Relevant bibliographies by topics / Sonia Sanchez

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

Academic literature on the topic 'Sonia Sanchez'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Sonia Sanchez"

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Cage, Sharday. "Cussin’ cuz Sonia Sanchez. . ." African American Review 53, no. 4 (2020): 333. http://dx.doi.org/10.1353/afa.2020.0044.

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Melhem, D. H. "Sonia Sanchez: Will and Spirit." MELUS 12, no. 3 (1985): 73. http://dx.doi.org/10.2307/467122.

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Clifton, Lucille, Sonia Sanchez, and Eisa Davis. "Lucille Clifton and Sonia Sanchez: A Conversation." Callaloo 25, no. 4 (2002): 1038–74. http://dx.doi.org/10.1353/cal.2002.0149.

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Eshe-Carmen, Aisha. "Review: homegirls and handgrenades by Sonia Sanchez." Explorations in Ethnic Studies ESS-6, no. 1 (1986): 67–68. http://dx.doi.org/10.1525/ess.1986.6.1.67.

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Sanchez, Sonia, and Susan Kelly. "Discipline and Craft: An Interview with Sonia Sanchez." African American Review 34, no. 4 (2000): 679. http://dx.doi.org/10.2307/2901425.

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Kelly, Susan. "Discipline and Craft: An Interview with Sonia Sanchez." African American Review 50, no. 4 (2017): 1033–41. http://dx.doi.org/10.1353/afa.2017.0158.

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Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.

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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.
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Bazemore, Chanae D. "The Between Story : Physical and Psychic Trauma in the Poetry of Sonia Sanchez and Lucille Clifton." Culture & History Digital Journal 2, no. 2 (2013): e030. http://dx.doi.org/10.3989/chdj.2013.030.

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Derricotte, Toi. "For Sonia Sanchez on the Publication of Shake Loose My Skin, 1999." Callaloo 22, no. 4 (1999): 1027. http://dx.doi.org/10.1353/cal.1999.0154.

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Furaih, Ameer Chasib. "‘Let no one say the past is dead’: History wars and the poetry of Oodgeroo Noonuccal and Sonia Sanchez." Queensland Review 25, no. 1 (2018): 163–76. http://dx.doi.org/10.1017/qre.2018.14.

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AbstractThe histories of Australian Aboriginal and African American peoples have been disregarded for more than two centuries. In the 1960s, Aboriginal and African American civil rights activists addressed this neglect. Each endeavoured to write a critical version of history that included their people(s). This article highlights the role of Aboriginal Australian poet Oodgeroo Noonuccal (formerly Kath Walker) (1920–93) and African American poet Sonia Sanchez (born 1934) in reviving their peoples’ history. Using Deleuze and Guattari's concept of ‘minor literature’, the essay shows how these poets deterritorialise the English language and English poetry and exploit their own poetries as counter-histories to record milestone events in the history of their peoples. It will also highlight the importance of these accounts in this ‘history war’. It examines selected poems from Oodgeroo's My People: A Kath Walker Collection and Sanchez's Home Coming and We A BaddDDD People to demonstrate that similarities in their poetic themes are the result of a common awareness of a global movement of black resistance. This shared awareness is significant despite the fact that the poets have different ethnicities and little direct literary impact upon each other.
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Dissertations / Theses on the topic "Sonia Sanchez"

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Stanton, Brandi. "On location race and family in the poetry of Sonia Sanchez, June Jordan, and Cathy Song /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378394.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2009.<br>Title from PDF t.p. (viewed on Jul 8, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3857. Adviser: Susan Gubar.
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Kim, Heejung. "THE OTHER AMERICAN POETRY AND MODERNIST POETICS: RICHARD WRIGHT, JACK KEROUAC, SONIA SANCHEZ, JAMES EMANUEL, AND LENARD MOORE." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1523964596644369.

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Lawrence, David Todd. ""Negotiating cooly" : the intersection of race, gender, and sexual identity in Black Arts poetry /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3100056.

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Aqeeli, Ammar Abduh. "The Nation of Islam's Perception of Black Consciousness in the Works of Amiri Baraka, Sonia Sanchez, and Other Writers of the Black Arts Movement." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1523466358576864.

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Salvia, Matthew P. Jr. "Narratives and Nationalisms: The Cognitive Politics of Neoliberal Multiculturalism and Radical Black Thought, 1945-2012." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334582386.

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Bateman, Richard Gethin. "Improvising resistance : jazz, poetry, and the Black Arts Movement, 1960-1969." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/287563.

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This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.
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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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Books on the topic "Sonia Sanchez"

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Sanchez, Sonia. Sonia Sanchez Afroamerican dream: La protesta diventa cultura. Aracne, 2011.

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Joyce, Joyce Ann. Ijala: Sonia Sanchez and the African poetic tradition. Third World Press, 1996.

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Funk, Allison. Living at the epicenter: The 1995 Morse Poetry Prize selected and introduced by Sonia Sanchez. Northeastern University Press, 1995.

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Sonia Sanchez VHS Videocassette (Lannan Literary Videos). Lannan Foundation, 1991.

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Joyce, Joyce A. Conversations With Sonia Sanchez (Literary Conversations Series). University Press of Mississippi, 2007.

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Conversations With Sonia Sanchez (Literary Conversations Series). University Press of Mississippi, 2007.

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Joyce, Joyce Ann. Ijala: Sonia Sanchez and the African Poetic Tradition. Third World Press, 1996.

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Joyce, Joyce Ann. Ijala: Sonia Sanchez and the African Poetic Tradition. Third World Press, 1997.

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Nation of Islam and Black Consciousness: The Works of Amiri Bakara, Sonia Sanchez, and Other Writers. Lang Publishing, Incorporated, Peter, 2019.

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Morel, Domingo. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190678975.003.0007.

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On January 18, 2014, Newark was once again at the center of the black political power universe, as it had been in July 1967, when the city hosted the first National Conference on Black Power. This time, generations of activists gathered in Newark to commemorate the life of Amiri Baraka (formerly LeRoi Jones), a poet, an activist, and one of the most influential black political and intellectual figures in the late 20th century. The ceremony was officiated by the actor and activist Danny Glover and included performances and poetry readings, including a poem written by Maya Angelou and read by Sonia Sanchez. The scholar Cornel West also spoke at the funeral, and the Rev. Jesse Jackson spoke to an audience of thousands the night before at Baraka’s wake....
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Book chapters on the topic "Sonia Sanchez"

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De Lancey, Frenzella E. "Teaching Four African American Female Poets in Context: Lucy Terry, Phillis Wheatley, Frances E. W. Harper, and Sonia Sanchez." In Teaching African American Women’s Writing. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9781137086471_5.

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Hakutani, Yoshinobu. "Cross-Cultural Poetics Sonia Sanchez’s Like the Singing Coming off the Drums." In Haiku and Modernist Poetics. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230100916_9.

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Hakutani, Yoshinobu. "Cross-Cultural Poetics: Sonia Sanchez’s Like the Singing Coming Off the Drums." In Cross-Cultural Visions in African American Literature. Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119123_4.

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Ryan, Jennifer D. "Nationhood Re-Formed: Revolutionary Style and Practice in Sonia Sanchez’s Jazz Poetics." In Post-Jazz Poetics. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230109094_3.

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Zheng, John. "Sonia Sanchez:." In With Fists Raised. Liverpool University Press, 2021. http://dx.doi.org/10.2307/j.ctv1prsrhz.7.

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Taylor, Ula Yvette. "The Appeal of Black Nationalism and the Promise of Prosperity." In The Promise of Patriarchy. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469633930.003.0010.

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This chapter explores the Nation of Islam conversion of activists Sonia Sanchez and Gwendolyn Simmons, after the assassination of Minister Malcolm X. Why political activists found a political home in the Nation post-1965 underscores how the Nation filled a vacuum as a Black Power alternative. Believers wanted the promises of wealth and protection, and the University of Islam evidenced the building of an independent Nation and it served to ground the movement’s teachings to children. Sonsyrea Tate’s schooling underscores how girls and teenagers were made into Muslim women for a Black Nation. The remaking of women into an Islamic womanhood at times clashed with revolutionary change.
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Gussow, Adam. "The Blues Revival and the Black Arts Movement." In Whose Blues? University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469660363.003.0010.

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This chapter, which originally appeared in somewhat different form in New Thoughts on the Black Arts Movement (2006), places that Black literary and cultural revolution in dialogue with another cultural earthquake of the 1960s, the emergence of a mass white audience for blues music. For some Black Arts writers and thinkers like Ron Karenga, Sonia Sanchez, and Haki Madhubuti (Don L. Lee), the blues savored of black southern abjection and were, in Karenga’s dismissive judgment, “invalid,” an outmoded form without the political utility urgently needed in a time of Black revolution. Yet for many others, led by Larry Neal, the blues were a cherished ancestral rootsock and inalienably Black cultural inheritance—“the essential vector of the Afro-American sensibility and identity.” Even as the blues were being debated within the Black intelligentsia, a white blues revolution was transpiring, one in which white fans imagined themselves forming a beloved community with aged Black blues players who had been brought back into national circulation at festivals and college gigs, and in which white blues artists like Paul Butterfield and Janis Joplin, enjoying mass popularity, drew the fierce condemnation of Black Arts writers Ron Welburn and Stephen E. Henderson.
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