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

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Published: 4 June 2021

Last updated: 12 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Kalb, John D. "The Anthropological Narrator of Hurston's Their Eyes Were Watching God." Studies in American Fiction 16, no. 2 (1988): 169–80. http://dx.doi.org/10.1353/saf.1988.0001.

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12

Casas Maroto, Inés. "“So this was a marriage!”: intersections of natural imagery and the semiotics of space in Zora Neale Hurston’s Their Eyes Were Watching God." Journal of English Studies 11 (May 29, 2013): 69. http://dx.doi.org/10.18172/jes.2617.

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Zora Neale Hurston’s Their Eyes Were Watching God narrates a black woman’s flight for liberation from patriarchal control, in search of her own physical and inner space in a society of men who impose their views and exert their power over women. In her journey towards selfknowledge, Janie interacts with different spaces which represent the dominant culture’s models of selfhood, which can be effectively related to the use of natural imagery. As Janie becomes more of her ‘natural’ self and less a victim of patriarchy and the whims of others, the setting of the novel moves closer to the natural world. Through the use of natural imagery and symbolism, Hurston not only represents the African American valuing of the natural and spiritual world, but also portrays the development of an African American woman in search of her own voice.

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13

Barry, Betsy. "'It's hard fuh me to understand what you mean, de way you tell it': representing language in Zora Neale Hurston's Their Eyes Were Watching God." Language and Literature: International Journal of Stylistics 10, no. 2 (May 1, 2001): 171–86. http://dx.doi.org/10.1177/0963-9470-20011002-04.

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In this article I wish to focus on Zora Neale Hurston's dialectal writing, specifically looking at what particular features characterize the language portrayed in Their Eyes Were Watching God via phonetic respellings; and whether or not these features are incorporated into the language of the text in an authentic and consistent manner. Thus I consider whether or not the respellings convincingly capture features of southern American English and AAVE, or if they simply represent stylistic devices employed by Hurston to mark the speech of her characters in a purely fictional manner. With respect to the text under consideration here, I will argue that the majority of Hurston's respellings do, in fact, indicate important phonetic and phonological differences in pronunciation that reflect features typical of both southern American English and AAVE. Furthermore, her use of 'nonstandard' grammatical constructions reinforces the linguistic authenticity of her representation of a dialectal variety particular to African-Americans living in the Southern United States.

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14

Pondrom, Cyrena N. "The Role of Myth in Hurston's Their Eyes Were Watching God." American Literature 58, no. 2 (May 1986): 181. http://dx.doi.org/10.2307/2925814.

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15

Kumar Padhi, Dr Prasanta. "Thematic Concerns in Zora Neale Hurston’s Their Eyes Were Watching God." IOSR Journal of Humanities and Social Science 19, no. 9 (2014): 48–52. http://dx.doi.org/10.9790/0837-19954852.

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16

Yoon-Gi Bae. "Rediscovering the Black Soul and Hurston’s Their Eyes Were Watching God." New Korean Journal of English Lnaguage & Literature 49, no. 4 (November 2007): 29–50. http://dx.doi.org/10.25151/nkje.2007.49.4.002.

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17

Roberts, B. R. "Archipelagic Diaspora, Geographical Form, and Hurston's Their Eyes Were Watching God." American Literature 85, no. 1 (January 1, 2013): 121–49. http://dx.doi.org/10.1215/00029831-1959562.

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18

Ho, Wen-Ching. "Hurston's Janie Woods and the Ending ofTHEIR EYES WERE WATCHING GOD." Explicator 73, no. 4 (October 2, 2015): 270–74. http://dx.doi.org/10.1080/00144940.2015.1089208.

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19

Dilbeck, Keiko. "Symbolic Representation of Identity in Hurston's Their Eyes Were Watching God." Explicator 66, no. 2 (January 2008): 102–4. http://dx.doi.org/10.3200/expl.66.2.102-104.

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20

King, Sigrid. "Naming and Power in Zora Neale Hurston's Their Eyes were Watching God." Black American Literature Forum 24, no. 4 (1990): 683. http://dx.doi.org/10.2307/3041796.

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21

Racine, Maria J. "Voice and Interiority in Zora Neale Hurston's Their Eyes were Watching God." African American Review 28, no. 2 (1994): 283. http://dx.doi.org/10.2307/3042000.

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22

Newman, Judie. ""Dis ain't Gimme, Florida": Zora Neale Hurston's "Their Eyes Were Watching God"." Modern Language Review 98, no. 4 (October 2003): 817. http://dx.doi.org/10.2307/3737926.

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23

P. V. Rajlakshmi, P. V. Rajlakshmi. "Socio-Psycho Analysis in Zora Neale Hurston’s their Eyes were Watching God." International Journal of English and Literature 7, no. 5 (2017): 19–24. http://dx.doi.org/10.24247/ijeloct20174.

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24

Dhakal, Lekha Nath. "Sense of Selfhood in Zora Neal Hurston’s Their Eyes Were Watching God." Pravaha 25, no. 1 (October 11, 2020): 113–18. http://dx.doi.org/10.3126/pravaha.v25i1.31940.

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Sense of selfhood constitutes one of the main ideas of Zora Neale Hurstson’snovels.The central argument in this paper is the quest for identity in Hurstson’s Their Eyes Were Watching God. In the novel the characters identify themselves on the basis of their inner desires and thoughts. This paper explores that identity and selfhood changes according to human situation, realities and experiences. Human being turns into an integrated and self-aware individual through psychological process. This article also attempts to present the Psychological impact of colonialism on the colonized people. It focuses on the oppressionofthe whites on the black people and improper European rationalism and their disregard of the experiences of ‘the other’. The novel shows that people’s attempts and sense of selfhood or identity gains a great success in achieving their goals in the long run.

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25

Aftab, Rizwan, Asim Aqeel, and Mumtaz Ahmad. "Racist Contextualization of the N-Word in Hurston's Their Eyes Were Watching God." Global Regional Review V, no. I (March 30, 2020): 594–603. http://dx.doi.org/10.31703/grr.2020(v-i).62.

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With Roger Fowler's theory of 'linguistic construction', this study specifically analyses the use of the N-word (nigger) within Zora Neale Hurston's Their Eyes Were Watching God, its contextual use and the function it plays within the context and sequence of events in the delimited fiction. The N-word, which is considered highly sensitive in American society, especially in the context of African Americans, is analyzed within the immediate context of event and situation in which characters are engaged, depending on who is talking to whom, when and where, and with what purpose in mind. The entire communicative event of the N-word is also placed within the global context to fully situate the event and locate the function of the N-word within and outside the literary text and its use and interpretation in global contexts. This contextual study of Their Eyes Was Watching God argues how the highly sensitive racist words are euphemized through N-word. For this purpose, this study employs linguistic analysis by focusing on delimited text form, meaning, and use within the local and global contexts.

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26

Babu, Lakshmi K. "Harbingering Feminism in Harlem Renaissance: Zora Neale Hurston's Their Eyes Were Watching God." Research Journal of Humanities and Social Sciences 9, no. 4 (2018): 759. http://dx.doi.org/10.5958/2321-5828.2018.00127.4.

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27

Mahdian Fard, Zahra. "A Quest for Identity in Zora Neal Hurston’s Their Eyes Were Watching God." International Journal of Literature and Arts 2, no. 4 (2014): 92. http://dx.doi.org/10.11648/j.ijla.20140204.12.

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28

Qashgari, Sawsan. "Racism, Feminism and Language in Zora Neale Hurston’s Their Eyes Were Watching God." Arab World English Journal For Translation and Literary Studies 1, no. 2 (May 15, 2017): 32–41. http://dx.doi.org/10.24093/awejtls/vol1no2.3.

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29

Gottlieb, Madeline. "Interlaced maternity and matrimony in Zora Neale Hurston’s Their Eyes Were Watching God." Explicator 78, no. 2 (April 2, 2020): 99–103. http://dx.doi.org/10.1080/00144940.2020.1777075.

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30

Marín Calderón, Norman. "Afrocetrism, gaze and visual experience in Zora Neale Hurston’s Their Eyes Were Watching God." Káñina 42, no. 1 (June 6, 2018): 261–69. http://dx.doi.org/10.15517/rk.v42i1.33568.

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This essay focuses on how, in Zora Neale Hurston’s novel Their Eyes Were Watching God (1937), African American women get noticed through the use of gaze and visual experience. The marginalization African American women have experienced over the years makes them produce an alternative communication system based on sight and visual understanding. That is, the visual takes over the impossibility of black women to express themselves verbally: instead of voice there is sight.

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31

Meterc, Petra. "Life, death and the resurrection of the Harlem Renaissance femme terrible." Maska 35, no. 200 (June 1, 2020): 86–93. http://dx.doi.org/10.1386/maska_00012_1.

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The article deals with Afro-American literary author and anthropologist Zora Neale Hurston and her place in the Harlem Renaissance. It focuses on the reasons why she was not recognized during her lifetime. Analysing her novel Their Eyes Were Watching God, it establishes what was it that made the Afro-American authors from the 1970s and 1980s adopt her as their literary predecessor and inscribe her in the literary canon. The article states that her literature is written from a feminist perspective and deals with the lives of Afro-American women without constantly positioning them in the context of racial difficulties of the period, as was done by her predominately male literary contemporaries.

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32

Matza, Diane. "Zora Neale Hurston's Their Eyes Were Watching God and Toni Morrison's Sula: A Comparison." MELUS 12, no. 3 (1985): 43. http://dx.doi.org/10.2307/467120.

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33

Marks, Donald R. "Sex, Violence, and Organic Consciousness in Zora Neale Hurston's Their Eyes Were Watching God." Black American Literature Forum 19, no. 4 (1985): 152. http://dx.doi.org/10.2307/2904277.

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34

Collins, Derek. "The Myth and Ritual of Ezili Freda in Hurston's Their Eyes Were Watching God." Western Folklore 55, no. 2 (1996): 137. http://dx.doi.org/10.2307/1500180.

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35

Ashland, Alex. "Off the Grid: Zora Neale Hurston’s Racial Geography in Their Eyes Were Watching God." Bridging 17 (April 17, 2017): 76–90. http://dx.doi.org/10.17077/2168-569x.1472.

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36

Ratnawati, Made Dian, and Mala Hernawati. "Resistance against Women’s Objectification Portrayed in Zora Neale Hurston’s Their Eyes Were Watching God." Lexicon 7, no. 2 (October 1, 2020): 245. http://dx.doi.org/10.22146/lexicon.v7i2.66962.

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In the early twentieth century, African-American women in the southern United States faced double oppression as a result of patriarchy and racism. They strive to reclaim their independence, all the more so when they are bound by their marriage. Their Eyes Were Watching God (1937) is Zora Neale Hurston's magnum opus, which chronicles the objectification of a young African-American woman called Janie Crawford during her marriage. Through the lens of Black Feminism, this research aims to identify the many forms of female objectification present in the novel and to ascertain the responses taken by the main character in response to the objectification. This research makes use of Martha Nussbaum's and Rae Langton's objectification ideas. Additionally, this study employs Kumea Shorter-Gooden's resistance strategies to evaluate the main character's strategies for resisting objectification. Janie Crawford was subjected to nine distinct forms of objectification by both her first and second husbands, Logan and Jody, according to this study. Additionally, this research illustrates how Janie Crawford's opposition to objectification is fueled by the concept of self-definition. In general, the findings indicate that the novel is centered on the problem of women's objectification and is a timely representation of African American women's lives in the early twentieth century.

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37

Simmons, Ryan. ""The Hierarchy Itself": Hurston's "Their Eyes Were Watching God" and the Sacrifice of Narrative Authority." African American Review 36, no. 2 (2002): 181. http://dx.doi.org/10.2307/1512254.

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38

Stuelke, Patricia. "Finding Haiti, Finding History in Zora Neale Hurston’s Their Eyes Were Watching God." Modernism/modernity 19, no. 4 (2012): 755–74. http://dx.doi.org/10.1353/mod.2012.0089.

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39

Cavanaugh, Cynthia A. "Approaches to Teaching Hurston's Their Eyes Were Watching God and Other Works (review)." Rocky Mountain Review 65, no. 1 (2011): 112–15. http://dx.doi.org/10.1353/rmr.2011.0011.

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40

Bealer, Tracy L. ""The Kiss of Memory": The Problem of Love in Hurston's Their Eyes Were Watching God." African American Review 43, no. 2-3 (2009): 311–27. http://dx.doi.org/10.1353/afa.2009.0039.

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41

Albano, Alessandra. "Nature and Black Femininity in Hurston’s Their Eyes Were Watching God and Tell My Horse." Journal of African American Studies 24, no. 1 (October 30, 2019): 23–36. http://dx.doi.org/10.1007/s12111-019-09451-9.

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42

Hoeller, Hildegard. "Dust Tracks on the Page: Zora Neale Hurston’s Barracoon and Their Eyes Were Watching God." Studies in American Fiction 47, no. 2 (2020): 191–217. http://dx.doi.org/10.1353/saf.2020.0009.

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43

Meisenhelder, Susan Edwards. "False Gods and Black Goddesses in Naylor's Mama Day and Hurston's Their Eyes Were Watching God." Callaloo 23, no. 4 (2000): 1440–48. http://dx.doi.org/10.1353/cal.2000.0210.

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44

Jee Hyun An. "Migratory Spaces of “Home,” History and Modernity in Zora Neale Hurston’s Their Eyes Were Watching God." Journal of English Language and Literature 62, no. 3 (September 2016): 377–95. http://dx.doi.org/10.15794/jell.2016.62.3.004.

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45

Țăranu, Ana. "Signifying the Self: Cultural Trauma and Mechanisms of Memorialization in Zora Neale Hurston’s Their Eyes Were Watching God." Metacritic Journal for Comparative Studies and Theory 7, no. 1 (July 8, 2021): 190–204. http://dx.doi.org/10.24193/mjcst.2021.11.12.

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Starting from Hirsch and Smith’s concept of a feminist counterhistory and referencing the theoretical framework of cultural trauma, this paper undertakes a (re)reading of Zora Neale Hurston’s Their Eyes Were Watching God as construction of gendered countermemory. Such an interpretation would enable a recognition of the political function of the novel as an identity matrix of African-American womanhood. Expanding upon the classical, post-Lacanian approach to trauma studies and its post-colonial reconfigurations, I use a poststructuralist framing of collective trauma, and the Saussurian concept of signification, to highlight the struggle for self-determination of an oppressed community as it is signified-upon by its oppressors through violently imposed discourse. I further question the complicity between conventional forms of narration and the hegemony of an external signifier, and I trace this patterned mechanism of aggression within the linguistic and diegetic fabric of the novel, in order to expose Hurston’s literary methodology of collective memorialization and the way it challenges canonical representations of trauma.

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46

Davie, Sharon. "Free Mules, Talking Buzzards, and Cracked Plates: The Politics of Dislocation in Their Eyes Were Watching God." Publications of the Modern Language Association of America 108, no. 3 (May 1993): 446–59. http://dx.doi.org/10.1632/462614.

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Zora Neale Hurston's Their Eyes Were Watching God, considered apolitical by some readers, is profoundly political in its repeated undermining of hierarchy as an unquestioned mode of perception. Three formal devices in the text highlight this undermining: the free mule story and its chain of associations, the buzzard tale that moves from the inside to the outside of the free mule story, and the novel's pervasive physical imagery. Language that forces readers to juggle multiple and contradictory meanings intertwines with an acknowledgment of physicality — human sexuality, human death — in a powerful display of the limits of rational truth telling. Rooted in African American women's history, the novel confronts the complexities of racism and sexism while undercutting a belief in any monological understanding of person or politics, text or nation. (SD)

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47

Kpohoué, Ferdinand. "African Community Life Pattern in some Novels of Toni Morrison and Zora Neale Hurston." Studies in Linguistics and Literature 5, no. 3 (July 22, 2021): p1. http://dx.doi.org/10.22158/sll.v5n3p1.

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The objective in this paper is to investigate the preservation of the community life that characterizes African people in the novels of Toni Morrison and Zora Neale Hurston.As a matter of fact, in all of Morrison’s novels, the black community is, from one perspective, largely defined by the dominant white society and its standards. The Bluest Eye takes place in Morrison’s home town of Lorain, Ohio. In the novel, the black community of Lorain is separated from the upper-class white community, also known as Lake Shore Park, a place where blacks are not permitted. The setting for Sula is a small town in Ohio, located on a hillside known as “Bottom”. In Song of Solomon, the reader is absorbed into the black community, an entity unto itself, but yet never far removed from the white world. In Their Eyes Were Watching God, actions take place in Eatonville in Florida.The study has revealed that there exists a strong solidarity in the different communities in the novels selected for this study. Like African communities in Africa, gossips, tradition and other features appear in the novels of Toni Morrison and Zora Neale Hurston to make them different from the white communities that boarder them in America. These writers from the African diaspora work to preserve their original communities in their novels.

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48

Park, Gui Suk. "African American Love and the Politics of Race in Zora Neale Hurston’s Their Eyes Were Watching God." Journal of Modern British and American Language and Literature 32, no. 4 (November 30, 2014): 343. http://dx.doi.org/10.21084/jmball.2014.11.32.4.343.

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49

Woodson, Jon. "Zora Neale Hurston's their Eyes were Watching God and the Influence of Jens Peter Jacobsen's Marie Grubbe." African American Review 26, no. 4 (1992): 619. http://dx.doi.org/10.2307/3041875.

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Hite, Molly. "Romance, Marginality, Matrilineage: Alice Walker's "The Color Purple" and Zora Neale Hurston's "Their Eyes Were Watching God"." NOVEL: A Forum on Fiction 22, no. 3 (1989): 257. http://dx.doi.org/10.2307/1345522.

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