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| harlem renaissance font: Spectres of 1919 Barbara Foley, 2010-10-01 A look at the violent “Red Summer of 1919” and its intersection with the highly politicized New Negro movement and the Harlem Renaissance With the New Negro movement and the Harlem Renaissance, the 1920s was a landmark decade in African American political and cultural history, characterized by an upsurge in racial awareness and artistic creativity. In Spectres of 1919 Barbara Foley traces the origins of this revolutionary era to the turbulent year 1919, identifying the events and trends in American society that spurred the black community to action and examining the forms that action took as it evolved. Unlike prior studies of the Harlem Renaissance, which see 1919 as significant mostly because of the geographic migrations of blacks to the North, Spectres of 1919 looks at that year as the political crucible from which the radicalism of the 1920s emerged. Foley draws from a wealth of primary sources, taking a bold new approach to the origins of African American radicalism and adding nuance and complexity to the understanding of a fascinating and vibrant era. |
| harlem renaissance font: The Harlem Renaissance and the Idea of a New Negro Reader Shawn Anthony Christian, 2016 Introduction. The New Negro is reading -- Creating critical frameworks: three models for the New Negro Reader -- In search of Black writers (and readers): Crisis's and Opportunity's literary contests -- Beyond the New Negro: artistry, audience, and the Harlem Renaissance literary anthology -- Pedagogy for critical readership: James Weldon Johnson's English 123 -- Epilogue. On African American writers and readers |
| harlem renaissance font: Between Harlem and Heaven JJ Johnson, Alexander Smalls, Veronica Chambers, 2018-02-06 This award-winning volume of recipes and stories “presents a captivatingly original cuisine . . . packed with unique and delicious layers of flavor” (Sean Brock). In two of the most renowned and historic venues in Harlem, Alexander Smalls and JJ Johnson created a unique take on the Afro-Asian-American flavor profile. They drew on their extensive travels through the African diaspora and their deep knowledge of how African, Asian, and African-American influences criss-crossed cuisines all around the world. In Between Harlem and Heaven, Smalls and Johnson share their love for this truly global cuisine through more than 100 recipes, personal reflections, and essays on topics ranging from the history of Minton’s Jazz Club to the melting pot that is Harlem. This acclaimed cookbook goes far beyond “soul food” to celebrate the rich intersection of the African and Asian diasporas. Giving homage to this cultural culinary path and the grievances and triumphs along the way, Between Harlem and Heaven isn’t fusion, but a glimpse into a cuisine that made its way into the thick of Harlem’s cultural renaissance. Winner of the James Beard Award for Best American Cookbook |
| harlem renaissance font: Illuminating Letters Paul C. Gutjahr, Megan L. Benton, 2001 What do we read when we read a text? The author's words, of course, but is that all? The prevailing publishing ethic has insisted that typography?the selection and arrangement of type and other visual elements on a page?should be an invisible, silent, and deferential servant to the text it conveys. This book contests that conventional point of view. Looking at texts ranging from the King James Bible to contemporary comic strips, the contributors to Illuminating Letters examine the seldom considered but richly revealing relationships between a text's typography and its literary interpretation. The essays assume no previous typographic knowledge or expertise; instead they invite readers primarily concerned with literary and cultural meanings to turn a more curious eye to the visual and physical forms of a specific text or genre. As the contributors show, closer inspection of those forms can yield fresh insights into the significance of a text's material presentation, leading readers to appreciate better how presentation shapes understandings of the text's meanings and values. The case studies included in the volume amplify its two overarching themes: one set explores the roles of printers and publishers in manipulating, willingly or not, the meaning and reception of texts through typographic choices; the other group examines the efforts of authors to circumvent or subvert such mediation by directly controlling the typographic presentation of their texts. Together these essays demonstrate that choices about type selection and arrangement do indeed help to orchestrate textual meaning. In addition to the editors, contributors include Sarah A. Kelen, Beth McCoy, Steven R. Price, Leon Jackson, and Gene Kannenberg Jr. |
| harlem renaissance font: Editing the Harlem Renaissance Joshua M. Murray, Ross K. Tangedal, 2021-05-01 In his introduction to the foundational 1925 text The New Negro, Alain Locke described the “Old Negro” as “a creature of moral debate and historical controversy,” necessitating a metamorphosis into a literary art that embraced modernism and left sentimentalism behind. This was the underlying theoretical background that contributed to the flowering of African American culture and art that would come to be called the Harlem Renaissance. While the popular period has received much scholarly attention, the significance of editors and editing in the Harlem Renaissance remains woefully understudied. Editing the Harlem Renaissance foregrounds an in-depth, exhaustive approach to relevant editing and editorial issues, exploring not only those figures of the Harlem Renaissance who edited in professional capacities, but also those authors who employed editorial practices during the writing process and those texts that have been discovered and/or edited by others in the decades following the Harlem Renaissance. Editing the Harlem Renaissance considers developmental editing, textual self-fashioning, textual editing, documentary editing, and bibliography. Chapters utilize methodologies of authorial intention, copy-text, manuscript transcription, critical edition building, and anthology creation. Together, these chapters provide readers with a new way of viewing the artistic production of one of the United States’ most important literary movements. |
| harlem renaissance font: The Black Chicago Renaissance Darlene Clark Hine, John McCluskey, 2012-06-15 Beginning in the 1930s, Black Chicago experienced a cultural renaissance that lasted into the 1950s and rivaled the cultural outpouring in the Harlem Renaissance of the 1920s. The contributors to this volume analyze this prolific period of African American creativity in music, performance art, social science scholarship, and visual and literary artistic expression. Unlike Harlem, Chicago was an urban industrial center that gave a unique working class and internationalist perspective to the cultural work being done in Chicago. This collection's various essays discuss the forces that distinguished the Black Chicago Renaissance from the Harlem Renaissance and placed the development of black culture in a national and international context. Among the topics discussed in this volume are Chicago writers Gwendolyn Brooks and Richard Wright, The Chicago Defender and Tivoli Theater, African American music and visual arts, and the American Negro Exposition of 1940. Contributors are Hilary Mac Austin, David T. Bailey, Murry N. DePillars, Samuel A. Floyd Jr., Erik S. Gellman, Jeffrey Helgeson, Darlene Clark Hine, John McCluskey Jr., Christopher Robert Reed, Elizabeth Schlabach, and Clovis E. Semmes. |
| harlem renaissance font: Popular Fronts Bill Mullen, 1999 In a stunning revision of radical politics during the Popular Front period, Bill Mullen redefines the cultural renaissance of the 1930s and early 1940s as the fruit of an extraordinary rapprochement between African-American and white members of the U.S. Left struggling to create a new American Negro culture. A dynamic reappraisal of a critical moment in American cultural history, Popular Fronts includes a major reassessment of the politics of Richard Wright's critical reputation, a provocative reading of class struggle in Gwendolyn Brooks's A Street in Bronzeville, and in-depth examinations of the institutions that comprised Chicago's black popular front: The Chicago Defender, the period's leading black newspaper; Negro Story, the first magazine devoted to publishing short stories by and about black Americans; and the WPA-sponsored South Side Community Art Center. |
| harlem renaissance font: Women of the Harlem Renaissance Cheryl A. Wall, 1995-09-22 Wall's writing is lively and exuberant. She passes her enthusiasm for these writers' works on to the reader. She captures the mood of the times and follows through with the writers' evolution -- sometimes to success, other times to isolation.... Women of the Harlem Renaissance is a rare blend of thorough academic research with writing that anyone can appreciate. -- Jason Zappe, Copley News Service By connecting the women to one another, to the cultural movement in which they worked, and to other early 20th-century women writers, Wall deftly defines their place in American literature. Her biographical and literary analysis surpasses others by following up on diverse careers that often ended far past the end of the movement. Highly recommended... Â -- Library Journal Wall offers a wealth of information and insight on their work, lives and interaction with other writers... strong critiques... -- Publishers Weekly The lives and works of women artists in the Harlem Renaissance -- Jessie Redmon Fauset, Nella Larsen, Zora Neale Hurston, Bessie Smith, and others. Their achievements reflect the struggle of a generation of literary women to depict the lives of Black people, especially Black women, honestly and artfully. |
| harlem renaissance font: The Collage Aesthetic in the Harlem Renaissance Rachel Farebrother, 2009 Beginning with a subtle and persuasive analysis of the cultural context, Farebrother examines collage in modernist and Harlem Renaissance figurative art and unearths the collage sensibility attendant in Franz Boas's anthropology. This strategy makes explicit the formal choices of Harlem Renaissance writers by examining them in light of African American vernacular culture and early twentieth-century discourses of anthropology, cultural nationalism and international modernism. At the same time, attention to the politics of form in such texts as Toomer's Cane, Locke's The New Negro and selected works by Hurston reveals that the production of analogies, juxtapositions, frictions and distinctions on the page has aesthetic, historical and political implications. Why did these African American writers adopt collage form during the Harlem Renaissance? What did it allow them to articulate? These are among the questions Farebrother poses as she strives for a middle ground between critics who view the Harlem Renaissance as a distinctive, and necessarily subversive, kind of modernism and those who foreground the cooperative nature of interracial creative work during the period. A key feature of her project is her exploration of neglected connections between Euro-American modernism and the Harlem Renaissance, a journey she negotiates while never losing sight of the particularity of African American experience. Ambitious and wide-ranging, Rachel Farebrother's book offers us a fresh lens through which to view this crucial moment in American culture. |
| harlem renaissance font: Nigger Heaven Carl Van Vechten, 1926 Negro life in Harlem. Cf. Hanna, A. Mirror for the nation |
| harlem renaissance font: Along the Streets of Bronzeville Elizabeth Schroeder Schlabach, 2012-09-15 Along the Streets of Bronzeville examines the flowering of African American creativity, activism, and scholarship in the South Side Chicago district known as Bronzeville during the period between the Harlem Renaissance in the 1920s and the Black Arts Movement of the 1960s. Poverty stricken, segregated, and bursting at the seams with migrants, Bronzeville was the community that provided inspiration, training, and work for an entire generation of diversely talented African American authors and artists who came of age during the years between the two world wars. In this significant recovery project, Elizabeth Schroeder Schlabach investigates the institutions and streetscapes of Black Chicago that fueled an entire literary and artistic movement. She argues that African American authors and artists--such as Gwendolyn Brooks, Richard Wright, Langston Hughes, painter Archibald Motley, and many others--viewed and presented black reality from a specific geographic vantage point: the view along the streets of Bronzeville. Schlabach explores how the particular rhythms and scenes of daily life in Bronzeville locations, such as the State Street Stroll district or the bustling intersection of 47th Street and South Parkway, figured into the creative works and experiences of the artists and writers of the Black Chicago Renaissance. She also covers in detail the South Side Community Art Center and the South Side Writers' Group, two institutions of art and literature that engendered a unique aesthetic consciousness and political ideology for which the Black Chicago Renaissance would garner much fame. Life in Bronzeville also involved economic hardship and social injustice, themes that resonated throughout the flourishing arts scene. Schlabach explores Bronzeville's harsh living conditions, exemplified in the cramped one-bedroom kitchenette apartments that housed many of the migrants drawn to the city's promises of opportunity and freedom. Many struggled with the precariousness of urban life, and Schlabach shows how the once vibrant neighborhood eventually succumbed to the pressures of segregation and economic disparity. Providing a virtual tour South Side African American urban life at street level, Along the Streets of Bronzeville charts the complex interplay and intersection of race, geography, and cultural criticism during the Black Chicago Renaissance's rise and fall. |
| harlem renaissance font: Writers of the Black Chicago Renaissance Steven C. Tracy, 2011-11-01 Writers of the Black Chicago Renaissance comprehensively explores the contours and content of the Black Chicago Renaissance, a creative movement that emerged from the crucible of rigid segregation in Chicago's Black Belt from the 1930s through the 1960s. Heavily influenced by the Harlem Renaissance and the Chicago Renaissance of white writers, its participants were invested in political activism and social change as much as literature, art, and aesthetics. The revolutionary writing of this era produced some of the first great accolades for African American literature and set up much of the important writing that came to fruition in the Black Arts Movement. The volume covers a vast collection of subjects, including many important writers such as Richard Wright, Gwendolyn Brooks, and Lorraine Hansberry as well as cultural products such as black newspapers, music, and theater. The book includes individual entries by experts on each subject; a discography and filmography that highlight important writers, musicians, films, and cultural presentations; and an introduction that relates the Harlem Renaissance, the White Chicago Renaissance, the Black Chicago Renaissance, and the Black Arts Movement. Contributors are Robert Butler, Robert H. Cataliotti, Maryemma Graham, James C. Hall, James L. Hill, Michael Hill, Lovalerie King, Lawrence Jackson, Angelene Jamison-Hall, Keith Leonard, Lisbeth Lipari, Bill V. Mullen, Patrick Naick, William R. Nash, Charlene Regester, Kimberly Ruffin, Elizabeth Schultz, Joyce Hope Scott, James Smethurst, Kimberly M. Stanley, Kathryn Waddell Takara, Steven C. Tracy, Zoe Trodd, Alan Wald, Jamal Eric Watson, Donyel Hobbs Williams, Stephen Caldwell Wright, and Richard Yarborough. |
| harlem renaissance font: Chicago's New Negroes Davarian L. Baldwin, 2009-11-30 As early-twentieth-century Chicago swelled with an influx of at least 250,000 new black urban migrants, the city became a center of consumer capitalism, flourishing with professional sports, beauty shops, film production companies, recording studios, and other black cultural and communal institutions. Davarian Baldwin argues that this mass consumer marketplace generated a vibrant intellectual life and planted seeds of political dissent against the dehumanizing effects of white capitalism. Pushing the traditional boundaries of the Harlem Renaissance to new frontiers, Baldwin identifies a fresh model of urban culture rich with politics, ingenuity, and entrepreneurship. Baldwin explores an abundant archive of cultural formations where an array of white observers, black cultural producers, critics, activists, reformers, and black migrant consumers converged in what he terms a marketplace intellectual life. Here the thoughts and lives of Madam C. J. Walker, Oscar Micheaux, Andrew Rube Foster, Elder Lucy Smith, Jack Johnson, and Thomas Dorsey emerge as individual expressions of a much wider spectrum of black political and intellectual possibilities. By placing consumer-based amusements alongside the more formal arenas of church and academe, Baldwin suggests important new directions for both the historical study and the constructive future of ideas and politics in American life. |
| harlem renaissance font: A History of the Harlem Renaissance Rachel Farebrother, Miriam Thaggert, 2021-02-04 The Harlem Renaissance was the most influential single movement in African American literary history. The movement laid the groundwork for subsequent African American literature, and had an enormous impact on later black literature world-wide. In its attention to a wide range of genres and forms – from the roman à clef and the bildungsroman, to dance and book illustrations – this book seeks to encapsulate and analyze the eclecticism of Harlem Renaissance cultural expression. It aims to re-frame conventional ideas of the New Negro movement by presenting new readings of well-studied authors, such as Zora Neale Hurston and Langston Hughes, alongside analysis of topics, authors, and artists that deserve fuller treatment. An authoritative collection on the major writers and issues of the period, A History of the Harlem Renaissance takes stock of nearly a hundred years of scholarship and considers what the future augurs for the study of 'the New Negro'. |
| harlem renaissance font: Langston Hughes and the *Chicago Defender* Langston Hughes, 1995-07 A collection of columns written by Langston Hughes between 1942 and 1962 for the Chicago Defender, offering his views on international race relations, Jim Crow, the South, white supremacy, imperialism and fascism, segregation in the armed forces, the Soviet Union and communism, and African-American art and culture. |
| harlem renaissance font: Unnatural Selections Daylanne K. English, 2004 Challenging conventional constructions of the Harlem Renaissance and American modernism, Daylanne English links writers from both movements to debates about eugenics in the Progressive Era. She argues that, in the 1920s, the form and content of writings b |
| harlem renaissance font: African-American Concert Dance John O. Perpener, 2005-02 This study examines the careers of eight Black dance artists who contributed significantly to the development of American concert dance during the 1920s, 1930s, and 1940s. |
| harlem renaissance font: Manliness and Its Discontents Martin Summers, 2005-12-15 In a pathbreaking new assessment of the shaping of black male identity in the early twentieth century, Martin Summers explores how middle-class African American and African Caribbean immigrant men constructed a gendered sense of self through organizational life, work, leisure, and cultural production. Examining both the public and private aspects of gender formation, Summers challenges the current trajectory of masculinity studies by treating black men as historical agents in their own identity formation, rather than as screens on which white men projected their own racial and gender anxieties and desires. Manliness and Its Discontents focuses on four distinct yet overlapping social milieus: the fraternal order of Prince Hall Freemasonry; the black nationalist Universal Negro Improvement Association, or the Garvey movement; the modernist circles of the Harlem Renaissance; and the campuses of historically black Howard and Fisk Universities. Between 1900 and 1930, Summers argues, dominant notions of what it meant to be a man within the black middle class changed from a Victorian ideal of manliness--characterized by the importance of producer values, respectability, and patriarchy--to a modern ethos of masculinity, which was shaped more by consumption, physicality, and sexuality. Summers evaluates the relationships between black men and black women as well as relationships among black men themselves, broadening our understanding of the way that gender works along with class, sexuality, and age to shape identities and produce relationships of power. |
| harlem renaissance font: The Harlem Renaissance in the American West Cary D Wintz, Bruce Glasrud, 2012-05-22 The Harlem Renaissance, an exciting period in the social and cultural history of the US, has over the past few decades re-established itself as a watershed moment in African American history. However, many of the African American communities outside the urban center of Harlem that participated in the Harlem Renaissance between 1914 and 1940, have been overlooked and neglected as locations of scholarship and research. Harlem Renaissance in the West: The New Negro's Western Experience will change the way students and scholars of the Harlem Renaissance view the efforts of artists, musicians, playwrights, club owners, and various other players in African American communities all over the American West to participate fully in the cultural renaissance that took hold during that time. |
| harlem renaissance font: Carl Van Vechten and the Harlem Renaissance Emily Bernard, 2012-02-28 By the time of his death in 1964, Carl Van Vechten had been a far-sighted journalist, a best-selling novelist, a consummate host, an exhaustive archivist, a prescient photographer, and a Negrophile bar non. A white man with an abiding passion for blackness. |
| harlem renaissance font: The Genius of Democracy Victoria Olwell, 2011-05-05 In the late nineteenth- and early twentieth-century United States, ideas of genius did more than define artistic and intellectual originality. They also provided a means for conceptualizing women's participation in a democracy that marginalized them. Widely distributed across print media but reaching their fullest development in literary fiction, tropes of female genius figured types of subjectivity and forms of collective experience that were capable of overcoming the existing constraints on political life. The connections between genius, gender, and citizenship were important not only to contests over such practical goals as women's suffrage but also to those over national membership, cultural identity, and means of political transformation more generally. In The Genius of Democracy Victoria Olwell uncovers the political uses of genius, challenging our dominant narratives of gendered citizenship. She shows how American fiction catalyzed political models of female genius, especially in the work of Louisa May Alcott, Henry James, Mary Hunter Austin, Jessie Fauset, and Gertrude Stein. From an American Romanticism that saw genius as the ability to mediate individual desire and collective purpose to later scientific paradigms that understood it as a pathological individual deviation that nevertheless produced cultural progress, ideas of genius provided a rich language for contests over women's citizenship. Feminist narratives of female genius projected desires for a modern public life open to new participants and new kinds of collaboration, even as philosophical and scientific ideas of intelligence and creativity could often disclose troubling and more regressive dimensions. Elucidating how ideas of genius facilitated debates about political agency, gendered identity, the nature of consciousness, intellectual property, race, and national culture, Olwell reveals oppositional ways of imagining women's citizenship, ways that were critical of the conceptual limits of American democracy as usual. |
| harlem renaissance font: Gay Rebel of the Harlem Renaissance Bruce Nugent, 2002 DIVA collection of writings and artwork by Richard Bruce Nugent, an important yet heretofore obscure figure of the Harlem Renaissance./div |
| harlem renaissance font: The Cambridge Companion to the Harlem Renaissance George Hutchinson, 2007-06-14 The Harlem Renaissance (1918–1937) was the most influential single movement in African American literary history. Its key figures include W. E. B. Du Bois, Nella Larsen, Zora Neale Hurston, Claude McKay, and Langston Hughes. The movement laid the groundwork for all later African American literature, and had an enormous impact on later black literature world-wide. With chapters by a wide range of well-known scholars, this 2007 Companion is an authoritative and engaging guide to the movement. It first discusses the historical contexts of the Harlem Renaissance, both national and international; then presents original discussions of a wide array of authors and texts; and finally treats the reputation of the movement in later years. Giving full play to the disagreements and differences that energized the renaissance, this Companion presents a set of new readings encouraging further exploration of this dynamic field. |
| harlem renaissance font: Black Poets of the United States Jean Wagner, 1973 Traces the evolution of Afro-American poetry, highlighting individual poets up to the time of the Harlem Renaissance. |
| harlem renaissance font: The African American Roots of Modernism James Smethurst, 2011-06-06 The period between 1880 and 1918, at the end of which Jim Crow was firmly established and the Great Migration of African Americans was well under way, was not the nadir for black culture, James Smethurst reveals, but instead a time of profound response from African American intellectuals. The African American Roots of Modernism explores how the Jim Crow system triggered significant artistic and intellectual responses from African American writers, deeply marking the beginnings of literary modernism and, ultimately, notions of American modernity. In identifying the Jim Crow period with the coming of modernity, Smethurst upsets the customary assessment of the Harlem Renaissance as the first nationally significant black arts movement, showing how artists reacted to Jim Crow with migration narratives, poetry about the black experience, black performance of popular culture forms, and more. Smethurst introduces a whole cast of characters, including understudied figures such as William Stanley Braithwaite and Fenton Johnson, and more familiar authors such as Charles Chesnutt, Pauline Hopkins, and James Weldon Johnson. By considering the legacy of writers and artists active between the end of Reconstruction and the rise of the Harlem Renaissance, Smethurst illuminates their influence on the black and white U.S. modernists who followed. |
| harlem renaissance font: Shadowed Dreams Maureen Honey, 2006-08-30 The first edition of Shadowed Dreams was a groundbreaking anthology that brought to light the contributions of women poets to the Harlem Renaissance. This revised and expanded version contains twice the number of poems found in the original, many of them never before reprinted, and adds eighteen new voices to the collection to once again strike new ground in African American literary history. Also new to this edition are nine period illustrations and updated biographical introductions for each poet. Shadowed Dreams features new poems by Gwendolyn Bennett, Anita Scott Coleman, Mae Cowdery, Blanche Taylor Dickinson, Alice Dunbar-Nelson, Jessie Fauset, Angelina Weld Grimké, Gladys Casely Hayford (a k a Aquah Laluah), Virginia Houston, Georgia Douglas Johnson, Helene Johnson, Effie Lee Newsome, Esther Popel, and Anne Spencer, as well as writings from newly discovered poets Carrie Williams Clifford, Edythe Mae Gordon, Alvira Hazzard, Gertrude Parthenia McBrown, Beatrice Murphy, Lucia Mae Pitts, Grace Vera Postles, Ida Rowland, and Lucy Mae Turner, among others. Covering the years 1918 through 1939 and ranging across the period's major and minor journals, as well as its anthologies and collections, Shadowed Dreams provides a treasure trove of poetry from which to mine deeply buried jewels of black female visions in the early twentieth century. |
| harlem renaissance font: Brown Beauty Laila Haidarali, 2018-09-25 Examines how the media influenced ideas of race and beauty among African American women from the Harlem Renaissance to World War II. Between the Harlem Renaissance and the end of World War II, a complicated discourse emerged surrounding considerations of appearance of African American women and expressions of race, class, and status. Brown Beauty considers how the media created a beauty ideal for these women, emphasizing different representations and expressions of brown skin. Haidarali contends that the idea of brown as a “respectable shade” was carefully constructed through print and visual media in the interwar era. Throughout this period, brownness of skin came to be idealized as the real, representational, and respectable complexion of African American middle class women. Shades of brown became channels that facilitated discussions of race, class, and gender in a way that would develop lasting cultural effects for an ever-modernizing world. Building on an impressive range of visual and media sources—from newspapers, journals, magazines, and newsletters to commercial advertising—Haidarali locates a complex, and sometimes contradictory, set of cultural values at the core of representations of women, envisioned as “brown-skin.” She explores how brownness affected socially-mobile New Negro women in the urban environment during the interwar years, showing how the majority of messages on brownness were directed at an aspirant middle-class. By tracing brown’s changing meanings across this period, and showing how a visual language of brown grew into a dynamic racial shorthand used to denote modern African American womanhood, Brown Beauty demonstrates the myriad values and judgments, compromises and contradictions involved in the social evaluation of women. This book is an eye-opening account of the intense dynamics between racial identity and the influence mass media has on what, and who we consider beautiful. |
| harlem renaissance font: The Harlem Renaissance: Authors I-Z Janet Witalec, 2003 Presents writings by and criticism on seventeen Harlem Renaissance authors, including Claude McKay and Jean Toomer. This volume covers I-Z. |
| harlem renaissance font: The Harlem Renaissance Cheryl A. Wall, 2016 This Very Short Introduction offers an overview of the Harlem Renaissance, a cultural awakening among African Americans between the two world wars. Cheryl A. Wall brings readers to the Harlem of 1920s to identify the cultural themes and issues that engaged writers, musicians, and visual artists alike. |
| harlem renaissance font: Langston Hughes: Harlem Renaissance Writer David H. Anthony, Stephanie Kuligowski, 2011-08-15 Langston Hughes is often thought of as one of the greatest and most influential African American authors. This fascinating and inspiring biography will have readers enthralled by the life of Hughes as they learn how he became known as the voice of the Harlem Renaissance. Featuring lively images, photos, and captivating facts, this book allows readers to gain insight into how the Civil Rights Movement had an effect on Hughes' life and writing as well as important movements in the Harlem Renaissance like jazz, poetry, music, and clubs. The easy-to-read, supportive text works in conjunction with the accessible glossary and index to give readers the tools they may need to better understand the content and vocabulary. |
| harlem renaissance font: Encyclopedia of the Harlem Renaissance: K-Y Cary D. Wintz, Paul Finkelman, 2004 An interdisciplinary look at the Harlem Renaissance, it includes essays on the principal participants, those who defined the political, intellectual and cultural milieu in which the Renaissance existed; on important events and places. |
| harlem renaissance font: What Was the Harlem Renaissance? Sherri L. Smith, Who HQ, 2021-12-28 In this book from the #1 New York Times bestselling series, learn how this vibrant Black neighborhood in upper Manhattan became home to the leading Black writers, artists, and musicians of the 1920s and 1930s. Travel back in time to the 1920s and 1930s to the sounds of jazz in nightclubs and the 24-hours-a-day bustle of the famous Black neighborhood of Harlem in uptown Manhattan. It was a dazzling time when there was an outpouring of the arts of African Americans--the poetry of Langston Hughes; the novels of Zora Neale Hurston; the sculptures of Augusta Savage and that brand-new music called jazz as only Duke Ellington and Louis Armstrong could play it. Author Sherri Smith traces Harlem's history all the way to its seventeenth-century roots, and explains how the early-twentieth-century Great Migration brought African Americans from the deep South to New York City and gave birth to the golden years of the Harlem Renaissance. With 80 fun black-and-white illustrations and an engaging 16-page photo insert, readers will be excited to read this latest addition to Who HQ! |
| harlem renaissance font: New Technologies at Work Christina Garsten, Helena Wulff, 2020-06-11 Information and communication technologies have completely revolutionized our working practices. Career patterns, professional identities, speed of communication, time management, and mobility have been irrevocably changed in an amazingly short period. Drawing on worldwide case studies, this fascinating book explores these transformations and looks to what developments are in store for us in the future. Flexible hours, email, virtual meetings rooms, and working from home are all relatively new additions to our professional lives. The effects of these technological advances have been dramatic and far-reaching. Not only have they helped to connect organizations and institutions in developing countries to the rest of the world, but they also allow people to maintain extensive geographical networks with friends, families, and colleagues. The use of virtual reality and multimedia has had a huge impact on careers ranging from investment banking to molecular biology, and has brought fundamental changes to education and training, the generation of new ideas, and problem solving. This book investigates both the impact of information technology on working practices and, more complexly, how I.T. is bound up in social, political, and economic issues. How are power relations established and maintained through transnational networking? Can the Internet be used as a political tool to manipulate the masses? In what ways has digital technology changed the aesthetics and practices of the Euro-American dance world? What initiatives have been undertaken to ensure people arent excluded from the digital world and have they succeeded? Through answering these and many more questions, this groundbreaking book is an essential guide to the modern day world. |
| harlem renaissance font: The Harlem Renaissance and Negritude Poetry Aderemi James Bamikunle, 1982 |
| harlem renaissance font: I Too Sing America Wil Haygood, 2018-10-09 Winner of the James A. Porter and David C. Driskell Book Award for African American Art History, I Too Sing America offers a major survey on the visual art and material culture of the groundbreaking movement one hundred years after the Harlem Renaissance emerged as a creative force at the close of World War I. It illuminates multiple facets of the era--the lives of its people, the art, the literature, the music, and the social history--through paintings, prints, photography, sculpture, and contemporary documents and ephemera. The lushly illustrated chronicle includes work by cherished artists such as Romare Bearden, Allan Rohan Crite, Palmer Hayden, William Johnson, Jacob Lawrence, Archibald Motley, and James Van Der Zee. The project is the culmination of decades of reflection, research, and scholarship by Wil Haygood, acclaimed biographer and preeminent historian on Harlem and its cultural roots. In thematic chapters, the author captures the range and breadth of the Harlem Reniassance, a sweeping movement which saw an astonishing array of black writers and artists and musicians gather over a period of a few intense years, expanding far beyond its roots in Harlem to unleashing a myriad of talents upon the nation. The book is published in conjunction with a major exhibition at the Columbus Museum of Art. |
| harlem renaissance font: Gay Voices of the Harlem Renaissance A. B. Christa Schwarz, 2003 This groundbreaking study explores the Harlem Renaissance as a literary phenomenon fundamentally shaped by same-sex-interested men. Christa Schwarz focuses on Countze Cullen, Langston Hughes, Claude McKay, and Richard Bruce Nugent and explores these writers' sexually dissident or gay literary voices. The portrayals of men-loving-men in these writers' works vary significantly. Schwarz locates in the poetry of Cullen, Hughes, and McKay the employment of contemporary gay code words, deriving from the Greek discourse of homosexuality and from Walt Whitman. By contrast, Nugent the only out gay Harlem Renaissance artist portrayed men-loving-men without reference to racial concepts or Whitmanesque codes. Schwarz argues for contemporary readings attuned to the complex relation between race, gender, and sexual orientation in Harlem Renaissance writing. |
| harlem renaissance font: Official Gazette of the United States Patent and Trademark Office , 2004 |
| harlem renaissance font: The Philosophy of Alain Locke Alain Locke, 1991-02-05 Important writings on cultural pluralism, value relativism, and critical relativism |
| harlem renaissance font: Portraits of the New Negro Woman Cherene Sherrard-Johnson, 2007 Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta's frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries. In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond. |
| harlem renaissance font: Voices from the Harlem Renaissance Nathan Irvin Huggins, 1995 Nathan Irvin Huggins showcases more than 120 selections from the political writings and arts of the Harlem Renaissance. Featuring works by such greats as Langston Hughes, Aaron Douglas, and Gwendolyn Bennett, here is an extraordinary look at the remarkable outpouring of African-American literature and art during the 1920s. |
Harlem - Wikipedia
Harlem is a neighborhood in Upper Manhattan, New York City. It is bounded roughly by the Hudson River on the west; the Harlem River and 155th Street on the north; Fifth Avenue on the …
Harlem | Location, History, Map, & Facts | Britannica
4 days ago · Harlem, district of New York City, occupying a large part of northern Manhattan. In 1658 it was established as the settlement Nieuw Haarlem, named after Haarlem in the …
Things To Do in Harlem | The Ultimate 2025 Guide • - Loving …
Harlem is the center of African American culture in the United States. In this guide, we'll walk you through the best things to do in Harlem.
Explore Harlem, NYC | Culture, History & Things to Do
Welcome to Harlem is a full-service tour company that provides custom and educational tours, weekly jazz, and annual gospel concerts. Harlem is home to art, music, dance and history, and …
The 17 Best Things to See and Do in Harlem, New York City
Jun 3, 2025 · From the talent-incubating Apollo Theater to the canon-redefining Studio Museum – these are the best things to do in Harlem during your next visit. Located north of Central Park …
44 Things to Do in Harlem (Tips from Local Tour Guides) - Free …
Feb 7, 2025 · If you want to understand African-American history and culture, Harlem is a must-visit neighborhood. It's a place where you can see historic sites and diverse architecture, hear …
Why Harlem is New York's most culturally rich neighbourhood
Sep 24, 2022 · Known for its civil rights history, soul food and thriving music scene, Harlem is attracting a new wave of travellers keen to appreciate the community and culture of New York’s …
Harlem Renaissance - National Gallery of Art
The Harlem, or New Negro, Renaissance was a period of artistic and cultural rebirth among African Americans between 1918 and the mid-1930s. Many Black artists experienced a …
25 Best Things to Do in Harlem: An Untapped New York Guide
Oct 4, 2017 · From major periods like the Harlem Renaissance to the neighborhood’s significance during the Civil Rights Movement, Harlem offers years of rich history and plenty of interesting …
123 Best Things to Do in Harlem, New York City: A Guide - Adventurous Kate
Harlem is one of the most exciting neighborhoods in New York City. It’s the center of black America and has been for well over a century. It’s beautiful and endlessly interesting and the …
Harlem - Wikipedia
Harlem is a neighborhood in Upper Manhattan, New York City. It is bounded roughly by the Hudson River on the west; the Harlem River and 155th Street on the north; Fifth Avenue on the …
Harlem | Location, History, Map, & Facts | Britannica
4 days ago · Harlem, district of New York City, occupying a large part of northern Manhattan. In 1658 it was established as the settlement Nieuw Haarlem, named after Haarlem in the …
Things To Do in Harlem | The Ultimate 2025 Guide • - Loving New …
Harlem is the center of African American culture in the United States. In this guide, we'll walk you through the best things to do in Harlem.
Explore Harlem, NYC | Culture, History & Things to Do
Welcome to Harlem is a full-service tour company that provides custom and educational tours, weekly jazz, and annual gospel concerts. Harlem is home to art, music, dance and history, and …
The 17 Best Things to See and Do in Harlem, New York City
Jun 3, 2025 · From the talent-incubating Apollo Theater to the canon-redefining Studio Museum – these are the best things to do in Harlem during your next visit. Located north of Central Park in …
44 Things to Do in Harlem (Tips from Local Tour Guides) - Free …
Feb 7, 2025 · If you want to understand African-American history and culture, Harlem is a must-visit neighborhood. It's a place where you can see historic sites and diverse architecture, hear …
Why Harlem is New York's most culturally rich neighbourhood
Sep 24, 2022 · Known for its civil rights history, soul food and thriving music scene, Harlem is attracting a new wave of travellers keen to appreciate the community and culture of New York’s …
Harlem Renaissance - National Gallery of Art
The Harlem, or New Negro, Renaissance was a period of artistic and cultural rebirth among African Americans between 1918 and the mid-1930s. Many Black artists experienced a …
25 Best Things to Do in Harlem: An Untapped New York Guide
Oct 4, 2017 · From major periods like the Harlem Renaissance to the neighborhood’s significance during the Civil Rights Movement, Harlem offers years of rich history and plenty of interesting …
123 Best Things to Do in Harlem, New York City: A Guide - Adventurous Kate
Harlem is one of the most exciting neighborhoods in New York City. It’s the center of black America and has been for well over a century. It’s beautiful and endlessly interesting and the …
