Dissertations / Theses: '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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Cochran, Kimberly G. ""Ah ain't brought home a thing but mahself" cultural and folk heroism in Zora Neale Hurston's Their eyes were watching God and Ellen Douglas' Can't quit you, baby /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/english_theses/64/.

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Thesis (M.A.)--Georgia State University, 2009. Title from title page (Digital Archive@GSU, viewed July 29, 2010) Thomas McHaney, committee chair; Pearl McHaney, Mary Zeigler, committee members. Includes bibliographical references (p. 72-74).

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Bordin, Marcela Ilha. "Identities in context : gender and race in William Faulkner's Light in august and Zora Neale Hurston's Their eyes were watching god." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131632.

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Este trabalho é dedicado à análise de duas obras ficcionais, “Their Eyes Were Watching God”, de Zora Neale Hurston, e “Light in August”, de William Faulkner. O ponto de partida da análise é a ideia que identidades são construídas de acordo com injunções discursivas específicas, que variam de contexto para contexto. Para tanto, foram analisados os dois personagens principais dos textos, Janie Crawford, uma mulher negra, e Joe Christmas, um homem cuja identidade racial é desconhecida. A comparação entre os dois se baseou na forma como ambas as identidades são construídas nos romances, em relação ao seu acesso à língua e a possibilidade de articulação dentro dela, e ao contexto no qual estão inseridos. This research is dedicated to the analysis of two fictional works, Their Eyes Were Watching God (1937) by Zora Neale Hurston and Light in August (1932) by William Faulkner. The starting point of the analysis is the idea that identities are constructed according to specific discursive injunctions, which vary from context to context. The study is focused on the main characters of both novels, Janie Crawford, a black woman, and Joe Christmas, a man whose racial identity is unknown. The comparison between the two characters is based on how their identities are constructed in the novels in relation to their access to language and their possibility of articulating within it, and the context in which they are inserted.

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Hannah, Kathleen. "He was a Glance from God: Mythic Analogues for Tea Cake Woods in Zora Neale Hurston's Their Eyes Were Watching God." TopSCHOLAR®, 1992. https://digitalcommons.wku.edu/theses/2420.

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The use of myth in Zora Neale Hurston's Their Eyes Were Watching God has been touched on by a few critics, but the wealth of Hurston's knowledge of different cultures offers readers a number of stories and tales from which to draw possible analogues to her characters. In fact, readers can trace Greek, Roman, Norse, Babylonian, Egyptian, African and African-American mythic elements in her character Tea Cake Woods. Hurston uses these analogues to enrich the characterization and to posit her theories of love and happiness in the modern age.

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Nodari, Janice Inês. "The construction of identity in Alice Walker's The Color Purple and Zora Neale Hurston's Their Eyes Were Watching God." Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/83954.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente. Made available in DSpace on 2012-10-20T04:57:00Z (GMT). No. of bitstreams: 0 Este estudo tem por objetivo analisar a construção da identidade sofrida por Celie, a personagem principal no livro The Color Purple (1982) de Alice Walker, e Janie, a personagem principal no livro Their Eyes Were Watching God (1937) de Zora Neale Hurston. A abordagem empregada favorece a investigação dos aspectos: jornada, sensualidade/sexualidade, e comunidade na construção das identidades dessas personagens. A comparação entre os romances revelou que as personagens passam por um processo semelhante e usam uma estratégia semelhante, a de contar suas próprias histórias, para expor seu crescimento como sujeitos atuantes.

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Castaneda, Alisha Priolo. "Hues, tresses, and dresses examining the relation of body image, hair, and clothes to female identity in Their eyes were watching God and I know why the caged bird sings /." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.

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Delaney-Lawrence, Ava P. "The quest for identity in Frances W. Harper's Iola Leroy, Nella Larsen's quicksand and Zora Neale Hurston's their eyes were watching god." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2012. http://digitalcommons.auctr.edu/dissertations/297.

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The literary works in this study: Frances E. W. Harper’s lola Leroy, Nella Larsens’ Quicksand, and Zora Neale Hurston’ s Their Eyes Were Watching God provide examples of female protagonists facing identity crises and reaching milestones in their lives as a result of theirjourneys towards self-actualization. The protagonists’ lives (childhood, adolescence, and adulthood/womanhood/motherhood) are traced during times of slavery, the antebellum period, the post-bellum period, and the Harlem Renaissance. Their experiences in each stage of life in relation to societal norms present the identity crisis present in each novel. In an attempt to define feminine identity as portrayed by the protagonists in the novels, I examined past ideals of femininity in American and African American history and literature. Additionally, a definition of femininity based upon the early works is contrasted with a definition of identity in the later works of African American female authors. Based upon the two perspectives of how the female characters discovered thei identities, the female characters of later novels prove to be direct descendents of early female characters in African American literature. As the study demonstrates, the characteristics of African American female protagonists’ of strength, resilience, confidence, and, eventually, independence are progressive in these novels which results in characters that develop positively over a period of more than seventy years. The study also suggests that the portrayal of femal protagonists in the novels of African-American women continues to be patterned after the early novelists and, at the same time, continues to progress in strength and development.

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Schwarz, Kristin. "The private as political : an exploration of Zora Neale Hurston's representation of sexuality in their eyes were watching god and seraph on the Suwanee /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Cochran, Kimberly Giles. ""Ah Ain't Brought Home a Thing but Mahself": Cultural and Folk Heroism in Zora Neale Hurston's Their Eyes Were Watching God and Ellen Douglas' Can't Quit You, Baby." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/64.

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In scholarship discussing Zora Neale Hurston’s Their Eyes Were Watching God, Janie’s self-realization is central to her identity, and many scholars view and discuss her as a cultural hero. But her success is conditional on circumstance rather than composition of character, a fact this essay explores through a careful comparison between Janie and Tweet, a character from Ellen Douglas’ Can’t Quit You, Baby; specifically, while Janie ultimately succeeds in her world—even while confronting gender oppression—she improbably avoids the additional, crippling subjugation of racial prejudice that Tweet endures. Through this and a discussion of definitions and Hurston’s work as a folklorist/writer, I attempt to show that Janie can be more effectively described as a folk hero, a title that: (1) accurately identifies her functions in her fictional society and in literary fiction and (2) satisfies Hurston’s goals in the novel while also accurately reflecting Janie’s journey to self fulfillment.

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vincent, renee. "Weathering the Storm: Black Maternal Mortality, Resistance, and Power in Richard Wright’s “Down by The Riverside,” Zora Neale Hurston’s Their Eyes Were Watching God, and Jesmyn Ward’s Salvage the Bones." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2708.

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Representations of natural disasters in Black Southern literature identify social location as the greatest indicator of risk vulnerability. Moreover, they can expose the precarious subjectivity of the Black female reproductive body, as addressed through characters Lulu in Richard Wright’s “Down by the Riverside,” Janie in Zora Neale Hurston’s Their Eyes Were Watching God, and Jesmyn Ward’s Esch in Salvage the Bones. Together, these female characters share a legacy of social marginalization and Black female resistance that is (re)shaped through their experiences with ecological catastrophe. This thesis considers these three texts together as an ongoing testimony and as a means to bear witness to a socio-historical record of disaster oppression and Black female resistance.

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Harper, Pamela Evans. "Shared Spaces: The Human and the Animal in the Works of Zora Neale Hurston, Mark Twain, and Jack London." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9095/.

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Living in tune with nature means respecting the natural environment and realizing its power and the ways it manifests in daily life. This essay focuses on the ways in which respect for nature is expressed through animal imagery in Zora Neale Hurston's Their Eyes Were Watching God, Mark Twain's "The Stolen White Elephant," Roughing It, and Pudd'nhead Wilson, and Jack London's The Call of the Wild. Each author encouraged readers to seek the benefits of nature in order to become better human beings, forge stronger communities, and develop a more unified nation and world. By learning from the positive example of the animals, we learn how to share our world with them and with each other.

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Thompson, Lynda Ann. "Cultural Determinism in "Their Eyes Were Watching God"." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625890.

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Krljesi, Ljinda. "Gender dichotomies and the feminine quest in Their Eyes Were Watching God." Thesis, Högskolan i Halmstad, Sektionen för lärarutbildning (LUT), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-25148.

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This essay analyzes the novel Their Eyes Were Watching God written by Zora Neale Hurston. The main focus is on whether the protagonist Janie acquires independence and a voice of her own. Her quest for a voice is looked at in relation to the four characters, Nanny, Killicks, Starks and Tea Cake, which all play a significant role in her journey throughout the novel. The main theoretical terms used in this essay are directly linked to gender and gender roles and are used to aid my hypothesis that gender is indeed socially constructed, and therefore it can be constructed differently. What I aim to achieve with this study is to look at whether the novel represents that a woman can acquire an independent voice in a male dominated society, if the gender roles are constructed differently. The analysis shows, with the help of theory, that even though Janie faces a lot of resistance, she manages to acquire an individual voice in Hurston’s story.

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Starke, Nathalie. "The Faces of Oppression : In Their Eyes Were Watching God and The Bluest Eye." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-25957.

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This essay examines the novels Their Eyes Were Watching God by Zora Neale Hurston and The Bluest Eye by Toni Morrison with feminist and African Amerian theory. The focus is on opppression and I study the men's roles and functions, whether the male characters follow social structures, if patriarchy is something noticeable and how this affect the female characters.

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Crowther, Kyla Racquel. "Challenging the "tragic mulatta" : the construction of biracial female identity in Quicksand, Passing, and Their eyes were watching God." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2673.

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The purpose of this study was to analyze the ways in which Harlem Renaissance-era novelists Nella Larsen and Zora Neale Hurston defy the "tragic mulatta" as a literary convention in their novels Quicksand, Passing, and Their Eyes Were Watching God. They seek to transform a tradition that not only perpetuates and reinforces essentialist notions of "blackness" and "whiteness," but also disregards the authenticity of a biracial identity. Through their revisions of this prototype, Larsen and Hurston advocate the construction of a biracial female identity for their mulatta characters that empowers them to resist the racial/gender stereotypes historically imposed upon them. By positing the need for multiplicity as opposed to a divided self, these authors resist essentialism and challenge the definition of "true womanhood.”

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Hsu, Huei Hua, and 許慧華. "Black Female Voice and Identity in Zora Neale Hurston's Their Eyes Were Watching God." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/17477852833775127880.

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碩士 國立中正大學 外國語文學系 82 As the foremother of the contemporary black female writers, Zora Neale Hurston articulates the black female voice and expresses her identity with black culture through the employment of folklore and dialect in Their Eyes Were Watching God, which serves as a paradigm for black female writers to imitate and to revise. The goals of the thesis are to explore how Hurston expresses the black female self and identity through the description of the black female protagonist's quest, to trace the connection between Hurston and the black female literary tradition, and to find out Hurston's influences on black female writers. In the first chapter, a brief introduction of Hurston's biographical information and her relationship with black (female) literary tradition and the common features of black female writing shown in her works are proposed. In the second chapter, I will explore Hurston's introduction of the "speakerly text," through the employment of free indirect discourse, so as to transform the orality into textuality. This chapter also includes a discussion of her employment of black folklore and dialect. Chapter Three is focused on the examination of issues of black female identity, consciousness, voice,and the quest of black female subjectivity in the novel. In the conclusion I will examine the connection between this novel and the black female literary tradition,the influence on and the feedback of the latecomers, particularly the black female writers.

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KLIMEŠOVÁ, Daniela. "Intraracial Love and Bigotry in Jonah's Gourd Vine and Their Eyes Were Watching God and Selected Short Stories by Zora Neale Hurston." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-396472.

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""Love is Lak de Sea": Figurative Language in Zora Neale Hurston's Their Eyes Were Watching God." East Tennessee State University, 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0311102-144528/.

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Shu-zen, Wang, and 王淑貞. ""Can the Subaltern Speak?": the Porch Talk in Zora Neale Hurston's Their Eyes Were Watching God." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/85098778127314681613.

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碩士 國立師範大學 英語學系 86 This thesis embodies my attempt to read the porch talk in Zora Neale Hurston'sTheir Eyes Were Watching God as the construction of an African-Americandiscourse based on their cultural characteristics. Articulating differentvoices, African-Americans struggle to undo their subalternity from theirsubaltern insurgency to fight against the institution of slavery, through their gains of civil rights, to their cultural reinscription. More than discursive practice, they resort to stronger measures not only to build apolitical substance to contest with the whites'monolithic imperialism but alsoto establish a cultural institution to combat the whites'culturalcolonization. In this thesis, I will interpret those cultural activities on the porch, such as tall tales, spiritual songs, tricky games, and playful dances, as African-Americans'practice of Signifyin(g). From imitation and mimicry through modification to revision and retextualization, African-Americans appropriate the colonizer's language to talk back. By means of their practice of Signifyin(g), African-Americans beat their oppressors withtheir subtle power of songs and laughters, instead of violence. In the sense oftransgressing, the porch talk is also read as carnival festivities held by African-Americans. The carnival-like meetings on the porch release African-Americans momentarily from the whites'exploitation, oppression, and colonization. Usually occupied by males, the front porch is dominated by menfolks. On the porch, they can express the whites'economic exploitation, political oppression, and cultural colonization. Living in a male-dominatedworld, women is seldom heard on the front porch. They can only gather on the back porch to share their feelings with each other and comfort one another. Sometimes they even preempt the front porch to speak their minds, if necessary. They bravely confront the menfolks without flinching. With hercelebration of this African-American cultural activities,Hurston saves the porch talk from sinking into oblivion. With her elaboration on female voices,Hurston molds a new face for African-American women.

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"Conjured into being [electronic resource] : Zora Neale Hurston's Their eyes were watching God / by Rita Daly Hooks." 1990. http://purl.fcla.edu/fcla/dl/SF00000012.jpg.

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Dabee, Vivi J. "The summons to behold a revelation : femininity and foliage in Zola Neale Hurston's Their eyes were watching God." 2009. http://hdl.handle.net/1993/21329.

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Bowen, Elizabeth. "Animal Abilities: Disability, Species Difference, and American Literary Experimentation." Thesis, 2020. https://doi.org/10.7916/d8-ah63-1a49.

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Disability and animality have frequently been conjoined in American literature as the limit cases of cognition, language, and narrative. In modern and contemporary fiction, this intersection is not just thematic, but also an opportunity for formal experimentation. My dissertation considers a century-spanning group of authors that includes William Faulkner, Zora Neale Hurston, Toni Morrison, and contemporary disabled writers and artists such as Jillian Weise, Kathy High, and Sharona Franklin. It uses a combination of close reading, historical research, and theoretical analysis to argue that some of the last century’s most influential literary experiments have built upon aesthetic modes associated with both disability and animality. For instance, in The Sound and the Fury, Benjy Compson’s famously associative narration is driven as much by canine-identified sensory tendencies of smell and touch as it is by human cognitive difference, and the folkloric interludes central to Their Eyes Were Watching God are catalyzed by the work-debilitated body of a mule. Few scholars have recognized the extent to which disability and animality are entangled as aesthetic categories, because each field has typically disavowed the other: disability studies makes “full humanity” a goal while assuming the inferiority of nonhumans, and animal studies often elevates nonhuman species by emphasizing their intelligence and physical abilities. My project bridges this impasse by showing how disability and animality come together to push language and literature in new directions, revealing an unrecognized literary tradition in which narratorial capacity, ethical consideration, and even access to the text do not depend on supposedly human-defining abilities like spoken language and written literacy.

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Liang, Wen-ling, and 梁汶玲. "Construction of Identity: A Comparative Study of Their Eyes Were Watching God and Native Son." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/18379428188823788893.

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碩士 淡江大學 英文學系碩士班 95 This thesis endeavors to explore the concept of construction of identity in Zora Neale Hurston’s Their Eyes Were Watching God and Richard Wright’s Native Son. Two significant black writers in the first half of the twentieth century, Hurston and Wright both transmit their awareness of racial issue by adopting the theme of a quest for identity for the black people in their works respectively. Thus, in the thesis, a textual analysis of the way the black characters construct their subjectivity in terms of race, class and gender will be presented. In addition to showing how race, class and gender play an important role in the development of the black characters’ selfhood, this thesis further examines what causes these two black writers’ divergent views on the construction of the black’s identity in their works. Through delving into these two writer’s autobiographical information, this thesis will delineate how their different rearing and personal experience influence their writing: the way their protagonists construct their identity, their style and their characterization of the black people in these two novels. As a black female, born in an area rich in Afro-American oral culture, and trained in anthropology, Hurston stresses the relationship between the two sexes within a black community. Therefore, a portrait of the black female’s inner world within a context of black community and an adoption of vernacular black speech is evident in Their Eyes Were Watching God. By contrast, Wright was more aware of the racial conflict because he grew up in an oppressive surrounding. Later, his knowledge of Marxist thinking equipped him with the necessary tool to analyze the black/white collision from a socio-economic perspective. Without doubt, the emphasis of the relations between the two races and the depiction of the city as a strong force oppressing the black individuals can be seen clearly in Native Son.

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

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