Описание: The extensive influence of the creative traditions derived from slave culture, particularly black folklore, in the work of nineteenth- and twentieth-century black authors, such as Ralph Ellison and Toni Morrison, has become a hallmark of African American scholarship. Yet similar inquiries regarding white authors adopting black aesthetic techniques have been largely overlooked.Gretchen Martin examines representative nineteenth-century works to explore the influence of black-authored (or narrated) works on well-known white-authored texts, particularly the impact of black oral culture evident by subversive trickster figures in John Pendleton Kennedy’s Swallow Barn, Harriet Beecher Stowe’s Uncle Tom’s Cabin, Herman Melville’s Benito Cereno, Joel Chandler Harris’s short stories, as well as Mark Twain’s Adventures of Huckleberry Finn and Pudd’nhead Wilson.As Martin indicates, such white authors show themselves to be savvy observers of the many trickster traditions and indeed a wide range of texts suggest stylistic and aesthetic influences representative of the artistry, subversive wisdom, and subtle humor in these black figures of ridicule, resistance, and repudiation.The black characters created by these white authors are often dismissed as little more than limited, demeaning stereotypes of the minstrel tradition, yet by teasing out important distinctions between the wisdom and humor signified by trickery rather than minstrelsy, Martin probes an overlooked aspect of the nineteenth-century American literary canon and reveals the extensive influence of black aesthetics on some of the most highly regarded work by white American authors.
Описание: In the Jim Crow era, along with black churches, schools, and newspapers, African Americans also had their own history. Making Black History focuses on the engine behind the early black history movement, Carter G. Woodson and his Association for the Study of Negro Life and History (ASNLH). Author Jeffrey Aaron Snyder shows how the study and celebration of black history became an increasingly important part of African American life over the course of the early to mid-twentieth century. It was the glue that held African Americans together as “a people,” a weapon to fight racism, and a roadmap to a brighter future.Making Black History takes an expansive view of the historical enterprise, covering not just the production of black history but also its circulation, reception, and performance. Woodson, the only professional historian whose parents had been born into slavery, attracted a strong network of devoted members to the ASNLH, including professional and lay historians, teachers, students, “race” leaders, journalists, and artists. They all grappled with a set of interrelated questions: Who and what is “Negro”? What is the relationship of black history to American history? And what are the purposes of history? Tracking the different answers to these questions, Snyder recovers a rich public discourse about black history that took shape in journals, monographs, and textbooks and sprang to life in the pages of the black press, the classrooms of black schools, and annual celebrations of Negro History Week. By lining up the Negro history movement’s trajectory with the wider arc of African American history, Snyder changes our understanding of such signal aspects of twentieth-century black life as segregated schools, the Harlem Renaissance, and the emerging modern civil rights movement.
Описание: In the Jim Crow era, along with black churches, schools, and newspapers, African Americans also had their own history. Making Black History focuses on the engine behind the early black history movement, Carter G. Woodson and his Association for the Study of Negro Life and History (ASNLH). Author Jeffrey Aaron Snyder shows how the study and celebration of black history became an increasingly important part of African American life over the course of the early to mid-twentieth century. It was the glue that held African Americans together as “a people,” a weapon to fight racism, and a roadmap to a brighter future.Making Black History takes an expansive view of the historical enterprise, covering not just the production of black history but also its circulation, reception, and performance. Woodson, the only professional historian whose parents had been born into slavery, attracted a strong network of devoted members to the ASNLH, including professional and lay historians, teachers, students, “race” leaders, journalists, and artists. They all grappled with a set of interrelated questions: Who and what is “Negro”? What is the relationship of black history to American history? And what are the purposes of history? Tracking the different answers to these questions, Snyder recovers a rich public discourse about black history that took shape in journals, monographs, and textbooks and sprang to life in the pages of the black press, the classrooms of black schools, and annual celebrations of Negro History Week. By lining up the Negro history movement’s trajectory with the wider arc of African American history, Snyder changes our understanding of such signal aspects of twentieth-century black life as segregated schools, the Harlem Renaissance, and the emerging modern civil rights movement.
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