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Relevant bibliographies by topics / Moses, man of the mountain (Hurston, Zora Neale)

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Academic literature on the topic 'Moses, man of the mountain (Hurston, Zora Neale)'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 January 2023

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Journal articles on the topic "Moses, man of the mountain (Hurston, Zora Neale)"

1

Cucarella-Ramon, Vicent. "The Aesthetics of Healing in the Sacredness of the African American Female’s Bible: Zora Neale Hurston’s Moses, Man of the Mountain." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 69. http://dx.doi.org/10.14198/raei.2016.29.04.

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Zora Neale Hurston’s Moses, Man of the Mountain (1939) stands in the tradition of African American use of the biblical musings that aims to relativize and yet uphold a new version of the sacred story under the gaze of a black woman that manipulates and admonishes the characters of the gospel to offer a feminist side of the Bible. The novel discloses Hurston’s mastering of the aesthetics that black folklore infused to the African American cultural experience and her accommodation to bring to the fore the needed voice of black women. Rejecting the role of religion as a reductive mode of social protest, the novel extends its jeremiadic ethos and evolves into a black feminist manifesto in which a world without women equates disruption and instability. Hurston showcases the importance of an inclusive and ethic sacred femininity to reclaim a new type of womanhood both socially and aesthetically. Three decades before the post-colonial era, Hurston’s bold representation of the sacred femininity recasts the jeremiad tradition to pin down notions of humanitarianism, social justice and the recognition of politics of art. All in all, in an era of a manly social protest literature Hurston opts for portraying the folkloric aesthetics of spirituality as creative agency simply to acknowledge the leadership of the sacred femininity that black women could remodel into art.

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2

Stringer, Dorothy. "Scripture, Psyche, and Women in Zora Neale Hurston’s Moses, Man of the Mountain." Palimpsest: A Journal on Women, Gender, and the Black International 5, no. 2 (2016): 182–201. http://dx.doi.org/10.1353/pal.2016.0019.

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3

Thompson, Mark Christian. "National Socialism and Blood-Sacrifice in Zora Neale Hurston's "Moses, Man of the Mountain"." African American Review 38, no. 3 (2004): 395. http://dx.doi.org/10.2307/1512442.

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4

"Intertextualité,allégorie et allusions bibliques dans Moses, Man of the Mountain de Zora Neale Hurston." International Journal of Humanities, Social Sciences and Education 7, no. 7 (2020). http://dx.doi.org/10.20431/2349-0381.0707006.

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Books on the topic "Moses, man of the mountain (Hurston, Zora Neale)"

1

Wright, Melanie J. Moses in America: The Cultural Uses of Biblical Narrative. Oxford University Press, Incorporated, 2002.

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Moses in America: The Cultural Uses of Biblical Narrative (American Academy of Religion Cultural Criticism Series). An American Academy of Religion Book, 2002.

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Book chapters on the topic "Moses, man of the mountain (Hurston, Zora Neale)"

1

Vásquez, Sam. "Stiff Words Frighten Poor Folk: Humor, Orality, and Gender in Zora Neale Hurston’s Moses, Man of the Mountain." In Humor in the Caribbean Literary Canon, 25–53. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137031389_2.

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2

Cohen, J. Laurence. "Moses vs. the Masses." In Excavating Exodus, 87–116. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979916.003.0005.

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Through Moses, Zora Neale Hurston alludes to another figure seeking to lead his recalcitrant people to the Promised Land—Alain Locke. Like Locke, Hurston’s Moses is a cultural-nationalist, values self-reliance, and levels authoritative judgments. The benefit of reading Moses, Man of the Mountain(1939) in the context of Locke’s criticism of Hurston’s work is that it allows us to see how Hurston is engaged not only in critiquing authoritarian politics, but also in interrogating the politics of aesthetic uplift. Mosesstands as an alternative model to Locke’s conception of how to incorporate folk culture into fiction. Hurston rejects the authoritarian strand of Locke’s cultural politics by valuing folk culture on its own terms, rather than treating it as a mere source of inspiration for true art. Hurston participates in what she perceives to be an ongoing oral and literary tradition, instead of seeking to transform folk culture into something more palatable for highbrow audiences.

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3

Ford, James Edward. "Zora Neale Hurston’s Moses, Man of the Mountain." In Thinking Through Crisis, 193–243. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286904.003.0005.

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Notebook 4 questions the impact of the dark proletariat’s activities on its own affects. It also ponders how the theological imaginary enables or represses liberatory political visions during social breakdown. It investigate Hurston’s novel Moses, Man of the Mountain: An Anthropology of Power, its contemporary relevance during the “second Great Depression,” its place in Hurston’s intellectual-aesthetic project, and the Spinozist and Nietzschean philosophies informing Hurston’s take on several key themes regarding the multitude and messianism.

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4

"ZORA NEALE HURSTON’S MOSES, MAN OF THE MOUNTAIN:." In Thinking Through Crisis, 193–243. Fordham University Press, 2019. http://dx.doi.org/10.2307/j.ctvq4bz2n.8.

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5

"Notebook 4. Zora Neale Hurston’s Moses, Man of the Mountain: An Anthropology of Power." In Thinking Through Crisis, 193–243. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823286935-006.

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6

"Reading Zora Neale Hurston’s Textual Synthesis in Jonah’s Gourd Vine and Moses, Man of the Mountain." In The Collage Aesthetic in the Harlem Renaissance, 161–98. Routledge, 2016. http://dx.doi.org/10.4324/9781315240619-13.

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