The Silver Dream Accumulated

2017 ◽  
Author(s):  
Robert Jackson
Keyword(s):  
William Faulkner ◽  
Literary History ◽  
Jim Crow ◽  
Mark Twain ◽  
Richard Wright ◽  
Literary Tradition ◽  
Langston Hughes ◽  
Black Film ◽  
Thomas Dixon ◽  
Uncle Tom's Cabin

Chapter 3 is devoted to the film-related activities of southern literary figures. From nineteenth-century writers including Mark Twain and Harriet Beecher Stowe (not a southerner by birth, but, as author of Uncle Tom’s Cabin, a huge influence on southern literary history) to modern figures like Thomas Dixon, William Faulkner, Lillian Hellman, and the Nashville Agrarians, the southern literary tradition made myriad contributions to film. Faulkner’s screenwriting work provides perhaps the most engaging example. Meanwhile, the efforts of African American writers to make similar contributions were limited by the hard facts of Jim Crow, leaving such important figures as Richard Wright and Langston Hughes, among many others, to generate their own opportunities, often abroad, in a far more uneven fashion. Black film critics like Lester A. Walton also emerged as important literary figures.

Crumbling into Dust

2017 ◽  
Author(s):  
John Levi Barnard
Keyword(s):  
Short Story ◽  
Literary History ◽  
Richard Wright ◽  
The Novel ◽  
Unfinished Business ◽  
Black Newspapers ◽  
American Literary History ◽  
Antebellum Period ◽  
David Walker ◽  
Historical Times

This chapter situates Chesnutt’s writing within a tradition of black classicism as political engagement and historical critique extending from the antebellum period to the twentieth century and beyond. Reading Chesnutt as a figure at the crossroads of multiple historical times and cultural forms, the chapter examines his manipulation of multiple mythic traditions into a cohesive and unsettling vision of history as unfinished business. In the novel The Marrow of Tradition and the late short story “The Marked Tree,” Chesnutt echoes a nineteenth-century tradition that included David Walker, Henry Highland Garnet, and writers and editors for antebellum black newspapers, while at the same time anticipating a later anti-imperial discourse generated by writers such as Richard Wright and Toni Morrison. Chesnutt provides a fulcrum for a collective African American literary history that has emerged as a prophetic counterpoint to the prevailing historical consciousness in America.

scholarly journals DIFFICULTIES IN TRANSLATING AN ESSAY FROM ENGLISH INTO RUSSIAN

2020 ◽  
Vol 30 (6) ◽  
pp. 1020-1024
Author(s):  
S.Yu. Solomatina
Keyword(s):  
Mark Twain ◽  
Great Influence ◽  
Langston Hughes ◽  
Sufficient Information ◽  
Joan Didion ◽  
Proper Nouns ◽  
May Sarton

The article is devoted to the peculiarities of translating the genre of essays from English into Russian. Translated essays are works written at different times and by different authors. In the course of the research, essays by very popular authors and less well-known ones were translated. The first group of authors includes: Mark Twain, Langston Hughes, Alan Paton, and Joan Didion. The second group of writers includes: William Zinser, May Sarton, Euell Gibbons, Richard Selzer, Richard Howe, and Jow Goodwin Parker. The paper deals with the topical issues of proper nouns in translation. They require special attention, as errors in translation can cause misunderstandings. It should not be forgotten that the translator must have sufficient information about the events, phenomena and people described, because extralinguistic factors have a great influence on translation adequacy.

scholarly journals Multicultural component and its linguistic representation in Langston Hughes’ poetry

2020 ◽  
Vol 13 (22) ◽  
pp. 73-78
Author(s):  
Anna Repp ◽  
Keyword(s):  
National Identity ◽  
American Literature ◽  
Literary History ◽  
Multicultural Literature ◽  
Langston Hughes ◽  
Daily Lives ◽  
American Experience ◽  
Cultural Specificity ◽  
Key Factor ◽  
The Rich

Nowadays, the problem of the representation of multiculturalism in modern poetry needs special consideration. Our research is devoted to the investigation of the specific features of the multicultural component in the poetry of Langston Hughes. The main tasks of the paper are to investigate such notions, as «multiculturalism», «realia», «national identity» and «blues»; and to analyze the linguistic and cultural specificity of Hughes’ poetry. Multiculturalism is a term that came into usage after the idea of a “melting pot». Such scholars as Glazer, Hollinger, and Taylor have been investigating this term. Multicultutralism is the way in which different authors maintain their identity through their work while educating others on their cultural ideas. Multicultural literature is oriented around issues of race, ethnicity, gender, etc. Multicultural American literature of the 20th century resonates with the hopes and fears of the whole of American history and reflects the rich complexity and variety of the American experience. James Mercer Langston Hughes, an American writer who was an important figure in the Harlem Renaissance and made the African American experience the subject of his works. His writings ranged from poetry and plays to novels and newspaper columns. We would like to pay special attention to Langston Hughes’ poetry. «The Negro Speaks of Rivers» was the first poem published in Langston Hughes’s long writing career. The poem first appeared in the magazine Crisis in June of 1921 and was subsequently published in Hughes’s first volume of poetry, The Weary Blues, in 1926, written when he was only 19. «The Negro Speaks of Rivers» as well as the rest of his works treats themes Hughes explored all his life: the experiences of African Americans in history, black identity and pride. Multiculturalism is connected with the notion of realia. It is a linguistic phenomenon, which refers to the culture-specific vocabulary. The works of such well-known scientists, as S. Vlahov, S. Florin, I. Kashkin, A. Fedorov have been central in the study of this issue. The key factor in defining any phenomenon as realia is national referring to the object of a certain country, nation, or social community. National identity is not an inborn trait. It is essentially socially constructed. A person's national identity results from the presence of elements from the «common points» in people's daily lives: national symbols, colors, nation's history, blood ties, and so on. We can find all these aspects (geographical realia, proper names, and many others) in the work of Langston Hughes. While analysing the poems of Langston Hughes we discover that his language is closely connected with the culture. Thus, the idea of multicultural writing is that racial and ethnic minority voices are a crucial element in United States literary history and culture

Lyric Internationalism

2019 ◽  
pp. 143-178
Author(s):  
Sarah Ehlers
Keyword(s):  
United States ◽  
Jim Crow ◽  
The United States ◽  
Langston Hughes ◽  
Jacques Roumain ◽  
Authorial Persona ◽  
Historical Accounts ◽  
African American Artists ◽  
Relationship Of ◽  
The Relationship

This chapter considers Haitian communist poet Jacques Roumain and his reception in the United States. Analyzing the production, circulation, and reception of Roumain’s writings and his authorial persona, the chapter explores several connected variants of a communist internationalism that is imagined through the idea of “lyric,” or “lyricism,” and it demonstrates how such international imaginaries are tied to different conceptions of history. The chapter begins by sketching the import of Roumain as a figure for U.S. radicals. It then turns to Roumain’s friendship with Langston Hughes, showing how the exchange of poems between the two allows critics to move beyond straightforward historical accounts that show how radical African American artists and intellectuals referred to Haiti’s revolutionary past in their protests against Jim Crow policies, colonial occupations, and the rise of fascism in Europe. I argue that Roumain and Hughes harness and experiment with the unique temporality of the poetic lyric in order to present black radicalism as a formation unbounded by spatial and temporal borders. The final sections turn to the prose and poetry Roumain composed during his exile in the United States, using it to rearticulate ideas about the relationship of the poetic lyric to historical praxis.

Literary History as National History

2020 ◽  
pp. 450-466
Author(s):  
Parisa Shiran
Keyword(s):  
Cultural Heritage ◽  
Literary History ◽  
Literary Tradition ◽  
Cohesive Force ◽  
National History ◽  
Deep Roots ◽  
Persian Poetry ◽  
The Status ◽  
High Esteem ◽  
Islamic Identity

This chapter argues that the roots of Persian culture are in Persian poetry. The high esteem in which classical Persian poetry is held among Iranians is well known. This rich literary tradition provides enormous resources for a distinct Persian identity. However, unlike the commonly held perception that Iranian identity is a pre-Islamic construct with deep roots in the Persian cultural heritage of the Great Persia, this chapter reasserts the status of classical Persian poetry as an Islamic literary tradition, one that has had an enormous influence on Iranian society and culture. The creation of a distinct Persian Islamic identity has historically been a “cohesive force,” and this essential Islamic element must be recognized and acknowledged before any verdict about Persian identity can be reached. The chapter discusses the vast influence of Islamic mysticism on classical Persian poetry and its subsequent shaping of Iranian culture.

Chicago’s Letters Group and the Emergence of the Black Chicago Renaissance

2020 ◽  
pp. 222-244
Author(s):  
Richard A. Courage
Keyword(s):  
African American ◽  
University Students ◽  
Cultural History ◽  
Richard Wright ◽  
Literary Tradition ◽  
Black Literature ◽  
New Negro ◽  
New Negro Movement ◽  
Chicago Renaissance ◽  
History Of

This chapter unearths the history of a literary circle formed in 1927 to publish a journal called Letters and foster appreciation of black literature. Its leader was Chicago Defender city editor Dewey Roscoe Jones, whose reviews in his weekly “Bookshelf” column established him as black Chicago’s premier literary critic and commentator on the Harlem Renaissance. Most participants in Letters were university students, but they were joined by several older writers, including poets Fenton Johnson and W. H. A. Moore. Future Black Chicago Renaissance luminaries Richard Wright and Frank Marshall Davis visited occasionally but felt unwelcome. Recovering this missing link in cultural history deepens scholarly understanding of the New Negro movement beyond 1920s Harlem and of early evolution of an African American literary tradition in Chicago.

scholarly journals Langston Hughes and the Literary Ca(u)se against Jim Crow

2020 ◽  
Vol 117 (4) ◽  
pp. 540-559
Author(s):  
Sheila Lloyd
Keyword(s):  
Jim Crow ◽  
Langston Hughes

The sound and the fury of Southern American literature

1982 ◽  
Vol 3 (2) ◽  
pp. 130
Author(s):  
Ana Lúcia Almeida Gazolla
Keyword(s):  
United States ◽  
American Literature ◽  
William Faulkner ◽  
Richard Wright ◽  
The United States ◽  
Eudora Welty ◽  
Carson Mccullers ◽  
Robert Penn Warren ◽  
Sound And The Fury ◽  
John Crowe Ransom

The South of the United States presents, in the twentieth century, a remarkable flowering in the area of Literature. It has produced, especially in the first half of the century, more good writers than any other region in the country. Writers of the stature of Thomas Wolfe, Eudora Welty, Richard Wright, Tennessee Williams, Robert Penn Warren, John Crowe Ransom, Carson McCullers, to name just a few, together with William Faulkner, the greatest of all, have been responsible for a period of such creativity that it has come to be known as "the Southern Renaissance."

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