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Relevant bibliographies by topics / Their eyes were watching God (Hurston)

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Academic literature on the topic 'Their eyes were watching God (Hurston)'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Their eyes were watching God (Hurston)"

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Vukelić, Tatjana. "Understanding Zora Neale Hurston's Their Eyes Were Watching God." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 99–107. http://dx.doi.org/10.4312/an.40.1-2.99-107.

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The work of Zora Neale Hurston, in particular, the novel Their Eyes Were Watching God, has been the object of more than a decade of critical attention. But, in addition to the critical consideration of Hurston's writings, her work has received the level of institutional support necessary for Hurston to enter the American literary mainstream. The article addresses the issue of black women literary tradition and the search for freedom and identity in the white American social and cultural environment.

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Pérez García, Ana Belén. "The Tragic Mulatta and Storytelling in Their Eyes Were Watching God." Grove - Working Papers on English Studies 26 (October 24, 2019): 71–88. http://dx.doi.org/10.17561/grove.v26.a4.

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The figure of the tragic mulatta placed its origin in antebellum literature and was extensively used in the literature of the nineteenth and twentieth century. Much has been written about this literary character in a time when the problem of miscegenation was at its highest point, and when studies established that races were inherently different, meaning that the black race was inferior to the white one. Many authors have made use of this trope for different purposes, and Zora Neale Hurston was one of them. In her novel Their Eyes Were Watching God, Hurston creates Janie, a mulatta that a priori follows all the characteristics of this type of female character who, however, breaks away from most of them. She overcomes all stereotypes and prejudices, those imposed on her because of her condition of interracial offspring, and is able to take charge of her own life and challenge all these impositions feeling closer to her blackness and celebrating and empowering her female identity. In this vein, storytelling becomes the liberating force that helps her do so. It will become the tool that will enable her to ignore the need of passing as a white person and provide her with the opportunity to connect with her real identity and so feel free and happy, breaking with the tragic destiny of mulatta characters. Keywords: storytelling, tragic mulatta, blackness, Hurston.

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Hattenhauer, Darryl. "Hurston's their Eyes were Watching God." Explicator 50, no. 2 (January 1992): 111–12. http://dx.doi.org/10.1080/00144940.1992.9937921.

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Ghauri, Qasim Javed, Muhammad Ehsan, Quratul Ain Shafique, Muhammad Zohaib Khalil, and Atta-ul Mustafa. "Description of Subjugated Woman in ZoraNaele Hurston’s “Their Eyes were Watching God”: A Feminist Analysis." Asian Journal of Humanity, Art and Literature 6, no. 2 (December 31, 2019): 119–38. http://dx.doi.org/10.18034/ajhal.v6i2.357.

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This study aims to explore the subjugated woman in male dominant society in ZoraNaele Hurston’s novel “Their Eyes Were Watching God”. “Their Eyes Were Watching God” has become the most widely read and highly acclaimed novel in the canon of African-American Literature. One of the most important and enduring books of the twentieth century, “Their Eyes Were Watching God” brings to life a Southern love story with the wit and pathos found only in the writing of ZoraNeale Hurston. The novel follows the fortunes of Janie Crawford, a woman living in the black town of Eaton, Florida. This study spotlights how women live under social restrained destiny; where they suffer letdown, thwarting, dismay and mocking. Subjugation against women which transcends all natural, ethnic and class boundaries. Women are mistreated by patriarchy financially, politically, socially and mentally. Where there is patriarchy, the woman is the other. She's objectified and marginalized, characterized just by her distinction from “ale standard”. All women’s activist movement specifically advances social change and women’ equality. A woman is not considered an equal, but rather the other, and thus inferior to a man. All these problems and incidents are dangerous for women’s identity. The research deals with major aspects of hegemonic masculinity, and violence against women. This research will study the threats to female identity in the light of Lois Tyson’s feministic views.

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Davis, Amber. "Book Review: Zora Neale Hurston, Haiti, and their eyes were watching God." Affilia 29, no. 4 (October 14, 2014): 512–13. http://dx.doi.org/10.1177/0886109914531959.

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Liu, Jiana. "An Analysis of the Narrative Function of the Economic Elements in Their Eyes Were Watching God." E3S Web of Conferences 235 (2021): 01070. http://dx.doi.org/10.1051/e3sconf/202123501070.

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In Zora Neale Hurston’s representative work, Their Eyes Were Watching God, economic elements occupy a large proportion. This paper aims to analyze economic elements and explore the narrative function of the economic elements in the novel: to participate in the construction of the social background, to advance the development of the plot and create the conflict between characters, to promote the shaping of the characters. Through the narrative function of economic elements in the above aspects, Hurston explores and reflects on the economic status of black women, the value of black women’s life, and the equal status of black men and women in society.

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Aftab, Rizwan, Asim Aqeel, and Saba Zaidi. "Semantic Set of N-Word Choices in Afro-American Fiction: A Corpus Analysis of Hurston's Their Eyes Were Watching God." Global Social Sciences Review VI, no. I (March 30, 2021): 65–72. http://dx.doi.org/10.31703/gssr.2021(vi-i).08.

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This study explores the linguistic selection focusing on the use of N-word choice by African-American fiction writers. This study explains the basic concepts of language and language use, language as a text and discourse, and also the function it plays within the context. With Halliday and Hassan's semantic set of choices, this study argues that Zora Neale Hurston does not seem aware of consciously using N-words in her novel, but her use of Nword linguistic choice to communicate the theme of race is in line with her true reflection of the society and culture she is born and bred in. Hurston might have used N-word deliberately both to appropriate lexical choice with that of characters' roles as many of the Harlem Renaissance writers did and to establish a kind of community building and collective cultural solidarity, the major determinants of Hurston's use of the N-word in Their Eyes Were Watching God.

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Milvert, Kaitlynn N. "Becoming God: Cycles of Rebirth and Resurrection in Their Eyes Were Watching God." IU Journal of Undergraduate Research 2, no. 1 (May 31, 2016): 13–18. http://dx.doi.org/10.14434/iujur.v2i1.20920.

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This paper reexamines African-American writer and anthropologist Zora Neale Hurston’s presentation of the self in Their Eyes Were Watching God (1937), generally considered one of the most important African-American novels of the twentieth century. Originally criticized by Hurston’s contemporaries as a retrograde folk portrait of African-American life, Their Eyes presents the oral narrative of Hurston’s protagonist, Janie, a woman surrounded by natural and social cycles. Building on the novel’s allusive title and the convergent Biblical and folkloric frameworks of the work, I trace the evolving concept of “God” throughout the novel as external forces continually shape and reshape Janie’s world for her, questioning whether she can retain any individual agency navigating through these cyclical, predetermined pathways. The redefined vision of the individual that emerges from this reading counters the criticism of Hurston’s contemporaries, as Janie herself assumes the role of “God” at the novel’s conclusion and gains the power to create her own cycles, free from external control. I thus argue that the novel transcends its supposed function as a depiction of the African-American self to make a broader, humanistic claim for the power of the individual, not contingent on social distinctions.

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Jordan, Jennifer. "Feminist Fantasies: Zora Neale Hurston's Their Eyes Were Watching God." Tulsa Studies in Women's Literature 7, no. 1 (1988): 105. http://dx.doi.org/10.2307/464063.

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English, Daylanne K., and Cheryl A. Wall. "Zora Neale Hurston's Their Eyes Were Watching God: A Casebook." African American Review 35, no. 4 (2001): 667. http://dx.doi.org/10.2307/2903295.

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Dissertations / Theses on the topic "Their eyes were watching God (Hurston)"

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Noel, Carol Anne. "The function of folklore in Zora Neale Hurston's Their eyes were watching God." Connect to resource, 1985. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1169742815.

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Nordhoff-Beard, Josephine. "The Paradoxes of Autobiography, Fiction, and Politics in Their Eyes Were Watching God." Scholarship @ Claremont, 2020. https://scholarship.claremont.edu/scripps_theses/1394.

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This thesis establishes parallel claims about how women’s autobiography as a genreintersects with fiction as a means to share an author’s opinions on issues of race, gender,class, and topics that the publishing industry deems ‘controversial’, using Zora Neale Hurston’s works Their Eyes Were Watching God and Dust Tracks on a Road as points of comparison. Throughout this thesis, I will show that Their Eyes Were Watching God is a novel that by virtue of its content is a political novel because of how it represents an overlooked demographic of people and the novel’s ripple effect on later black female writers as one of the first novels that celebrates black female joy. TEWWG does the work of literary representation that publishers did not allow DToaR to do because of the fear that the book would not sell as well if it included more of Hurston’s own political perspective. The second claim that I make is that TEWWG is first dismissed because of its lack of ‘seriousness’ in subject matter by Hurston’s peers, but its use of nature metaphors like the horizon and the tree and motifs like desire and dreams allow for issues of gender, race, class, and love to be discussed because they are shrouded in a literary image disguise.

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Randall, Heather Sharlene Higgs. "Humans and the Red-Hot Stove: Hurston's Nature-Caution Theorizing in Their Eyes Were Watching God." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/9107.

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This paper gives critical attention to the nature versus caution porch conversation in Zora Neale Hurston's Their Eyes Were Watching God, arguing that this is a legitimate addition to the anthropological discussion of nature versus culture. Addressing literary critics as well as scholars of the environmental humanities and of multispecies studies, I argue that Hurston's nature-caution discussion is a helpful epistemology which Hurston employs throughout her novel to suggest a single, unified way of understanding the human and nonhuman.

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Lima, Kalina Saraiva de. ""Love is Lak de Sea": Figurative Language in Zora Neale Hurston's Their Eyes Were Watching God." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0311102-144528/unrestricted/limak041902.pdf.

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Vass, Verity. "Aspects of narration and voice in Zora Neale Hurston’s Their Eyes Were Watching God." The University of the Western Cape, 2017. http://hdl.handle.net/11394/6467.

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Masters of Art
Zora Neale Hurston is a significant figure in American fiction and is strongly associated with the Harlem Renaissance, the period noted for the emergence of literature by people of African-American descent. Hurston worked as a writer of fiction and of anthropological research and this mini-thesis will discuss aspects of her novel, Their Eyes Were Watching God, first published in 1937. While the novel traces the psychological development of the central female character, Janie Mae Crawford and, thus, demonstrates several features of a conventional Bildungsroman, the novel also contains some intriguing innovations in respect of narration and voice. These innovations imply that the novel can be read in terms of the qualities commonly associated with the Modernist novel. This contention becomes significant when it is understood that a considerable degree of critical responses to the novel have discounted these connections. The novel is widely accepted to be a story about a woman’s journey to self-actualisation through the relationships she has with the men in her life. Much of the criticism related to the novel is based on this aspect of it, with many stating that Janie’s voice is often silenced by the third-person narrator at crucial moments in the text and that, as a consequence, she does not achieve complete self-actualisation by the end of the novel. This thesis will examine the significance of the shifts between first-person and thirdperson narration and the manifestations of other voices or means of articulation, which give the novel a multi-vocal quality. The importance of this innovation will also be considered, particularly when it is taken into account that Hurston sought to incorporate some elements associated with the oral tradition into her work as a writer of fiction.

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Rich, Katherine Ann. "Between the Camera and the Gun: The Problem of Epistemic Violence in Their Eyes Were Watching God." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3008.

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Since the 75th anniversary of the 1928 Okeechobee Hurricane in 2003, a growing number of journalists and historians writing about the disaster have incorporated Zora Neale Hurston's 1937 novel Their Eyes Were Watching God as part of the official historical record of the hurricane. These writers often border on depicting Their Eyes as the authentic experience of black migrant workers impacted by the hurricane and subsequent flood. Within the novel itself, however, Hurston theorizes on the potential epistemic violence that occurs when a piece of evidence—a photograph, fallen body, or verbal artifact—is used to judge a person. Without a person's ability to use self-representation to give an "understandin'" (7) to go along with the evidence, snapshots or textual evidence threaten to violently separate people from their prior knowledge of themselves. By offering the historical context of photographs of African Americans in the Post-Reconstruction South, I argue that Janie experiences this epistemic violence as a young girl when seeing a photograph of herself initiates her into the racial hierarchy of the South. A few decades later, while on trial for shooting her husband Tea Cake, Janie again faces epistemic violence when the evidence of Tea Cake's body is used to judge her and her marriage; however, by giving an understandin' to go along with the evidence through self-representation, Janie is able to clarify that which other forms of evidence distort and is able to go free. Modern texts appropriating Their Eyes run the risk of enacting epistemic violence on the victims of the hurricane, the novel, and history itself when they present the novel as the complete or authentic perspective of the migrant workers in the hurricane. By properly situating the novel as a historical text that offers a particular narrative of the hurricane rather than the complete or authentic experience of the victims, modern writers can honor Hurston's literary achievement without robbing the actual victims of the hurricane of their voice.

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Ondieki, Benjamin Orina. "The denunciation of patriarchy and capitalism in Zora Neale Hurston’s Their Eyes Were Watching God." Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/2058.

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The figuration of Janie in Hurston’s Their Eyes Were Watching God is an undeniable contestation of gender oppression. The contours of previous criticism have mapped out various directions of arguments, some of which make feminism a sort of critical mantra of Hurston criticism. In spite of such existing claims that the novel challenges the premises of women’s oppression within the African American social milieu, a closer look at the text shows that critics have not exhausted all that needs to be said on this subject. This essay premises its argument on the assertion that Their Eyes protests entrenched patriarchy and middle class or bourgeois capitalism. These two ideologies dominate Janie’s grandmother’s mind, and compel her to teach the protagonist to submit and accept inferior gender status, hence affirming the argument that women as well as men contribute to the existing patriarchal order. Indoctrinated into this system by her grandmother, Janie experiences three marriages that make her realize that she can no longer live according to her grandmother’s wishes. Instead, she makes personal efforts to denounce capitalist patriarchy in order to live her life to the fullest. She explicitly tells her friend Pheoby, “Ah done lived Grandma’s way, now Ah means to live mine” (114). Janie’s process of self discovery brings to the surface complex gender oppression which cross the racial and class divide. My project will use radical feminist and Marxist feminist theories to look at Janie’s three oppressive marriages, her support at the trial from white women, and the feminist significance of the catastrophic hurricane at the end of the novel. This natural phenomenon, I intend to argue, is symbolic of a feminist, anti-capitalist revolt which powerfully articulates Marx’s theory with regards to capitalism’s appropriation of women and nature for purposes of exploitation.
Thesis ([M.A.] - Wichita State University, College of Liberal Arts and Science, Dept. of English

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Ondieki, Benjamin Orina Griffith Jean. "The denunciation of patriarchy and capitalism in Zora Neale Hurston's Their Eyes Were Watching God." A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/2058.

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Klepadlo, Joseph Stanley. "Zora Neale Hurston's Their eyes were watching God: A stylistic analysis and its application to the teaching of writing." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/529.

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Alva, Rodrigo Carvalho. "Zora Neale Hurston & Their Eyes Were Watching God: a construção de uma identidade afro-americana feminina e a tradução para o português do Brasil." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=462.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação possui dois objetivos principais. O primeiro, presente na parte I, é analisar a construção identitária feminina da personagem principal da obra Their Eyes Were Watching God, de Zora Neale Hurston. Sendo assim, a primeira parte desta dissertação é composta de quatro capítulos, sendo que ao longo dos três primeiros, antes da discussão propriamente dita, o trabalho busca aproximar o leitor da discussão. Para isso, os três capítulos iniciais têm o intuito de deixar o leitor familiarizado primeiro com a autora, depois com suas obras e, por último, com o momento histórico vivido pelos Estados Unidos no período do movimento cultural afro-americano conhecido como Harlem Renaissance. O segundo objetivo deste trabalho é analisar a tradução da obra, Seus Olhos Viam Deus, para o português e, se possível, fazer sugestões para as encruzilhadas e obstáculos tradutórios que porventura tenham sido enfrentados pelo tradutor. Esta dissertação visa com isso apresentar soluções que possam ser utilizadas em futuras traduções de obras de escritoras afro-americanas para o português do Brasil. Portanto, para isso, a segunda e a terceira parte deste trabalho, compostas de mais três capítulos, trazem uma revisão sobre as teorias tradutórias recentes e, em perspectiva inovadora, destacam pontos a serem abordados na discussão
The present dissertation has two main goals. The first, in part I, is to analyze the construction of the female identity of the main character of the novel Their Eyes Were Watching God, by Zora Neale Hurston. Therefore, four chapters compose the first part of this work. In the first three, before the discussion, the text tries to bring the readers closer to the discussion still to come. In order to do this, these initial chapters aim to make the reader more familiar with the author, then with her work, and, last but not least, with the historical moment in the United States during the period of the African-American cultural movement known as the Harlem Renaissance. The second goal is to analyze the translation of the novel, Seus Olhos Viam Deus, to Portuguese and, if possible, to make suggestions for the translation crossroads and obstacles that the translator might have faced. By doing this, this dissertation aims to present solutions that may be used in future translations to Brazilian Portuguese of works by African-American writers. Therefore, the parts II and III of this work, which are composed by three more chapters, bring a literary review about recent translation theories and, through an innovative perspective, detach a few points which are going to be subsequently discussed.

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Books on the topic "Their eyes were watching God (Hurston)"

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Hubert, Christopher A. Zora Neale Hurston's Their eyes were watching God. Piscataway, N.J: Research and Education Association, 1995.

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Ash, Megan E. CliffsNotes Hurston's Their eyes were watching God. Foster City, CA: IDG Books Worldwide, 2001.

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Harold, Bloom. Zora Neale Hurston's Their eyes were watching God. New York: Bloom's Literary Criticism, 2009.

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Women's issues in Zora Neale Hurston's Their eyes were watching God. Detroit, MI: Greenhaven Press, 2012.

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A reader's guide to Zora Neale Hurston's Their eyes were watching god. Berkeley Heights, NJ: Enslow Publishers, 2010.

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Understanding Zora Neale Hurston's Their eyes were watching God: A student casebook to issues, sources, and historical documents. Westport, Conn: Greenwood Press, 1999.

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"Ah done been tuh de horizon and back": Zora Neale Hurston's cultural spaces in Their eyes were watching God and Jonah's gourd vine. Frankfurt am Main: P. Lang, 2011.

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Neale, Hurston Zora. Their eyes were watching God. Urbana: University of Illinois Press, 1991.

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Neale, Hurston Zora. Their eyes were watching God. New York: HarperCollins, 2000.

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Hill, Dorothy M. Their eyes were watching God. [Westlake, OH]: Center for Learning, 2008.

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Book chapters on the topic "Their eyes were watching God (Hurston)"

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Benesch, Klaus. "Hurston, Zora Neale: Their Eyes Were Watching God." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5517-1.

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Wall, Cheryl A. "Zora Neale Hurston: Their Eyes Were Watching God." In A Companion to Modernist Literature and Culture, 376–83. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch42.

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Hudson-Weems, Clenora. "Hurston’s Their Eyes Were Watching God." In Africana Womanism, 54–60. Second edition. | London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429287374-8.

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Messent, Peter. "A Medley of Voices: Zora Neale Hurston’s Their Eyes Were Watching God." In New Readings of the American Novel, 243–87. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-21117-3_8.

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Bazin, Victoria. "Tune In and Turn On: Learning to Listen in Zora Neale Hurston’s Their Eyes Were Watching God." In Teaching African American Women’s Writing, 42–59. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9781137086471_3.

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Dow, William. "Class, Work, and New Races: Zora Neale Hurston’s Their Eyes Were Watching God and Agnes Smedley’s Daughter of Earth." In Narrating Class in American Fiction, 163–85. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617964_7.

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Smith, Brenda R. "Reaping What She Sows: The Evolution of African American Female Bildung and the Journey to Self from Zora Neale Hurston’s Their Eyes Were Watching God to Octavia Butler’s Parable of the Sower." In New Essays on the African American Novel, 123–39. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1007/978-0-230-61275-4_9.

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Lester, Neal A. "“Let the Music Play”: Music, Meaning, and Method in Oprah Winfrey Presents: Their Eyes Were Watching God." In Presenting Oprah Winfrey, Her Films, and African American Literature, 127–59. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137282460_6.

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Carby, Hazel V. "The Politics of Fiction, Anthropology, and the Folk: Zora Neale Hurston." In New Essays on Their Eyes Were Watching God, 71–94. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511570346.005.

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Duplessis, Rachel Blau. "Power, Judgment, and Narrative in a Work of Zora Neale Hurston: Feminist Cultural Studies." In New Essays on Their Eyes Were Watching God, 95–124. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511570346.006.

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Conference papers on the topic "Their eyes were watching God (Hurston)"

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Al Ibrahim, Haneen. "To the Horizon and Back: Janie’s Journey in Zora Neale Hurston’s Their Eyes Were Watching God." In المؤتمر العلمي الدولي التاسع - "الاتجاهات المعاصرة في العلوم الاجتماعية، الانسانية، والطبيعية". شبكة المؤتمرات العربية, 2018. http://dx.doi.org/10.24897/acn.64.68.230.

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