, Estados Unidos hay muchos estudiantes afroamericanos que están en clases de lengua extranjera que piensan que no existen atributos de conexión --como tradiciones y costumbres-- que tienen aspectos en común con sus propias culturas. Por otro lado, hay estudiantes afrolatinos que son nativos de esas lenguas pero a quienes no se les expone a elementos que pertenecen a su cultura o herencia. Esta investigación se enfocará en cómo los profesores pueden utilizar la poesía para enseñar una lengua extranjera; específicamente, cómo se puede utilizar la poesía afrocubana para vincular la lección a los estudiantes minoritarios y su cultura.