Relevant bibliographies by topics / Shange, Ntozake

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Academic literature on the topic 'Shange, Ntozake'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Shange, Ntozake"

1

Ross, Marlon B., and Ntozake Shange. "An Interview with Ntozake Shange." Callaloo 37, no. 3 (2014): 486–90. http://dx.doi.org/10.1353/cal.2014.0080.

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Elfman, Lois. "Barnard College Acquires Ntozake Shange Archive." Women in Higher Education 25, no. 7 (July 2016): 1–8. http://dx.doi.org/10.1002/whe.20325.

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Reyes, Júlia, and Adelaine LaGuardia. "SING A BLACK GIRL'S SONG: NTOZAKE SHANGE E O FEMINISMO AFRO-AMERICANO." Cadernos do IL, no. 47 (December 29, 2013): 004–20. http://dx.doi.org/10.22456/2236-6385.29433.

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RESUMO: Este artigo tem como objetivo discutir a conexão entre o feminismo norte-americano da segunda onda (do início dos anos 1960 aos anos 1980) e o feminismo negro norte-americano do mesmo período. Como o feminismo norte-americano da segunda onda começou a ser elaborado a partir da perspectiva das feministas brancas, muitas feministas negras redigiram artigos denunciando sua exclusão de antologias e estudos críticos feministas. O Movimento de Teatro Negro dialoga com a comunidade afro-americana. A peça de Ntozake Shange (1946 -), for colored girls who have committed suicide/ when the rainbow is enuf: a choreopoem (1975) emerge em 1975. Dirigindo seu texto para uma platéia feminina negra, Ntozake Shange levanta questões discutidas pelas críticas feministas negras bell hooks e Barbara Smith.PALAVRAS-CHAVE: Feminismo; Teatro negro; Literatura negra.
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Keleta-Mae, Naila. "Black Girl Thought in the Work of Ntozake Shange." Girlhood Studies 12, no. 2 (July 1, 2019): 32–47. http://dx.doi.org/10.3167/ghs.2019.120204.

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In this article I examine the performances of black girlhood in two texts by Ntozake Shange—the choreopoem “for colored girls who have considered suicide when the rainbow is enuf” (1977) and the novel Sassafras, Cypress and Indigo (1982). The black girls whom Shange portrays navigate anti-black racism in their communities, domestic violence in their homes, and explore their connections with spirit worlds. In both these works, Shange stages black girls who make decisions based on their understanding of the spheres of influence that their race, gender, and age afford them in an anti-black patriarchal world dominated by adults. I draw, too, from Patricia Hill Collins’s work on feminist standpoint theory and black feminist thought to introduce the term black girl thought as a theoretical framework to offer insights into the complex lives of black girls who live in the post-civil rights era in the United States.
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Maringolo, Cátia Cristina Bocaiuva, and Caio Ricardo Faiad da Silva. "As tessituras de diálogo: África-diáspora na literatura das escritoras negras Noémia de Sousa, Ntozake Shange e Conceição Evaristo." Litterata: Revista do Centro de Estudos Hélio Simões 7, no. 1 (October 2, 2017): 104–19. http://dx.doi.org/10.36113/litterata.v7i1.1471.

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A proliferação da produção literária e artística de mulheres negras é um fenômeno que ocorre em escala mundial. Estas mulheres negras, por meio da palavra poética, instauram uma literatura de resistência, um espaço quilombola frente às constantes opressões de gênero, de raça, de etnia e de classe. Escritoras negras como a moçambicana Noémia de Sousa, a estadunidense Ntozake Shange e a brasileira Conceição Evaristo, cada uma escrevendo, sobrevivendo e resistindo em países tão distantes, e ao mesmo tempo com características semelhantes. Para não cair no reducionismo analítico ou em estereotipias, o presente trabalho tem como objetivo apresentar um estudo comparativo dos diálogos África-Diáspora presente nas obras dessas escritoras. Em suma, é possível identificar que na obra de Noémia de Sousa o diálogo é realizado sincronicamente por meio das relações com a contemporaneidade da escritora, enquanto que em Ntozake Shange e Conceição Evaristo o diálogo é diacrônico ao relacionar o presente com o passado escravista de seus países de origem, no entanto, enquanto Shange passadifica o presente, Evaristo presentifica o passado. Dessa forma, as escritoras se posicionam criticamente e politicamente contra as diversas opressões ao criar em suas obras uma estética da resistência.
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Brown-Guillory. "Ntozake Shange: A Cultural War Correspondent—An Interview." CLA Journal 62, no. 2 (2019): 111. http://dx.doi.org/10.34042/claj.62.2.0111.

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Brown-Guillory, Elizabeth. "Ntozake Shange: A Cultural War Correspondent—An Interview." CLA Journal 62, no. 2 (2019): 111–31. http://dx.doi.org/10.1353/caj.2019.0007.

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Mahurin, Sarah. ""Speakin Arms" and Dancing Bodies in Ntozake Shange." African American Review 46, no. 2-3 (2013): 329–43. http://dx.doi.org/10.1353/afa.2013.0068.

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Wright. "Ntozake Shange and a Literary Genealogy of Black Girlhood." CLA Journal 62, no. 1 (2019): 96. http://dx.doi.org/10.34042/claj.62.1.0096.

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Wright, Nazera Sadiq. "Ntozake Shange and a Literary Genealogy of Black Girlhood." CLA Journal 62, no. 1 (2019): 96–110. http://dx.doi.org/10.1353/caj.2019.0009.

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Dissertations / Theses on the topic "Shange, Ntozake"

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Sams, Laura L. "Tina McElroy Ansa, Gloria Naylor, Ntozake Shange and the christio-conjure literary tradition." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1995. http://digitalcommons.auctr.edu/dissertations/2213.

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The Christio-Conjure paradigm, a product of both Christianity and Conjuring, historically has provided an alternate set of ideologies for African Americans. As an ontological archetype, the Christio-Conjure paradigm is centered around a set of metaphysical phenomenon featuring various conventions such as religious/moral guidance, natural healing, and contact with spirits. To a large extent, the Christio-Conjure paradigm functions within a matriarchal network designed to extol the African American woman as the life force and mother of humanity. A corpus of African American women writers have exhibited a critical interest in the Christio-Conjure paradigm because of its cultural link with the past and because of the Afrofemcentric allure associated with this ancient, yet ever-active, African American tradition. Tina McElroy Ansa, Gloria Naylor, and Ntozake Shanqe are three authors who contribute to the matrix of African American women’s writing via their novels, Baby of the Family (1988), Mama Day (1989), and Sassafrass, Cypress & Indigo (1982) respectively; each author functions as a literary Christio-Conjure woman, fashioning worlds of women richly impacted by the power of conjure.
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Richard, Jocelyn M. "A Thematic Exploration of "For Colored Girls Who Have Considered Suicide/ When the Rainbow is Enuf," by Ntozake Shange." Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/RichardJM2001.pdf.

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Phillips, Rebecca S. "The emerging female hero in the fiction of Alice Walker, Ntozake Shange, Ursula Le Guin, and Barbara Kingsolver." Morgantown : [West Virginia University Libraries], 1998. http://157.182.199.25/etd/templates/showETD.cfm?recnum=115.

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Thesis (Ph. D.)--West Virginia University, 1998.
Title from document title page. Document formatted into pages; contains v, 183 p. Vita. Includes abstract. Includes bibliographical references (p. 174-182).
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Pinkney, Mikell. "Recovering dramatic losses : reading Ntozake Shange's Spell #7 through African-American dramatic traditions." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210345297.

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Thompson, Crystal E. "Examining frustration and anger in Nella Larsen's Quicksand and Passing and Ntozake Shange's for colored girls who have considered suicide when the rainbow is enuff." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2003. http://digitalcommons.auctr.edu/dissertations/1121.

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This study examines Nella Larsen's Quicksand and Passing and Ntozake Shange's for colored girls who have considered suicide when the rainbow is enuff and discusses the way these authors' works show African-American female characters' overcoming their frustration and anger as a result of racism and sexism. In Quicksand, Helga Crane attempts to overcome her frustrations by escapism. In Passing, Larsen depicts two female characters who use "passing" to overcome their frustration and anger. For one of the characters this works relatively well, but creates problems for the other, which results in her death. Further, Shange's female characters are forced to deal with frustration as a result of misogyny in the form of rape and emotional and physical abuse. However, Shange illustrates how these women vent their anger through words and give hope for other frustrated African-American women.
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(8757423), Rachel O. Smith. "Theorizing Black Womanhood in Art: Ntozake Shange, Jamila Woods, and Nitty Scott." Thesis, 2020.

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Black women are inventing new epistemologies to better fit their own experience, and they are putting these new ways of knowing into action within their communities to generate collective change through art. Black women’s theories of their own lived experience publicly have been consistently limited by narrow definitions of what it means to create a “Theory.” In this thesis, I will analyze the work of three contemporary Black woman performance artists, Ntozake Shange, Jamila Woods, and Nitty Scott, to identify the ways in which Black women do indeed theorize within these public spaces in ways that are innovative and complex. I focus on these artists insights on three critical sites: home, school, and community. I read Shange’s for colored girls who have considered suicide when the rainbow is enuf, Woods’ Legacy!Legacy!, and Scott’s Creature! alongside Patricia Hill Collins’ Black Feminist Thought and bell hooks’ Teaching to Transgress to explore the innovative theoretical spaces Black women have created in their art. Ultimately, I argue that acknowledging this process of using popular culture as a space for theoretical discourse can provide innovative tools for expression for Black women who do not, cannot, or do not wish to participate in academic discourses. Understanding these tools can empower Black women to explore their humanity and to understand the contexts, which Collins refers to as “domains,” in which Black women can claim and expand their power.

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Effiong, Philip Uko. "In search of a model for African-American drama the example of Lorraine Hansberry, Amiri Baraka, and Ntozake Shange /." 1994. http://catalog.hathitrust.org/api/volumes/oclc/32145966.html.

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Thesis (Ph. D.)--University of Wisconsin--Madison, 1994.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 341-374).
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Books on the topic "Shange, Ntozake"

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Lester, Neal A. Ntozake Shange: A critical study of the plays. New York: Garland Pub., 1995.

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2

Black women's writing: Quest for identity in the plays of Lorraine Hansberry and Ntozake Shange. New Delhi: Prestige Books, 1998.

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3

Effiong, Philip U. In search of a model for African-American drama: A study of selected plays by Lorraine Hansberry, Amiri Baraka, and Ntozake Shange. Lanham, MD: University Press of America, 2000.

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Brown, Betsey. Ntozake Shange. ST. MARTIN'S PRESS, 1985.

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Ntozake Shange. Amer Audio Prose Library Inc, 1989.

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Shange, Ntozake. Ntozake Shange Interview. American Audio Prose Library, 1989.

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7

Novels for Students: Presenting Analysis, Context, and Criticism on Commonly Studied Novels (Novels for Students). Gale Cengage, 2001.

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Novels for Students: Presenting Analysis, Context, and Criticism on Commonly Studied Novels (Novels for Students). Gale Cengage, 2001.

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Thomason, Elizabeth. Novels for Students: Presenting Analysis, Context, and Criticism on Commonly Studied Movels (Novels for Students). Gale Cengage, 2001.

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Book chapters on the topic "Shange, Ntozake"

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Schmidt, Kerstin. "Shange, Ntozake." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18664-1.

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Schmidt, Kerstin. "Shange, Ntozake: Das dramatische Werk." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18665-1.

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3

Nicole, M. Morris Johnson. "Ntozake Shange and the Choreopoem." In The Routledge Companion to African American Theatre and Performance, 333–36. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-66.

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Griffin, Gabriele. "‘Writing the Body’: Reading Joan Riley, Grace Nichols and Ntozake Shange." In Black Women’s Writing, 19–42. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22504-0_2.

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"Ntozake Shange." In African American Women Playwrights, 195–245. Routledge, 2012. http://dx.doi.org/10.4324/9780203054826-15.

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"NTOZAKE SHANGE." In Twentieth Century Theatre: A Sourcebook, 345–48. Routledge, 2002. http://dx.doi.org/10.4324/9780203214671-93.

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Osumare, Halifu. "Dancing Back into the San Francisco–Oakland Bay Area, 1973–1976." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0005.

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Chapter 4 chronicles the author’s return to her home area after five years, now as a professional dancer-choreographer. She establishes her professional reputation in the Bay Area, one that will serve as the foundation of her future work as a regional dance catalyst and cultural activist. As an artist, she develops the artistic theme central to her developing career in The Evolution of Black Dance. She creates and produces several evening-length productions during this three-year period, begins to learn arts administration, and forms Halifu Productions, a company that helped catalyse the mid-70s black dance scene in the Bay Area. She also meets the poet Ntozake Shange and artistically collaborates with her and her poems on a project that will become the famous production of For Colored Girls Who Have Considered Suicide When the Rainbow Is Enough. Ntozake Shange gives her an African name, and the author becomes Halifu Osumare.
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Olaniyan, Tejumola. "Ntozake Shange: The Vengeance of Difference, or the Gender of Black Cultural Identity." In Scars of Conquest/Masks of Resistance, 116–38. Oxford University Press, 1995. http://dx.doi.org/10.1093/acprof:oso/9780195094053.003.0007.

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Williamson, Terrion L. "From Blaxploitation to Black Macho." In Black Cultural Production after Civil Rights, 183–201. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.003.0009.

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For commentators concerned with black cultural production in the contemporary era, there are few images more controversial than the angry black woman, particularly as it is reproduced within the confines of reality television. This chapter traces the lineage of the angry black woman back to key black feminist texts of the 1970s, arguing that the trope emerges out of a distinct sociopolitical history that was codified within both public policy and popular culture throughout the decade. Blaxploitation films became the site where black women’s anger was most visibly commodified, even as black women involved in an emergent black feminist movement worked to combat withering social commentaries that included Daniel Patrick Moynihan’s matriarchy thesis and sexist takedowns of black women writers like Ntozake Shange and Michele Wallace.
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Nunes, Ruan. "O que Lorraine Hansberry e Ntozake Shange nos contam sobre violência de gênero em seus escritos." In Literaturas de expressão em língua inglesa: entre culturas, leituras e interpretações, 17–39. Mares Editores, 2019. http://dx.doi.org/10.35417/978-85-5927-062-4_17.

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You might also be interested in the extended bibliographies on the topic 'Shange, Ntozake' for particular source types:
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