Measuring the Harlem Renaissance: The U.S. Census, African American Identity, and Literary FormOn Sympathetic Grounds: Race, Gender, and Affective Geographies in Nineteenth-Century North America

2021 ◽  
Vol 93 (2) ◽  
pp. 329-332
Lori Merish
2021 ◽  
pp. 146144482110143
Soyoung Park ◽  
Sharon Strover ◽  
Jaewon Choi ◽  
MacKenzie Schnell

This study examines the temporal dynamics of emotional appeals in Russian campaign messages used in the 2016 election. Communications on two giant social media platforms, Facebook and Twitter, are analyzed to assess emotion in message content and targeting that may have contributed to influencing people. The current study conducts both computational and qualitative investigations of the Internet Research Agency’s (IRA) emotion-based strategies across three different dimensions of message propagation: the platforms themselves, partisan identity as targeted by the source, and social identity in politics, using African American identity as a case. We examine (1) the emotional flows along the campaign timeline, (2) emotion-based strategies of the Russian trolls that masked left- and right-leaning identities, and (3) emotion in messages projecting to or about African American identity and representation. Our findings show sentiment strategies that differ between Facebook and Twitter, with strong evidence of negative emotion targeting Black identity.

The Forum ◽  
2016 ◽  
Vol 14 (1) ◽  
Morton Keller

AbstractThis examination of Obama and race in America has three themes. The first is his African-American identity, and concludes that it has marked and useful resemblances to John F. Kennedy’s Irish Catholicism. It then examines Obama’s record affecting race relations in America: what he has done and, as revealing, what he has not done. Finally, it seeks to set Obama’s approach to race relations in the context of its rich and diverse history in this nation.

PMLA ◽  
2013 ◽  
Vol 128 (3) ◽  
pp. 744-755
Belinda Wheeler

IntroductionGwendolyn Bennett (1902-81) is often mentioned in books that discuss the harlem renaissance, and some of her poems Occasionally appear in poetry anthologies; but much of her career has been overlooked. Along with many of her friends, including Jessie Redmond Fauset, Langston Hughes, and Countee Cullen, Bennett was featured at the National Urban League's Civic Club Dinner in March 1924, an event that would later be “widely hailed as a ‘coming out party’ for young black artists, writers, and intellectuals whose work would come to define the Harlem Renaissance” (McHenry 383n100). In the next five years Bennett published over forty poems, short stories, and reviews in leading African American magazines and anthologies, such as Cullen's Caroling Dusk (1927) and William Stanley Braithwaite's Anthology of Magazine Verse for 1927; she created magazine cover art that adorned two leading African American periodicals, the National Association for the Advancement of Colored People's Crisis: A Record of the Darker Races and the National Urban League's Opportunity: Journal of Negro Life; she worked as an editor or assistant editor of several magazines, including Opportunity, Black Opals, and Fire!; and she wrote a renowned literary column, “The Ebony Flute.” Many scholars, such as Cary Wintz, Abby Arthur Johnson and Ronald Maberry Johnson, and Elizabeth McHenry, recognized the importance of Bennett's column to the Harlem Renaissance in their respective studies, but their emphasis on a larger Harlem Renaissance discussion did not afford a detailed examination of her column.

Susan Scott Parrish

This chapter considers the question of what made the recent disaster called Katrina in 2005, and its mediation, distinct from its 1927 forerunner. It argues that what was most different about the two events is that artists and commentators in 2005 could be more openly critical of the racial and class dimensions of their disaster before a multiracial mass audience. The chapter also considers a poem that appeared in print in April 1927, which must have seemed a providential coincidence to many readers. The poem, called “Noah Built the Ark,” moves from the halcyon days in Eden to the point at which “God got sorry that he ever made man.” Like other works of the Harlem Renaissance, the poem called upon the currency of folk form to create a public awareness of traditions within African American culture.

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