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Journal articles on the topic 'Langston Hughes'

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Published: 4 June 2021

Last updated: 18 May 2024

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1

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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2

Komunyakaa, Yusef. "Langston Hughes." Callaloo 25, no. 4 (2002): 1137. http://dx.doi.org/10.1353/cal.2002.0155.

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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Britt, Alan. "Ode to Langston Hughes." English Journal 93, no. 5 (May 2004): 128. http://dx.doi.org/10.2307/4128967.

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12

Ramsey, Priscilla. "Langston Hughes and R. Baxter Miller, The Collected Works of Langston Hughes." Journal of African American History 88, no. 1 (January 2003): 82–84. http://dx.doi.org/10.2307/3559052.

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13

Mutmainnah, Burhanuddin Arafah, and Amir Pattu. "Racial Discrimination Experienced by Black People as Reflected in Langston Hughes's Poems." Journal of Language Teaching and Research 13, no. 2 (March 1, 2022): 350–56. http://dx.doi.org/10.17507/jltr.1302.15.

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This study aims to describe the racial discrimination from white people against black people that was formerly a slave by analyzing Langston Hughes' poems; I, Too, To the Black Beloved, The White Ones, and My Beloved. Presentation of racial discrimination can be seen from the act of prejudice, insulting, words used, and the act of suppression to the black people. These poems represent the poet's feeling of social phenomena that happened. The data were analyzed utilizing the new historicism theory, enriched by historical text, socio-cultural, and political information during slavery. This study is a qualitative descriptive method using the new historicism approach to explain the racial discrimination experienced in Langston Hughes' poems. The result showed that Langston Hughes reflects the phenomena of racial discrimination through his poems, such as slave, victim, nigger, torture, darker brother, and not beautiful in his poems. Langston Hughes in his poetry concludes that black discrimination is treated badly; they eat in the kitchen, they are not beautiful, children's happiness is tarnished, and racial discrimination is inhumane.

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Schormová, Františka. "Tractors and Translators: Langston Hughes in Cold War Czechoslovakia." PMLA/Publications of the Modern Language Association of America 138, no. 3 (May 2023): 519–33. http://dx.doi.org/10.1632/s0030812923000445.

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AbstractThe poet Langston Hughes was central to mid-century transnational exchanges and Cold War translation. This essay examines the poet's centrality through a new lens, presenting a case study on Czech translations of Hughes's poetry between 1950 and 1963 that draws on archival materials, especially the correspondence between Hughes and one of his Czech translators, Jiří Valja; paratexts; and analysis of translations. The essay shows how Hughes's poetry was translated into Czech against the backdrop of Cold War publishing politics and aesthetic norms, how the translations of Hughes's work operated in these contexts, and how Cold War translation emerged as a specific site of inquiry with its own challenges, contacts, and practices.

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15

Donlon, Anne, and Evelyn Scaramella. "Four Poems from Langston Hughes's Spanish Civil War Verse." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 562–68. http://dx.doi.org/10.1632/pmla.2019.134.3.562.

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Langston Hughes traveled to Spain in 1937, during that Country's Civil War. He saw the Republic's Fight against Franco as an international fight against fascism, racism, and colonialism and for the rights of workers and minorities. Throughout the 1930s, Hughes organized for justice, at home and abroad, often engaging with communist and other left political organizations, like the Communist Party USA's John Reed Club, the League of Struggle for Negro Rights, and the International Workers' Order (Rampersad, Life 236, 286, 355; Scott). When the war in Spain began, in 1936, workers and intellectuals who were engaged on the left came from around the world to fight against Franco's forces; these volunteers, the International Brigades, included approximately 2,800 Americans known as the Abraham Lincoln Brigade, of which about ninety were African American (Carroll vii; “African Americans”). Hughes went to Spain to interview black antifascist volunteers in the International Brigades and write about their experiences for the Baltimore Afro-American, VolunteerforLiberty, and other publications. Much of Hughes's writing from Spain sought to explain to people at home why men and women, and African diasporic people especially, had risked their lives to fight in Spain. Hughes profiled African Americans fighting for the first time alongside white comrades in the International Brigades, including Ralph Thornton, Thaddeus Battle, and Milton Herndon (“Pittsburgh Soldier Hero,” “Howard Man,” “Milt Herndon”). In addition to writing articles, he wrote poetry, gave radio speeches, and translated poems and plays from Spanish into English. Much of Hughes's work from the Spanish Civil War has been collected in anthologies. However, so prolific was Hughes, and so fastidious was he in saving drafts and ensuring they reach his collection at Yale University's Beinecke Rare Book and Manuscript Library, that many unpublished works exist in archives. The four poems here represent different poetic registers and levels of polish, and they illuminate the dynamic range of Hughes's literary production during his time in Spain.

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16

Sameer, Ali Kareem, and Hasan Hadi Ali. "BLACK ATHEIST: ASPECTS OF COMMUNISM IN LANGSTON HUGHES'S SELECTED POEMS." International Journal of Humanities, Philosophy and Language 4, no. 13 (March 1, 2021): 01–08. http://dx.doi.org/10.35631/ijhpl.413001.

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This paper aims to study the perspectives of communism as a dogma in Langston Hughes's selected poems. Hughes was an African American poet who observed communism as an outlet for his problems and suffering under the social prejudice of whites. He reflected the impact of discrimination in part of the race and social segregation in most of his poems. Hughes embedded communist aspects in some of his poems like Good-Bye Christ, as an outcome of the recurrence of the daily conducts of discrimination and racism against Afro-Americans. Thus, this paper is conducted in the light of “Speaking out for Justice” to denote the injustice situations of the dark-skinned people via adopting atheism in an idealized society, America. Some questions will be articulated to uncover the ideology of Hughes in discussing his issue as such how did Hughes reflect communist trends and religious tensions in his poetry?

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17

Das, Shruti. "Écriture Feminine and the Poetry of Langston Hughes." Literary Studies 34, no. 01 (September 2, 2021): 202–12. http://dx.doi.org/10.3126/litstud.v34i01.39540.

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This paper attempts to locate Hughes’s poetic diction as Ecriture feminine since like feminist poetry the diction of his poetry is rebellious and questions the hierarchical structure of society where White people hold more power and promote the idea of racial superiority. His desire to express the angst of the Blacks finds currency in the definition and explication of feminine writing. The focus of this paper will be on analysis of the poetry of Langston Hughes in the light of ecriture feminine in order to show how Hughes counters hegemony’s repressive rhetoric, challenges the loss of agency through the language of the dominant class and recreates another symbolic order.

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18

Neupane, Khagendra. "The Intersection of Blues and Gospel in Langston Hughes's Poetry." Cognition 5, no. 1 (June 12, 2023): 63–67. http://dx.doi.org/10.3126/cognition.v5i1.55409.

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This article delves into Langston Hughes's use of blues and gospel music in his poetry. It explores how his poetry has helped challenge traditional views of African-American art. Hughes promotes African-American identity and culture, and advocates for principles such as freedom, democracy, and brotherhood. Hughes's poetry celebrates both spirituals and the blues, recognizing their power to evoke emotions and capture the essence of the human spirit. Despite the differences between the two genres, Hughes sees a greater bond that unifies them as part of the broader African-American culture. Hughes believes that his poetry should be performed and recited with musical accompaniment to enhance and strengthen communication. In this sense, music serves as a strong and unifying force that can inspire participation, dialogue, and engagement with African-American culture. This article examines how Hughes's poetry reflects the blues and gospel traditions and how his art is not isolating but ultimately unifying. By analyzing specific poems, such as "The Weary Blues" and "The Negro Speaks of Rivers," this article demonstrates how Hughes's use of blues and gospel music speaks to a broader cultural context and how it is an integral part of African-American identity. Furthermore, the article highlights how Hughes's work has been influential in promoting African-American culture and identity. Through his poetry, Hughes seeks to challenge traditional views of art and African-Americans by asserting that African-American culture is worthy of artistic representation. His use of music in his poetry helps to underscore the importance of music as a part of African-American culture, and to foster a sense of community and unity among African-Americans. This article illustrates how Hughes's poetry is not only a reflection of the blues and gospel traditions but also a representation of African-American identity and culture. Hughes's use of music in his poetry helps to break down cultural barriers and promote unity and engagement within the African-American community.

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19

Berry, Faith, and Tish Dace. "Langston Hughes: The Contemporary Reviews." African American Review 34, no. 2 (2000): 356. http://dx.doi.org/10.2307/2901262.

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20

McCluskey, John, and Steven C. Tracy. "Langston Hughes and the Blues." American Literature 61, no. 3 (October 1989): 487. http://dx.doi.org/10.2307/2926849.

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21

Lipking, Lawrence, and Arnold Rampersad. "The Life of Langston Hughes." Black American Literature Forum 21, no. 4 (1987): 467. http://dx.doi.org/10.2307/2904121.

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22

Baldwin, K. A. "Langston Hughes: Working toward Salvation." Journal of American History 93, no. 3 (December 1, 2006): 981–82. http://dx.doi.org/10.2307/4486590.

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23

Salaam. "Langston Hughes—Our Poet Supreme." Langston Hughes Review 27, no. 2 (2021): 224. http://dx.doi.org/10.5325/langhughrevi.27.2.0224.

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24

Berry, Faith. "LANGSTON HUGHES: A BIO-BIBLIOGRAPHY." Resources for American Literary Study 21, no. 1 (January 1, 1995): 162–64. http://dx.doi.org/10.2307/resoamerlitestud.21.1.0162.

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25

Cunningham, George P., and Steven C. Tracy. "Langston Hughes and the Blues." MELUS 16, no. 1 (1989): 119. http://dx.doi.org/10.2307/467587.

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26

Plante, Arthur W. "Jane Schaffer... and Langston Hughes." English Journal 90, no. 3 (January 2001): 12. http://dx.doi.org/10.2307/821294.

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27

Landsberg, Débora. "Dois poemas de Langston Hughes." Cadernos de Literatura em Tradução, no. 18 (September 30, 2017): 77–87. http://dx.doi.org/10.11606/issn.2359-5388.v0i18p77-87.

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O presente artigo apresenta a tradução para o português de dois poemas, “Dreams” e “Harlem [Dream Deferred]”, do escritor americano Langston Hughes (1902-1967). Em seguida, as traduções da autora foram analisadas segundo a metodologia proposta por Paulo Henriques Britto: examinar os componentes formais e semânticos do original segundo a contribuição que cada um deles dá ao efeito total do poema a fim de analisar objetivamente se foram reproduzidos com êxito na tradução.

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Komunyakaa, Yusef. "Langston Hughes + Poetry = The Blues." Callaloo 25, no. 4 (2002): 1140–43. http://dx.doi.org/10.1353/cal.2002.0157.

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29

Campbell. "The Timeliness of Langston Hughes." Langston Hughes Review 25, no. 1 (2019): 126. http://dx.doi.org/10.5325/langhughrevi.25.1.0126.

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30

Donnelly, Andrew. "Langston Hughes on the DL." College Literature 44, no. 1 (2017): 30–57. http://dx.doi.org/10.1353/lit.2017.0001.

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31

Eyster, Kevin. "Langston Hughes and the Blues." Journal of American Folklore 118, no. 470 (October 1, 2005): 491–92. http://dx.doi.org/10.2307/4137671.

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Amalia, Ila. "REPRESENTASI PRAKTEK PERBUDAKAN DAN PENINDASAN DALAM PUISI ‘NEGRO’ KARYA LANGSTON HUGHES: SEBUAH KAJIAN POSKOLONIAL." Diksi 29, no. 1 (March 29, 2021): 51–59. http://dx.doi.org/10.21831/diksi.v29i1.33250.

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(Title: Representation of Slavery and Oppression Practices in 'Negro' Poetry by Langston Hughes: A Postcolonial Study). This study aims to describe the forms of oppression and slavery practices caused by racial discrimination and colonialism practices. With a background of slavery experienced by blacks in this case the African nation, the analysis of this poem aims to see how: (1) The form of slavery and oppression carried out by the colonials against the colonized people depicted in the poem "Negro" by Langston Hughes, (2) Forms of struggle and response carried out by colonized nations towards the practice of oppression illustrated in the poem "Negro" by Langston Hughes. The postcolonial theory approach is used as a foundation in the analysis of the poetry. The data source is taken from a poem by Langston Hughes with the theme of discrimination and racial subordination of African-Americans entitled "Negro" written in 1922. The results show that black people have experienced oppression in the form of slavery, forced/hard workers, victims of cruelty, and art workers who express their stories and historical experiences through their songs. One of the efforts made by colonized nations to fight against colonial practices is through civil movements, including through literary works. Later this civil movement led to the discourse of the abolition of slavery throughout the world.Keywords: postcolinial, colonialism, oppression, slavery, Africa

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33

FEDORIAKA, Ludmyla, and Viktoria REVENKO. "LANGSTON HUGHES’S STYLE IN HIS STORY «ON THE ROAD»." Науковий вісник Ужгородського університету. Серія Філологія 2, no. 44 (December 19, 2020): 439–45. http://dx.doi.org/10.24144/2663-6840.2020.2(44).439-445.

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Langston Hughes (1902‒1967) is considered to be paradoxically one of the most ambiguous as well as under- standable writers of the American «Harlem Renaissance». His short stories as a key genre of his literary paradigm brought him a world fame and he is remembered now thanks to the peculiar author’s manner of writing. In this article the investigators deal with the problem of L. Hughes’s individual style, – a criterion, which, indeed, made this literary man a wide popularity among his famous contemporaries and future generations of writers. This constituent part of his creative work deserves a separate deep and detailed analysis. The authors of this article make an attempt to trace the uniqueness of L. Hughes’s style on the example of his well-known fragment «On the Road». As a result of the scientific work it was proved that the author widely used all stylistic levels – phonetics, lexicology, syntax and semasiology. On the level of phonostylistics the author of the story widely uses alliteration, onomatopoeia, graphon and italicized words which are helpful to demonstrate natural phenomena and to portray the main hero. From the viewpoint of lexicology, L. Hughes’s story is specific because the author prefers words of neutral and colloquial origin as he wants both to illustrate characterological features of Sargeant and to show the key addressee of the story. Here, we deal with the fact that L. Hughes wrote his fiction about ordinary people to be read by them, so, the choice of his word-stock is logical. Syntactically, the story «On the Road» is very representative as is considered to be suitable for realization the author’s goal. L. Hughes uses many stylistic figures in this piece of prose. Elliptical and nominal sentences, detached and parallel constructions, inversion, anaphoric sentences, repetitions, enumerations serve to reveal the main hero’s physical and psychological state. Means and devices depicting the imaginary background of the story are also presented in the text by the author. In this regard, L. Hughes uses epithets, similes, but they are frequently used in the laconic text of the story and create the image of winter and the destiny of the main hero. So, having explored stylistic peculiarities of the story «On the Road», the authors of this article came to conclusion that the author uses language media of all linguistic levels, he obtains the capaсity to combine them in a comparatively short textual space, and this combinability leads to the birth of a particular, extra-ordinary style of the author. One should take into account that this non-traditional manner of Hughes’s expressing thoughts also testifies about the fact that the usage of such style of writing is very powerful and appropriate to realize his global aim – to raise the racial problem, which was spread in America in the 30s, and which, moreover, L. Hughes was personally survived and, therefore, cordially sympathized himself. That’s why, in this story L. Hughes declares himself not only as a brilliant linguist but and as a convinced fighter against racism in the USA also with the help of his unique style of writing.

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Bolden, Tony. "Soul Talk—Langston Hughes and Nina Simone’s Friendship: A Conversation with Jason Miller." Langston Hughes Review 29, no. 2 (December 2023): 217–27. http://dx.doi.org/10.5325/langhughrevi.29.2.0217.

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ABSTRACT This interview presents Jason Miller’s research on the friendship between Langston Hughes and Nina Simone, who was known as the High Priestess of Soul. As a Hughes scholar, Miller combines his knowledge of Hughes with painstaking biographical research on Simone. In this way, he demonstrates how Hughes is connected to soul. Miller traces their friendship to Simone’s active participation in a local chapter of the NAACP when she was a high school student. Then he explains how the two artists later met, in a real sense, after Simone became a professional artist. Most important, Miller discusses the nature of their friendship, which led to their momentous collaboration on Hughes’s poem “The Backlash Blues” that Simone transformed into her own song, as evident in Ahmir “Questlove” Thompson’s film Summer of Soul.

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35

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

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

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36

Anwar, Muhammad Javaid, Basri Sattar, and Muhammad Naveed Anwar. "Art of Characterization in “Thank You, Ma'am” by Langston Hughes." IJOHMN (International Journal online of Humanities) 5, no. 1 (February 14, 2019): 10. http://dx.doi.org/10.24113/ijohmn.v5i1.82.

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Langston Hughes was an American artist, writer, and dramatist whose African-American subjects made him an essential supporter of the Harlem Renaissance of the 1920s. Langston Hughes was conceived on February 1, 1902, in Joplin, Missouri. He distributed his first lyric in 1921. He went to Columbia University, yet left following one year to travel. He proceeded to compose incalculable works of verse, writing and plays, and in addition a prominent section for the Chicago Defender. He passed away from this world on May 22, 1967. (Editors, 2014) When you were younger, has anyone treated you good or bad according to your behavior? Or do you remember any incident of your life in which you made a mistake and someone offered you a chance for changing your life? Langston Hughes' short story, “Thank You, Ma'am”, distributed in 1958, catches the two circumstances. Langston Hughes was a vital and productive essayist amid the Harlem Renaissance of the mid twentieth century. He expounded on African-American life and experience. Much thanks to You Ma'am is about what happens when a high school kid and a more seasoned working lady crash on a Harlem road. There are three major topics present in “Thank You, Ma'am”: Forgiveness and Empathy, the Power of Love and Trust, and Christian Charity. At the point when Roger first grabs the handbag of Mrs. Luella Bates Washington Jones, she wrestles him and hauls him to her outfitted room at the back of a house. The peak of the story is when Roger does not leave.

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37

Prathap Chandran, R., and P. Kumaresan. "Gynocentrism in Langston Hughes selected poetic works." RUDN Journal of Studies in Literature and Journalism 27, no. 4 (December 15, 2022): 716–25. http://dx.doi.org/10.22363/2312-9220-2022-27-4-716-725.

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Gynocentrism exclusive focuses on women both as theory and practice. Anything can be considered gynocentric when it is concerned exclusively with a female point of view. The works of Langston Hughes, which reflect the intersection of races and genders in the lives of blacks, are studied. His contributions take multiple forms including poetry, short stories, dramas and novels which are about black women's love, nature, romantic dilemmas, mother - daughter relationships, friendship, and silences. The authors analyze how gender in a special way colors female identity in Hughes' works. He expresses interdependence of genders and racial identities in his representations of black women and hence can be dubbed as gender racial. His writings are in a gender racial style, highlighting and intertwining gender and racial identities. Hughes' overcomes gender and racial stereotypes with open discussions on contentious themes. It is concluded that Hughes creates an alternative to repressive social realities by combining challenges with sensual visions.

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Fernández Alonso, Alba, and María Amor Barros del Río. "Resilience as a Form of Contestation in Langston Hughes' Early Poetry." Miscelánea: A Journal of English and American Studies 60 (November 28, 2019): 91–106. http://dx.doi.org/10.26754/ojs_misc/mj.20196289.

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The history of the African American community has been inexorably bound to the concepts of oppression, downgrading, racism, hatred and trauma. Although the association between racism and concomitant negative psychological outcome has been widely assessed, little work has been done to study the role of literature as a cultural means to promote resilience among this oppressed group. Langston Hughes (1902-1967) stands out as a novelist, poet and playwright, and is one of the primary contributors to the Harlem Renaissance movement. Following the framework of theories of resilience, this article analyses the representation of adversity and positive adaptation in Langston Hughes’s early stage poetry, and assesses his contribution to resilience among the African American people at a time of hardship and oppression.

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Abdulmawgoud, Sayed Abdulhay. "Political Concerns in Langston Hughes’s Scottsboro Limited." International Journal of Literature Studies 4, no. 1 (January 1, 2024): 01–10. http://dx.doi.org/10.32996/ijts.2024.4.1.1.

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This article aims to elucidate Langston Hughes’s political concerns as reflected in his most important political play, Scottsboro Limited (1931). Langston Hughes is a distinguished African American writer who tried his hand in almost all literary genres. He epitomized the views and ideals of the African American literary movement known as ‘The Harlem Renaissance’. In this play, he attempts to justify his race’s need to pursue their political rights and fight for the achievement of equality and liberty. This is achieved by illustrating the contaminated political atmosphere and circumstances under which African Americans were leading their life. Furthermore, the reasons that led to Hughes’s political resentment and indignation are all brought to light. In this play, he presents an outrageous example that shows the prevalence of political corruption inside the law system itself. What is noticeable about Langston Hughes is that he does not confine himself to discussing the conditions of African Americans, but he attempts to deal with the absorbed rights of other groups of people worldwide. Consequently, he saw that there was a need for an international revolution against whites’ oppression. These harsh forces were represented by the white imperialists and wealthy persons both in Europe and the USA. In Scottsboro Limited, he encourages these helpless people to get united to be able to strive against their oppressors and attain their full rights. The last point that this article handles is Hughes’s relationship with the communist part. His illustration of how the political rights of poor people internationally are down-trodden was the reason which lurked behind the racially-prejudiced attempts to relate him to the activities of Communism in American society. They accused him of being a communist, though he never was. All these aspects are crystalized in the analysis of the play.

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Gibson, Donald B., Arnold Rampersad, and Langston Hughes. "The Collected Works of Langston Hughes." African American Review 37, no. 2/3 (2003): 462. http://dx.doi.org/10.2307/1512342.

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Miller, R. Baxter, Susan Duffy, Christopher C. De Santis, and Hans Ostrom. "The Political Plays of Langston Hughes." African American Review 38, no. 4 (2004): 723. http://dx.doi.org/10.2307/4134431.

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Rampersad, Arnold. "Future Scholarly Projects on Langston Hughes." Black American Literature Forum 21, no. 3 (1987): 305. http://dx.doi.org/10.2307/2904033.

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Eyster, Kevin. "Langston Hughes and the Blues (review)." Journal of American Folklore 118, no. 470 (2005): 491–92. http://dx.doi.org/10.1353/jaf.2005.0045.

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Moss. "The Embodied Freedom of Langston Hughes." Langston Hughes Review 25, no. 1 (2019): 115. http://dx.doi.org/10.5325/langhughrevi.25.1.0115.

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Miller. "Langston Hughes: When Language Turns History." Langston Hughes Review 26, no. 2 (2020): 160. http://dx.doi.org/10.5325/langhughrevi.26.2.0160.

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McLaren, Joseph. "Langston Hughes and the Blues (review)." Research in African Literatures 34, no. 3 (2003): 167–68. http://dx.doi.org/10.1353/ral.2003.0072.

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Mullen, Edward. "Langston Hughes in Mexico and Cuba." Review: Literature and Arts of the Americas 26, no. 47 (January 1993): 23–27. http://dx.doi.org/10.1080/08905769308594356.

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Fonteneau, Yvonne, Langston Hughes, Arnold Rampersad, and David Roessel. "The Collected Poems of Langston Hughes." World Literature Today 70, no. 1 (1996): 192. http://dx.doi.org/10.2307/40151942.

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McCluskey, J. "The Political Plays of Langston Hughes." American Literature 74, no. 1 (March 1, 2002): 171–72. http://dx.doi.org/10.1215/00029831-74-1-171.

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He, Yanli. "Impact of the World Wars and the Cold War on Langston Hughes." Alea: Estudos Neolatinos 24, no. 3 (December 2022): 30–55. http://dx.doi.org/10.1590/1517-106x/202224302.

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Abstract The two World Wars and the Cold War had a profound impact on Langston Hughes. World War I and the October Revolution wove a web that connected the Soviet Union and its socialist cause to African Americans, and then the Yokinen and Scottsboro trials directly nurtured the “New Red Negro” writings with the spirit of rising “up from bondage” as oppressed people. Hughes traveled the world, became a global citizen, and assumed a cosmopolitan mission for international and racial affairs. However, the Nazi-Soviet Pact changed his view of the world. Hughes began to focus on the problems of “colored soldiers” and compared the advantages and disadvantages of the United States of America and the Soviet Union. When the Iron Curtain came about, McCarthyism drove Hughes to stay in the United States, maintain a distance from international and political affairs, confirm his national position, and rely on writing children’s books for a living, as well as translating and editing others’ works.

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