Search

New Light on the Early Tudor Book Trade", 409-81 New Bibliography: Taylor, Gary, "Play Manuscripts, Vectors of Transmission, and Shakespeare's I Henry the fifth i ", 343-78 I Nineteenth Century Collections Online i : Spires, Derrick R., "Order and Access: Dorothy Porter and the Mission of Black Bibliography", 255-75 Nishikawa, Kinohi, " I Mumbo Jumbo i 's Paratextual Condition", 215-54 Notary, Julian: Gwara, Joseph J., "Who Printed I Huon i ? New Light on the Early Tudor Book Trade", 409-81 Black Bibliography Project: Goldsby, Jacqueline, and Meredith L. McGill, "What is "Black" about Black Bibliography?" 161-89; Lee, Jeong Yeon, "Compiling 'A Selected Bibliography of Bibliographies of African American Writing,'" 305-07; Spires, Derrick R., "On Liberation Bibliography: The 2021 BSA Annual Meeting Keynote", 1-20; "Order and Access: Dorothy Porter and the Mission of Black Bibliography", 255-75 Black Book Interactive Project: Goldsby, Jacqueline, and Meredith L. McGill, "What is "Black" about Black Bibliography?" I Morris & Company: Essays on Fine Printing i , 142-45 20th century: Goldsby, Jacqueline, and Meredith L. McGill, "What is "Black" about Black Bibliography?". [Extracted from the article]

IX & X, Plays 2 & 3 i , 248-51 wilde, oscar: Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. IX & X, Plays 2 & 3 i , 248-51 I Early English Books Online i , reviewed, 114-17 edgar, eleazar: Mansky, Joseph, "The Case of Eleazar Edgar: I Leicester's Commonwealth i and the Book Trade in 1604", 233-41 editing: Bouchard, Mathieu D. S., "A Revised Account of the 1714 I Works of Mr. William Shakespear i ", 419-461; Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. IX & X, Plays 2 & 3 i , reviewed, 248-51 drama: Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. [Extracted from the article]

I argue for a reconceptualization of undocumentedness, the experience of being undocumented, from an experience that is simply a result of the modern immigration regime to an experience that is a result of interlocking systems of oppression and resistance to them that has shaped Blackness and the vision for black liberation. I make this argument by defining and tracing the trope of the papers—the use of legal and extralegal documents to examine and document African Americans' and other people of African descent's relationship to the nation-state—in the slave narrative and the neo-slave narrative. I offer a close readings of slave narratives, including Sojourner Truth's The Narrative of Sojourner Truth (1850) and Harriet Jacobs' Incidents in the Life of a Slave Girl, Written by Herself , and neo-slave narratives, including Toni Morrison's A Mercy (2008) and Gayl Jones's Mosquito (1999), to illustrate the significance of the undocumented immigrant in African American literature and demonstrate that writers of African American literature have been thinking intensely about undocumentedness, although not in the way undocumentedness is typically understood. [ABSTRACT FROM AUTHOR]

In the fifteen years since the 9/11 terrorist attacks in America, countless literary and artistic works have responded to the incident. This paper examines Amiri Baraka's literary response to this violent event through his most famous poem entitled "Somebody blew up America," which defies American orthodox responses to the attacks. The mainstream reading of the poem swings toward its poetical and political qualities; however, nobody has engaged in a postcolonial reading of the poem so far. Hence, this paper intends to highlight its postcolonial and decolonizing characteristics. Baraka's political poem is significant in terms of its educational role because, as a discovery poem, it attempts to foster private, domestic, and international awareness of both oppressors/ colonizers and the oppressed/ colonized to help them bring about a social change and become new humans carrying ideas of equality, justice, and respect for humanity. The question this paper raises is as follows: What colonial characteristics could be found in Baraka's poem? Drawing upon Césaire, Memmi, and Fanon, it applies postcolonial and decolonization concepts such as dehumanization, "thingification," Manichaeism, and reverse Manichaeism to the poem. The paper concludes that both international and domestic terrorism are rooted in America's and Europe's racist, colonial, capitalist, and imperialist involvements.

This research paper attempts at studying the operation of literary texts teaching through Black English Vernacular (BEV) in EFL context, selecting the American novel: "Uncle Tom's Cabin," henceforth (UTC), (1852) by Harriet Beecher Stowe (1811-1896) as a parameter of research. Its main aim is to reveal and project the new venues for teaching literary texts through BEV in EFL classroom. The choice of this novel constitutes a luxuriant source of investigation. Additionally, it is abundant with various cultural elements used by its characters. The significance of the study relies on the examination and analysis of lexical items regarding the role of literature in the EFL context between the past and the present time. Also, with the difficulties of using literary texts as language tools in the EFL educational milieu. After implementing a stylistic analytical method on the selected novel, the results of the study end up by the selection of certain lexical entries from Black English that can be used as a reference in the teaching of literature in EFL contexts.

In "The Bluest Eye," Toni Morrison presents a community in which a racist ideology is internalized. The sufferers of racial abuse in this community both endure and resist in a complex inverse interrelationship between the two actions. This contradiction of the internalization and the insurrection of racial abuse is one of the crucial characteristics of this community which is best comprehended if looked at from both a Marxist and a psychoanalytic point of view. The objective of the paper is to have a look at the politics of postmodern consumer culture of capitalism in a racist community. At the same time, the paper aims at tracing the sadomasochist attitude of the characters in this framework of internalized racism in the African-American community of "The Bluest Eye."

In this paper, educational pathways emerge from the nexus of ancient narratives and future possibilities. Such imaginings are as much attributed to the African American intellectual tradition as to contemporary Afrofuturisms, including those born in histories of Blackness. The overlay of what was and what is not yet is significant because it engenders educational potentialities that are central to aesthetics and onto-epistemological wonderings. The author uses seminal dialogues from scholars like Sojourner Truth, Mary McLeod Bethune and Anna Julia Cooper as a springboard for envisioning Afrofuturisms in which schooling functions to transgress the assemblages of violence and capital of shame that pervade classrooms and corridors contemporary education. Not unlike the call of Sylvia Wynter, Sun Ra, bell hooks, Octavia Butler and other Afrofuturist activists of the feminine, this paper (re)imagines schooling from the roots of its past and the future conditional they portend.

This essay profiles Dr. Rudine Sims Bishop, the 2020 Distinguished Scholar Lifetime Achievement Award recipient. It begins with biographical information about Bishop and her career trajectory in education followed by descriptions of three of her landmark works and the ways a sampling of scholars have utilized and expanded upon them. The three works are the book "Shadow and Substance: Afro-American Experience in Contemporary Children's Fiction," an article titled "Strong Black Girls: A Ten Year Old Responds to Fiction About Afro-Americans," and the groundbreaking article "Mirrors, Windows, and Sliding Glass Doors." The essay concludes with thoughts from various individuals about the ways her scholarship has impacted them and the field.

This paper addresses the tensions animating Alice Walker's fame and infamy as it pertains to Christianity and Black feminists who identify as womanists--a term originated by Walker and adopted by Black Feminist Theologians almost immediately. It asks: who is God in the womanist discourse of Alice Walker? The essay claims Walker's oeuvre offers a progression of thought wherein her womanist philosophy moves from discussions that question African Americans' commitment to the Christian God into descriptions of a singular and definitive God force existing outside that discourse. The author's contemplations begin with gentle questioning of the creator's gender in "The Color Purple" and an allusion to God in her 1983 definition of womanism, which claims a womanist "Loves the Spirit." The relationship of "The Spirit" to the Christian God becomes more focused and potentially more controversial in "The Temple of My Familiar" (1989) while Walker's womanist magnum opus, "Now Is the Time to Open Your Heart" (2004), engages deft references to not only Christianity but also Buddhism as well as Gnosticism and a commitment to the earth as God, the Grandmother Creator. In this last text, humanity's savior doffs the robes of masculinity to don the red clay of Grandmother Earth and self-salvation. This brief essay examines what the spiritual references in these three texts mean for Christian women who herald Alice Walker as Elder, particularly Black Christian theologians who were the first to embrace womanist thought and position themselves within its epistemological hermeneutic frame. Engaging Walker's novels and the work of one of the first Black womanist theologians, Jacquelyn Grant, as well as womanist, cultural critic Layli Maparyan I explore Walker's womanism as organic philosophy and its God as a Christian, womanist theologian's paradox--a paradox resolved by gazing through the lens of a few key moments within women's Christology during the time Black womanist theologians adopted the term.

In theorizing how we should pedagogically approach African American literature, especially in courses for undergraduates, I argue that we have to move away from questions of what was or even what is African American literature and, instead, find ways to teach African American literature in both its historical contexts--artistic and political--and its contemporary resonances. We can embrace the ways the field and each piece of literature simultaneously was and is. Importantly, we can think about what both African American literature and the course on this literature need to be in ways that focus on past, present, and future. For students, African American literature can be a living voice in a broader trajectory of civil and social death, de jure and de facto discrimination, and the struggle for social justice. Our current moment demands it, and the persistence of the Black Lives Matter movement--from its origins in the wake of Trayvon Martin and Michael Brown's deaths into the early stages of the 2016 U.S. presidential campaigns' warrants, or perhaps even necessitates, a pedagogy that positions African American literature courses as spaces on campuses where the vulnerabilities of and violent acts against black lives can be discussed. In this paper, I am particularly interested in examining both the praxis of teaching African American literature as part of a cultural and civic literacy program for our students and then in examining the larger stakes of our moment, both for racism in the United States and the role of literature courses of programs.

It has been created within the larger realm culture, in that "Black methodology differs from most colonial differences by members of a minority community who reside within a nation of cultural biases."

Black American Literature is a microcosm of the history of the black people's presence on the American continent as it is known today. The literature of the Black Americans cannot be fully separated from the experience of Slavery and Racism which characterized their lives as a community of people whose social, economic and political privileges are tied up with the evils of race and color. In the latter part of the eighteen century, most black slaves started developing interest in written literature but before this time, they were more interested in the struggle for survival than to spare the time for literary art. This paper reveals the traumatic experiences of the Blacks in the plantations in the hands of their White masters in America through some of the poems of Claude McKay bringing out some themes in such poems to reveal the traumatized life of the Africans.

Purpose: The purpose of this paper is to share my personal memories and emotions of my experience as an African American, a Woman of Color, teacher-peer, teacher-researcher, student and a colonized standard American English speaker, situated in English classrooms as white teachers teach African American literature from a white gaze. I concur with previous researchers on this topic, but from a fresh perspective that traditional educational spaces support racial-socio and linguistic hierarchies by avoiding authentic racial, social and cultural ways of knowing, thus allowing reproduction and perpetuating academic and social inequities targeted toward multilingual learners. Furthermore, I suggest that teachers must acquaint themselves with communities of color to become affective and effective to specifically facilitate multilingual classrooms. Design/methodology/approach: This is an autoethnographic inquiry. It examines instances of culturally inexperienced white teachers teaching African American literature to middle school and high school multilingual learners. In adjacent, I share my personal memories and emotions of my experience as an African American, a woman of color, teacher-peer, teacher-researcher, student and a colonized standard American English speaker, situated in English classrooms as white teachers teach African American literature from a white gaze. Findings: Undoubtedly, the white gaze influences marginalized persons. It does not merely attack who we be. It counter forms (e.g. influences) the views and ideas of the world around us. Gonzales (2015), shares in her autoethnography how educational practices are unjustly resistant to diversity. The racial-socio hierarchy uses every means necessary to deprive ethnicity (language, practices and beliefs). I did not verbally resist discrimination. Subsequently, some people of color may be guilty of having a slave gaze. I am very cautious and reluctant to use the term slave gaze. Nevertheless, I describe this as the opposite of having a white gaze. Slave gaze is someone who is colonized, dominated, submissive and feels unequal to whites and describes persons of color who have been conditioned to believe that whites are privileged and there is not much that we can do about it. I think this one way that Gonzales' (2015); definition of double colonization can be extended, the racial-socio hierarchy in education forces marginalized persons to "redefine their identities within the dictates of yet another racial ideology" (p. 50). Undoubtedly, in re-identifying self-inflicts a counter-response to developing a substandard identity. Yet, I am certainly not the only person of color that is wary of challenging whiteness. Dismantling the master's house will take more time. As white supremacist's perceptions are embedded deep in the heart of education. Banishing false linguistic, cultural and racial ideologies equate to a mere few bricks of the master's house. However, with non-traditional methods (e.g. getting to know the community in which the students live), renewed hearts and minds educators (together as a human race) can deconstruct and rebuild an education system fit for all learners. Originality/value: This piece is an autoethnography of my experiences as a teacher teaching in multilingual classrooms. These are my original experiences and opinions.

In 1983, when the author began graduate school at the University of Virginia in Charlottesville as the only black student in the Graduate English School, it offered no graduate-level African-American Literature course. Today an undergraduate student at the University of Virginia can major in African-American and African Studies and take courses like African-American Drama, Black Women Writers in America, and Fictions of Black Identity. A graduate student can take her pick of four graduate-level courses: Early African-American Literature, African-American Poetry, Studies in African-American Literature and African-American Literature. Now there are arguments about the "balkanization" of literature, and a graduate student in English Language and Literature at the University of Virginia can take a course in Charles Dickens, Keats, Mark Twain, or Joyce's "Ulysses". Arguments have begun, even among black scholars, against continuing to teach black literature and/or black history in American universities and colleges. In this article, the author argues that some scholars no longer see the need for African-American literature courses, and this trend may already be reflected on at least one community college campus. She contends that there is no way to get to the "post-racial" part of future history unless one discusses the hard subjects.

A list of notable articles and papers written by African Americans or about the African American experience and published in 2007 and 2008 is presented, including an article on racially mixed neighborhoods by T. Abada and colleagues in the journal "Social Science & Medicine" and an article on income and racial disparities by L.C. Abercrombie and colleagues in the "American Journal of Preventive Medicine."

In this commentary, the author sttes that she has gained much insight from reviewing the collection of writing on whiteness. While there is agreement among those authors that there is a distinction between the first wave and second wave whiteness studies, there is a unified theme to not minimize the consequences of inhaling racist air, which is a real threat to anyone breathing. In this compilation, there is a sense of urgency to complicate white racial consciousness and broaden the understanding of development and strengthen the support for that development. In joining this conversation, this author wants to know how whiteness studies and the works of Black literature overlap and wrestle with each other--and who really benefits from this dialog.

Examines the relationship between “The Biglow Papers,” by James Russell Lowell and the Simple sketches by Langston Hughes. Role of both works as part of the American literary tradition of the crackerbox philosopher; Ways in which both works deal extensively with the problem or race relations; Journalistic origins of the characters; Treatment of relatives in the works.

This essay investigates interconnections between the novelist, Henry James, Ivan Turgenev, and Aleksandr Pushkin and identifies the racial subtext of these associations. Several scholars have connected Pushkin and James. But none of this scholarship has speculated on whether it was the poet's African heritage that was at the root of hidden connections between these authors. Moreover, though most scholarship on Pushkin's reception in the United States focuses on twentieth-century African American literature, his African heritage was publicized much earlier. In fact, nineteenth-century commentators on both sides of the Atlantic frequently discussed Pushkin's racial heritage as a canonical European writer of African descent. This essay recovers how Henry James used Pushkin's daughter, the morganatic Countess Merenberg, as a model for the racially ambiguous "morganatic" Baroness Münster in The Europeans (1878). A decade later, James seems to have invoked the Countess Merenberg once more in his rewriting of Pushkin's "The Queen of Spades" (1833) in The Aspern Papers (1888). While James publicly attributed Byron and Shelley as inspirations, the discourse surrounding the African heritage of Pushkin and his heirs helps explain why the novelist minimized and erased the racial lineage at the center of The Europeans and The Aspern Papers. [ABSTRACT FROM AUTHOR]

The purpose of this article is to assert that there are classic African American children's books and to identify a sampling of them. The author presents multiple definitions of the term classic based on the responses of children's literature experts and relevant scholarship. Next, the manner in which data were collected and analyzed in regard to classic African American children's books is explained. Then, three categories are elaborated--universal experiences from an African American perspective, breakthrough books, and literary innovations--in which the African American children's books identified as classics were placed. The article concludes with pedagogical implications and conclusions. (Contains 1 table.)

Undoubtedly, Toni Morrison’s novel Beloved is a work of fiction whose main function is not only to depict a story of slavery and emancipation, but also to produce a universal insight, a possible philosophical overview, and promote an aesthetic taste for receiving culture, language, and history from a different point of view, perhaps a “New Consciousness.” While analyzing the text Beloved, we understand how the language game itself is responsible for creating a decoded sense of “Signification” based on its usage of “rhetorical tropes”— an idea that has been minutely illustrated by Henry Louis Gates Jr. in his theory of “Signifyin(g) Monkey”—a theory of “Signification” indigenous to Black American literature. This paper demonstrates an intersectional application of Black American “Aesthetics” and “New Consciousness” to Toni Morrison’s Beloved. At the same time, the paper also demonstrates the possible application of Black American “Aesthetics’’ and the idea of “New Consciousness” beyond the Black American canon, taking several references from postcolonial literary criticism, theory, and the very concept of “Third World Consciousness.” With the help of the “Compare and Contrast” research technique, the paper explores the possible applications of Black American “Aesthetics’’ and “New Consciousness” as reflected in Toni Morrison’s Beloved. [ABSTRACT FROM AUTHOR]

The author had the pleasure of being in an academic setting where students of color were in the majority. That was the summer of 2004 as she observed African-American Literature 1900-Present, a writing intensive class in the Special Program in Talent Development (SPTD) at the University of Rhode Island (URI). The author wants to tell the story of this particular class because it speaks to her about a way of teaching she wants to emulate. It is the story of an African American literature class taught to students who were thought, by their institution, to be sufficiently at risk for college success and, therefore, denied admission through the traditional application process.

The idea that "the personal is political" is both a commonplace in composition studies and something many have not yet fully theorized. The literature on personal writing tends to explore the relationship of the personal to academic discourse and the ethics and problems of intruding into students' lives. Because of this emphasis on the individual, some critics, such as James Berlin and Joel Haefner, suggest a dichotomy between personal writing and social critique, but such a position is undermined by some basic tenets of critical pedagogy, a strong influence on composition studies. Critical pedagogues do address the links between the personal and social critique but fail to fully explore a critical pedagogy tied to personal experience. This article examines the literacy narratives of Frederick Douglass's "Narrative of the Life of Frederick Douglass, an American Slave" and Richard Wright's "Black Boy". According to the author, on the surface, Douglass's and Wright's narratives provide a simple celebration of literacy, however, a more complicated pattern emerges from the experiences of these men. Both men become obsessed with generative themes that help them create radical personal and social change--with reading and writing being central to their experiences.

In this article I question whether or not African American young adult literature serves as a primer for, and a version of, African American adult literature. Using the Black Aesthetic as my literary theory and the Coretta Scott King Award as the young adult canon, I note that while the content of adolescent literature is consistent with the tenets of the Black Aesthetic and African American adult literature, the literary elements and style are not. As such, young readers of African American young adult literature are not necessarily prepared for the literary elements and style of canonical African American adult literature. Further, I note that editors, publishers, and literary critics may contribute to the construction of young adult literature, in that editors may discourage authors from experimenting with form and style. Finally, I call for reorienting Black children's and adolescent literature away from White literary elements and style and toward Black literary elements and style.

An instructor and her student offer complementary perspectives on what happened in a classroom in which reading Toni Morrison opened up nearly intractable resistances to a making and sharing of knowledge in which no one was allowed to take refuge in what Catherine Fox calls "whiteliness" and assume a position outside of others' knowing while asking those same others to assume the "burden of representation." Complicating our notion of progressive pedagogy and our assumption that we know what progress looks like, the article suggests, in Jones's words, "both education's gifts and its limitations."

The pessimism of James Monroe Whitfield's long, only partially preserved poem "The Vision" is possibly without parallel in antebellum African American literature. Mobilizing African American and broader American culture's preoccupation with the end of the world, Whitfield turns to allegory and apocalyptic prophecy to represent the massive scale of human sacrifice in a nation founded on enslavement and colonial domination. "The Vision" theorizes the regimes of oppression shaping the antebellum social order through what I term an apocalyptic aesthetic of annihilation, which emerges from the interaction of the poem's thematic, affective, and formal components. This aesthetic is concerned with imminent collapse of society and characterized by violent imagery, a tone of indignant despair, and an accelerated temporality conveyed by long, complex sentences and irregular, often inexact refrains. Serialized in Frederick Douglass' Paper and haunted by gaps resulting from the loss of its first canto, "The Vision" offers a chilling corrective to the newspaper's celebration of the progress of the antislavery cause, while the poem's prophecy of social destruction anticipates the possibility of its archival fragmentation. [ABSTRACT FROM AUTHOR]

Copyright of Letrônica is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Octavia Butler is a pioneer in the field of speculative fiction as one of the few African American female writers who have managed to secure a stable position among the ranks of famous SF authors. The current paper is an attempt to provide a contemporary feminist reading of “Bloodchild” – her most-anthologized short story, produced in the middle of the 1980s and made the focal point of a larger short-story collection. The main character Gan needs to decide whether he is ready to submit his body to the immediate enemy as a tool for procreation. In the process, he starts to understand his family, his community, and the world around him in a better way, becoming an adult prematurely. The aim of the current examination is to trace Gan’s maturation through his encounter with various bodily experiences and states in order to see how maturity influences bodily autonomy. Some of the aspects of interest include short story writing and its evolution in the African American literary tradition, pregnancy and birth. [ABSTRACT FROM AUTHOR]

In this article, the author shares her experience teaching Native American and African American literature at a top public liberal arts college. Working with a large Native American student population and growing up in Montana, the author had both seen and experienced the racism Native Americans face in their culture. As a new faculty member, the author quickly learned from colleagues and from her involvement in the Native student organization that more consequential identity conflicts were common on the campus and in the town in which the university was located, especially since many of the students, like the author, do not "look Indian." The author describes her encounters with the people which highlighted a conflict that, for the author, is always right below the surface as a professor: the author enjoys the often unquestioned authority her Indian identity gives her as a teacher of Native American literature, yet she is troubled by the knowledge that her graduate school training in American ethnic literatures, the education that enables and qualifies her--to do her job well, is, for many, a secondary consideration. (Contains 11 notes.)

The objective of this paper is to study the Spanish translation of Yaa Gyasi's Homegoing (2016), a novel that adopts the form of a neo-slave narrative to chronicle a black family's history from eighteenth-century Ghana to the early twenty-first century in the United States. The contexts in which both the source and target text were published will be described, paying attention to paratexts, to the book's reception, and to the translation's positive reviews. Gyasi's debut oeuvre depicts alterity and the non-standard linguistic varieties, such as Black English, spoken by the dispossessed Other. This paper examines the strategies that the translator, Maia Figueroa (2017), has made use of to render this interplay of voices into Spanish. In addition, it considers how her choice to standardize some fragments and to introduce marked non-standard language in certain passages affects the reflection of the narrative Us vs. Otherness in the target text. [ABSTRACT FROM AUTHOR]

This response to Richard Shusterman's Philosophy and the Art of Writing focuses on his concern that philosophy is, first and foremost, a way of life, illustrated in the West by the Socratic ideal of the philosopher and in the East by the example of the scholar‐artist‐gentleman. This paper examines the process of Buddhist meditation and the process of creating novels, supplementing the authors Shusterman carefully examines with examples from Black American literature, the author's own teacher John Gardner, and artistic colleagues the author has known. The basic thrust of the response is that the skillful means used in writing can indeed be a form of self‐creation, but it can also be a means of liberation from the self. [ABSTRACT FROM AUTHOR]

Beginning with the release of The Birth of a Nation through the mid-twentieth century, the film industry began featuring African Americans on the silver screen. The emergence of race films—major film productions made by African Americans and featuring Black artists—were frequently reported and reviewed in the Black press. This examination of the coverage of race films in three major Black newspapers, the Chicago Defender, Pittsburgh Courier, and Baltimore Afro-American, traces coverage of race films by the Black press between 1915 and 1950. This study builds on literature from journalism and communication studies, as well as film studies to illustrate how the Black press fulfilled its role as an advocacy press and served its mission of racial uplift through its race film coverage. It argues that Black newspapers achieved this by giving positive coverage to race films, their actors, producers, and crew members, and by unreservedly criticizing Black members of the entertainment industry if the Black press perceived that they were acting in ways detrimental to the greater cause of improving attitudes toward the Black community. [ABSTRACT FROM AUTHOR]

This paper proposes that African American consciousness is extant as a unitary form of knowledge and is predicted primarily upon denied will in its greater or lesser gradation within the unequal society. Thus, this paper is an approach to African American consciousness seen as a particular type of consciousness, an approach that examines the dynamic link between will and consciousness and which seeks to reanimate a procedure of recentering African American subject particularly with reference to cultural processes, including the literary texts of African American writers - e.g., DuBois, Douglass, Hurston, Wright, Angelou, Walker, and Morrison. A consciousness that has been historically conditioned by oppression and discrimination; an African American consciousness latticed with struggle and endurance and which is presented here for the first time. [ABSTRACT FROM AUTHOR]

The issues of race, racism and discrimination always become the canter of the study of the African-American community, for example in literature. An example of African-American Literature that described those things is written by Phillis Wheatley. In her poems that were influenced by the Neoclassicism era, entitled: ―On being brought from AFRICA to AMERICA' and ―To the Right Honourable William, Earl of Dartmouth‖, she delivered the issues of race and racism. This paper aims to analyze racism toward African-America as described in Phillis Wheatley‘s poems. The researcher employed a qualitative descriptive method in which the collected data were analyzed, interpreted, and described to answer the objective of the study. The primary data in this undergraduate thesis are two selected poems by Wheatley and the supporting data were taken from books, articles, journals, online sources, and other sources. The researcher applied African-American criticism to answer the objective of the research. The Researchers use three basic tenets of African-American criticism (Everyday Racism, The Social Construction of Race and Voice of color). The findings show Wheatley‘s poems portray the life of an African American who experienced racism first-hand. The concept of racism in the two selected poems from Wheatley‘s has correlation with 3 concepts of racism of African-American criticism, those are: Everyday racism, The Social Construction of Race, Voice of color. [ABSTRACT FROM AUTHOR]

This paper focuses on the representations of the Other in the Macedonian film Three Days in September (2015). Its goal is to draw a parallel between the ways African-Americans have been portrayed in film and literature and the manner in which Albanians are depicted in this Macedonian film through the theoretical framework of black masculinities. The paper also refers to the two forms of Otherness that clash in this film - otherness as gender versus otherness as ethnic identity. [ABSTRACT FROM AUTHOR]

Ngũgĩ wa Thiong’o remarked almost forty years ago that “[l]anguage carries culture, and culture carries, particularly through orature and literature, the entire body of values by which we come to perceive ourselves and our place in the world [...] at their entire relationship to nature and to other beings” (1986 [1992], 16). Although his comment originated in post-colonial literary thought within an East African linguistic context, these words retain increasing significance today and are more broadly applicable to any sociologically-informed literary discussions in the American classroom. To this end, the literature of the Post-Bellum, Pre-Harlem (cf. Chesnutt 1931, inter alia) offers a window into the complex sociocultural, historical, and political context of the United States in the late eighteenth and early twentieth centuries, which had previously been defined as the Black Nadir. Accordingly, this paper presents the results of a four-week instructional unit, which took place in a tenth-grade English classroom at a semi-suburban high school in north-central New Jersey, that required students to read and engage critically with James Weldon Johnson's (1912 [1927]) The Autobiography of an Ex-Colored Man. Most importantly, the present study advocates a departure from ‘interpretation by free association’ (Reader Response Theory) and, instead, proposes a more nuanced understanding of the United States at the fin de siècle through student-driven questioning of and conversations about the sociological, cultural, historical, linguistic, and literary dimensions of such works. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Surra Man Raa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ugly Ways (1993) by Tina McElroy Ansa has been overlooked as a significant contribution to African American feminist literary fiction. This paper performs a close reading examining the novel's thematic intersection of Black feminist theory and trauma theory. Part one of this essay defines Black feminist theory and outlines key concepts of Black feminist thought. Parts two and three focus on the protagonist, Esther "Mudear" Lovejoy, and analyze her "change" through the lenses of Black feminist theory and trauma theory, respectively, highlighting the ways in which Ugly Ways articulates a conception of Black womanhood defined in equal parts by empowerment and psychic pain. Part four argues that Black feminist theory and trauma theory are not just compatible, but consonant. Ultimately, Ugly Ways depicts African American women as complex human subjects and moves beyond conventional historical, literary, and popular representations. [ABSTRACT FROM AUTHOR]

Copyright of Indialogs, Spanish Journal of India Studies is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Childhood & Philosophy is the property of International Council for Philosophical Inquiry with Children and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper attempts to comprehend and describe the pains of the alienated women characters in Alice Walker's The Color Purple, an epistolary novel that hinges on the trials, tribulations, and the final triumph of Celie, who represents the oppressed black women. Search for self and quest for identity is a dominant theme in African American women's literature. Against this backdrop, the novel poignantly delineates Celie's efforts at identifying and asserting her "self" in the midst of various tormenting experiences she encounters. Her experiences as a helpless daughter, a powerless wife, and a voiceless mother poignantly impact her outlook on life, and these experiences force her to evolve as a determined and responsible woman. Her character advances from stoical submission to personal responsibility and formidable assertiveness. She exploits the power of letter writing to look within and rightfully express her concerns. In the course of time, her letters become an instrument of self-realization and selfmastery, and she deftly uses the letters to define her life's mission and emerge as a holistic individual. Through Celie, Walker hints that oppression of black women can be conquered by introspection rather than searching for external solutions. The novel highlights the importance of discovering one's self and realizing one's identity in an alien soil and culture. [ABSTRACT FROM AUTHOR]