Richard Bruce Nugent ́s "Smoke, Lilies and Jade": The Relation to the Oscar Wilde Tradition and Its Significance for "Fire!!" PDF Download
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Author: Christoph Ruffing Publisher: GRIN Verlag ISBN: 3640546075 Category : Languages : en Pages : 29
Book Description
Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 13, Saarland University (Philosophische Fakultät II: Fachrichtung 4.3.: Anglistik, Amerikanistik und Anglophone Kulturen), course: Proseminar "Harlem Renaissance", language: English, abstract: Langston Hughes, probably the most famous of all Harlem Renaissance writers, played an very important role in Richard Bruce Nugent ́s life, especially in regard to his career as an artist. He introduced him to Harlem ́s artistic circles; through Hughes, Nugent made acquaintance with many contemporary luminaries, was introduced to the movement ́s elite (Wirth, 4). Hughes, amongst others, an temporary inhabitant of "Niggeratti manor" and also directly involved in the creation of Fire!!, made the following remark about the Niggeratti ́s landmark publication (Wirth, 15): None of the older Negro intellectuals would have anything to do with Fire [sic]. Dr. Du Bois in the Crisis roasted it. The negro press called it all sorts of bad names, largely because of a green and purple story by Bruce Nugent, in the Oscar Wilde tradition, which we had included. (Wirth, 83, emphasis added) Hughes quintessential statement about Fire!! clearly places the responsibility for the reception of the magazine on Nugent. But did Fire!!/Smoke, Lilies and Jade really have such a negative impact on the black community? Is it due to the fact, that Nugent ́s short story stands in the Oscar Wilde tradition? In how far does it actually stand in the Oscar Wilde tradition? In order to fully comprehend the statement by Hughes, these questions need to be answered. Thus, I will point out the consequences of the publication of Fire!! with special regard to Nugent ́s short story. In doing so, I will arrange the paper starting from the quotation above. Hence, I will first explain the components of the quote, meaning to give an definition of the Oscar Wilde tradition, as well as some background information and contextualizaing Fire!!; mo
Author: Christoph Ruffing Publisher: GRIN Verlag ISBN: 3640546075 Category : Languages : en Pages : 29
Book Description
Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 13, Saarland University (Philosophische Fakultät II: Fachrichtung 4.3.: Anglistik, Amerikanistik und Anglophone Kulturen), course: Proseminar "Harlem Renaissance", language: English, abstract: Langston Hughes, probably the most famous of all Harlem Renaissance writers, played an very important role in Richard Bruce Nugent ́s life, especially in regard to his career as an artist. He introduced him to Harlem ́s artistic circles; through Hughes, Nugent made acquaintance with many contemporary luminaries, was introduced to the movement ́s elite (Wirth, 4). Hughes, amongst others, an temporary inhabitant of "Niggeratti manor" and also directly involved in the creation of Fire!!, made the following remark about the Niggeratti ́s landmark publication (Wirth, 15): None of the older Negro intellectuals would have anything to do with Fire [sic]. Dr. Du Bois in the Crisis roasted it. The negro press called it all sorts of bad names, largely because of a green and purple story by Bruce Nugent, in the Oscar Wilde tradition, which we had included. (Wirth, 83, emphasis added) Hughes quintessential statement about Fire!! clearly places the responsibility for the reception of the magazine on Nugent. But did Fire!!/Smoke, Lilies and Jade really have such a negative impact on the black community? Is it due to the fact, that Nugent ́s short story stands in the Oscar Wilde tradition? In how far does it actually stand in the Oscar Wilde tradition? In order to fully comprehend the statement by Hughes, these questions need to be answered. Thus, I will point out the consequences of the publication of Fire!! with special regard to Nugent ́s short story. In doing so, I will arrange the paper starting from the quotation above. Hence, I will first explain the components of the quote, meaning to give an definition of the Oscar Wilde tradition, as well as some background information and contextualizaing Fire!!; mo
Author: Helena Grice Publisher: Manchester University Press ISBN: 9780719057632 Category : Literary Criticism Languages : en Pages : 268
Book Description
This text is designed to introduce students not only to ethnic American writers, but also to the cultural contexts and literary traditions in which their work is situated.
Author: Michael Y. Bennett Publisher: Rodopi ISBN: 9401207208 Category : Drama Languages : en Pages : 295
Book Description
While Oscar Wilde’s delightfully-witty comedies of manners receive the most fanfare from the general public and much of academia, Wilde’s most “serious” play—Salome—rightfully deserves an equal amount of attention. Written by emerging scholars, established scholars, and notable Wilde scholars at the top of the field, the far-ranging essays in this book—the first collection solely on Wilde’s Salome—provide new readings of the play, allowing us to better assess how and why Salome either fits or does not fit into Wilde’s oeuvre. Framed in a new light in this collection, this fuller understanding of Salome should potentially change the way we read both Salome and Wilde’s entire oeuvre.
Author: Kobena Mercer Publisher: Yale University Press ISBN: 0300247265 Category : Art Languages : en Pages : 241
Book Description
A fresh perspective on the influential critic, offering new ways of understanding the art of the Harlem Renaissance Alain Locke (1885-1954), leading theorist of the Harlem Renaissance, maintained a lifelong commitment to the visual arts. Offering an in-depth study of Locke's writings and art world interventions, Kobena Mercer focuses on the importance of cross-cultural entanglement. This distinctive approach reveals Locke's vision of modern art as a dynamic space where images and ideas generate new forms under the fluid conditions of diaspora. Positioning the philosopher as an advocate for an Afromodern aesthetic that drew from both formal experiments in Europe and the iconic legacy of the African past, Mercer shows how Aaron Douglas, Loïs Mailou Jones, and other New Negro artists acknowledged the diaspora's rupture with the ancestral past as a prelude to the rebirth of identity. In his 1940 picture book, The Negro in Art, Locke also explored the different ways black and white artists approached the black image. Mercer's reading highlights the global mobility of black images as they travel across national and ethnic frontiers. Finally, Mercer examines how Locke's investment in art was shaped by gay male aestheticism. Black male nudes, including works by Richmond Barthé and Carl Van Vechten, thus reveal the significance of queer practices in modernism's cross-cultural genesis Published in association with the Hutchins Center for African & African American Research, Harvard University
Author: Jessie Smith Publisher: Bloomsbury Publishing USA ISBN: 0313357978 Category : Social Science Languages : en Pages : 1916
Book Description
This four-volume encyclopedia contains compelling and comprehensive information on African American popular culture that will be valuable to high school students and undergraduates, college instructors, researchers, and general readers. From the Apollo Theater to the Harlem Renaissance, from barber shop and beauty shop culture to African American holidays, family reunions, and festivals, and from the days of black baseball to the era of a black president, the culture of African Americans is truly unique and diverse. This diversity is the result of intricate customs forged in tightly woven communities—not only in the United States, but in many cases also stemming from the traditions of another continent. Encyclopedia of African American Popular Culture presents information in a traditional A–Z organization, capturing the essence of the customs of African Americans and presenting this rich cultural heritage through the lens of popular culture. Each entry includes historical and current information to provide a meaningful background for the topic and the perspective to appreciate its significance in a modern context. This encyclopedia is a valuable research tool that provides easy access to a wealth of information on the African American experience.
Author: Emily Lutenski Publisher: University Press of Kansas ISBN: 0700635602 Category : Social Science Languages : en Pages : 344
Book Description
Luminaries of the Harlem Renaissance—Langston Hughes, Jean Toomer, Wallace Thurman, and Arna Bontemps, among others—are associated with, well . . . Harlem. But the story of these New York writers unexpectedly extends to the American West. Hughes, for instance, grew up in Kansas, Thurman in Utah, and Bontemps in Los Angeles. Toomer traveled often to New Mexico. Indeed, as West of Harlem reveals, the West played a significant role in the lives and work of many of the artists who created the signal urban African American cultural movement of the twentieth century. Uncovering the forgotten histories of these major American literary figures, the book gives us a deeper appreciation of that movement, and of the cultures it reflected and inspired. These recovered experiences and literatures paint a new picture of the American West, one that better accounts for the disparate African American populations that dotted its landscape and shaped the multiethnic literatures and cultures of the borderlands. Tapping literary, biographical, historical, and visual sources, Emily Lutenski tells the New Negro movement's western story. Hughes's move to Mexico opens a window on African American transnational experiences. Thurman's engagement with Salt Lake City offers an unexpected perspective on African American sexual politics. Arna Bontemps's Los Angeles, constructed in conjunction with Louisiana, provides a new vision of the Spanish borderlands. Lesser-known writer Anita Scott Coleman imagines black Western autonomy through domesticity. The experience of others—like Toomer, invited to socialite Mabel Dodge Luhan's circle of artists in Taos—present a more pluralistic view of the West. It was this place, with its transnational and multiracial mix of Native Americans, Latina/os, Anglos, and African Americans, which buttressed Toomer's idea of a "new American race." Turning the lens elsewhere, Lutenski also explores how Latina/o, Asian American, and Native American western writers understood and represented African Americans in the early twentieth-century borderlands. The result is a new, unusually nuanced and unexpectedly complex view of key figures of the Harlem Renaissance and the borderlands cultures that influenced their art in surprising and important ways.
Author: Bruce Nugent Publisher: Duke University Press ISBN: 9780822329138 Category : Biography & Autobiography Languages : en Pages : 332
Book Description
DIVA collection of writings and artwork by Richard Bruce Nugent, an important yet heretofore obscure figure of the Harlem Renaissance./div
Author: Wallace Thurman Publisher: Courier Corporation ISBN: 0486316211 Category : Fiction Languages : en Pages : 178
Book Description
Minor classic of the Harlem Renaissance centers on the larger-than-life inhabitants of an uptown apartment building. The rollicking satire's characters include stand-ins for Langston Hughes, Zora Neale Hurston, and Alain Locke.
Author: Janet Witalec Publisher: Gale Cengage ISBN: Category : African Americans Languages : en Pages : 712
Book Description
Presents writings by and criticism on seventeen Harlem Renaissance authors, including Claude McKay and Jean Toomer. This volume covers I-Z.
Author: Timo Dersch Publisher: GRIN Verlag ISBN: 365602684X Category : Literary Criticism Languages : en Pages : 12
Book Description
Essay from the year 2011 in the subject English Language and Literature Studies - Literature, grade: 1,9, University of Stuttgart, language: English, abstract: According to Aristotle sympathy is defined as a kind of pain induced by the suffering from another person. This suffering which the person has not deserved in this case could also happen to the person who is experiencing the sympathy in this situation. In the late nineteenth-century a new way of regarding sympathy came up. There were artists and scholars who did not support the thesis any more that sympathy is a part of humanity and functions as a base factor of our moral system. The following essay will introduce the reader to the two most famous proponents of the rejection of sympathy as a human necessity. One of them will represent the philosophical world, one of them the world of arts. As a conclusion there is the attempt of an explanation for the agreement of those two different proponents of the theory.
Author: Christoph Ruffing
Author: Christoph Ruffing
Author: Helena Grice
Author: Michael Y. Bennett
Author: Kobena Mercer![Encyclopedia of African American Popular Culture [4 volumes] PDF](https://books.google.com/books/content/images/frontcover/kFHeEAAAQBAJ?fife=w80-h100)
Author: Jessie Smith
Author: Emily Lutenski
Author: Bruce Nugent
Author: Wallace Thurman
Author: Janet Witalec
Author: Timo Dersch