The Harlem Renaissance

2018 ◽  
Author(s):  
Catrina Hill ◽  
Sophie Meridien ◽  
Keith Holt ◽  
Daniel Boyle ◽  
Paul Ardoin
Keyword(s):  
New York ◽  
Twentieth Century ◽  
African American ◽  
African Americans ◽  
Harlem Renaissance ◽  
African American Community ◽  
The World ◽  
Philosophical Questions ◽  
Breaking Work ◽  
The Harlem Renaissance

The Harlem Renaissance was a flourishing of artistic, intellectual, musical, and literary accomplishments by African Americans between the World Wars. The movement took its name from Harlem, a neighborhood on the northern section of Manhattan Island. Harlem became the de facto center of the African American community in New York City, and many of the most important figures of the Renaissance called it home. During the Renaissance, intellectuals published ground-breaking work that explored philosophical questions and political possibilities for African Americans that would be explored throughout the twentieth century.

Doll's House/Dollhouse: Models and Agency

2017 ◽  
Vol 53 (1) ◽  
pp. 28-56 ◽  
Author(s):  
ANNABEL WHARTON
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Harlem Renaissance ◽  
Gertrude Stein ◽  
Marcel Duchamp ◽  
Artistic Production ◽  
Arthur Danto ◽  
The City ◽  
The Harlem Renaissance

Models – economic, mathematical, toys, manikins – are ubiquitous. This article probes one model, the Stettheimer doll's house, in order to understand all models better. The Stettheimers, three wealthy unmarried sisters living in New York in the early the twentieth century, attracted a remarkable melange of Camp artists and writers, identified by Arthur Danto as “the American Bloomsbury.” The Stettheimers were involved in many of New York's happenings, including the Harlem Renaissance and the innovative stage productions of Gertrude Stein. Androgyny, excess, racial mixing and theatricality flourished in the Stettheimer milieu. Carrie Stettheimer's doll's house, now housed in the Museum of the City of New York, captured this life. I consider this model for two related purposes. First, and more narrowly, I document the various effects this eccentric doll's house had on the artistic production of those in its vicinity, most notably on the novels of her sister Ettie and on the paintings both of her sister Florine and Marcel Duchamp. Second, I use the evidence of the doll's house's affect to discuss the agency of models in general.

Her Standing in Poughkeepsie

2017 ◽  
Author(s):  
Jacqueline A. McLeod
Keyword(s):  
New York ◽  
Twentieth Century ◽  
African American ◽  
Coming Of Age ◽  
Law School ◽  
Special Relationship ◽  
Wellesley College ◽  
Vassar College ◽  
American Students ◽  
The World

This chapter traces the Bolins' lineage and legacy and Jane Bolin's place in it as a biracial child coming of age in early twentieth-century Poughkeepsie, New York. It examines her relationship with her siblings—Anna, Ivy, and Gaius Jr.—and with her father, who became the family's primary caregiver upon their mother's death. This very special relationship between father and youngest daughter was tested and strengthened as Jane Bolin ventured out into the world beyond Poughkeepsie for college and law school. Jane chose to attend Wellesley College in Massachusetts over Vassar College; she could not have attended Vassar either way since the school's unofficial policies barred the admission of African American students.

Love beyond the White Lines: Using the Genius of the Harlem Renaissance to Reignite the Once-Forbidden Love between African Americans and Tennis

2016 ◽  
Vol 3 (2) ◽  
Author(s):  
Ernest J. Quarles
Keyword(s):  
African American ◽  
African Americans ◽  
Harlem Renaissance ◽  
American Culture ◽  
Black History ◽  
Collective Consciousness ◽  
African American Culture ◽  
Tennis Court ◽  
Motivation And Confidence ◽  
The Harlem Renaissance

My curriculum brings the Harlem Renaissance to life on the tennis court. Foremost in my mind is the need to nurture a collective consciousness that will foster confidence and competence in my students by expanding awareness of the prior successes of African Americans in tennis, linking these to achievements in Black history and culture, and helping them learn from the experiences of contemporary star athletes. In this place, only greatness is celebrated, and it is my fondest wish that only greatness will be inspired. I feel successful if I’m able to get my students to relax and let it flow, literally allowing the ancestors to provide the motivation and confidence to achieve. My highest ambition is to instill in every student not only the knowledge that tennis is now, has always been, and will always be an integral part of African American culture but also the confidence each one needs to discover the greatness that lies within.

scholarly journals Art of Characterization in “Thank You, Ma'am” by Langston Hughes

IJOHMN ◽  
2019 ◽  
Vol 5 (1) ◽  
pp. 10
Author(s):  
Muhammad Javaid Anwar ◽  
Basri Sattar ◽  
Muhammad Naveed Anwar
Keyword(s):  
High School ◽  
Twentieth Century ◽  
African American ◽  
Short Story ◽  
Harlem Renaissance ◽  
Langston Hughes ◽  
Columbia University ◽  
American Artist ◽  
One Year ◽  
The Harlem Renaissance

Langston Hughes was an American artist, writer, and dramatist whose African-American subjects made him an essential supporter of the Harlem Renaissance of the 1920s. Langston Hughes was conceived on February 1, 1902, in Joplin, Missouri. He distributed his first lyric in 1921. He went to Columbia University, yet left following one year to travel. He proceeded to compose incalculable works of verse, writing and plays, and in addition a prominent section for the Chicago Defender. He passed away from this world on May 22, 1967. (Editors, 2014) When you were younger, has anyone treated you good or bad according to your behavior? Or do you remember any incident of your life in which you made a mistake and someone offered you a chance for changing your life? Langston Hughes' short story, “Thank You, Ma'am”, distributed in 1958, catches the two circumstances. Langston Hughes was a vital and productive essayist amid the Harlem Renaissance of the mid twentieth century. He expounded on African-American life and experience. Much thanks to You Ma'am is about what happens when a high school kid and a more seasoned working lady crash on a Harlem road. There are three major topics present in “Thank You, Ma'am”: Forgiveness and Empathy, the Power of Love and Trust, and Christian Charity. At the point when Roger first grabs the handbag of Mrs. Luella Bates Washington Jones, she wrestles him and hauls him to her outfitted room at the back of a house. The peak of the story is when Roger does not leave.

From slaves to servant leaders: remembering the contributions of John Merrick and Alonzo Herndon

2018 ◽  
Vol 13 (2) ◽  
pp. 140-150 ◽  
Author(s):  
Leon C. Prieto ◽  
Simone Trixie Allison Phipps ◽  
Babita Mathur-Helm
Keyword(s):  
Twentieth Century ◽  
African American ◽  
African Americans ◽  
Servant Leadership ◽  
Design Methodology ◽  
African American Community ◽  
Servant Leaders ◽  
Content Type ◽  
Early Twentieth Century

Purpose The purpose of this paper is to contribute to knowledge in the field of business by recognizing two historic entrepreneurs who played an important role in the African-American community, and by viewing their contributions through the lens of servant leadership. Design/methodology/approach The study is conducted by reviewing and synthesizing a number of writings from sources, such as history journals, newspapers and other resources. Findings The main finding is that two former slaves (Merrick and Herndon) practiced servant leadership in the early twentieth century as a way to create jobs and transform communities. Originality/value The contributions made by African-Americans have not been adequately covered in the literature. This paper begins to fill a noticeable void by highlighting the contributions of two former slaves who managed to become successful servant leaders within their communities.

scholarly journals The dialectics of homeland and identity: Reconstructing Africa in the poetry of Langston Hughes and Mohamed Al-Fayturi

2018 ◽  
Vol 45 (1) ◽  
pp. 42-74
Author(s):  
Saddik M. Gohar
Keyword(s):  
African American ◽  
African Americans ◽  
Harlem Renaissance ◽  
Langston Hughes ◽  
African History ◽  
American Experience ◽  
African People ◽  
History Of ◽  
Realistic Image ◽  
The Harlem Renaissance

The article investigates the dialectics between homeland and identity in the poetry of the Sudanese poet, Mohamed Al-Fayturi and his literary master, Langston Hughes in order to underline their attitudes toward crucial issues integral to the African and African-American experience such as identity, racism, enslavement and colonisation. The article argues that – in Hughes’s early poetry –Africa is depicted as the land of ancient civilisations in order to strengthen African-American feelings of ethnic pride during the Harlem Renaissance. This idealistic image of a pre-slavery, a pre-colonial Africa, argues the paper, disappears from the poetry of Hughes, after the Harlem Renaissance, to be replaced with a more realistic image of Africa under colonisation. The article also demonstrates that unlike Hughes, who attempts to romanticize Africa, Al-Fayturi rejects a romantic confrontation with the roots. Interrogating western colonial narratives about Africa, Al-Fayturi reconstructs pre-colonial African history in order to reveal the tragic consequences of colonisation and slavery upon the psyche of the African people. The article also points out that in their attempts to confront the oppressive powers which aim to erase the identity of their peoples, Hughes and Al-Fayturi explore areas of overlap drama between the turbulent experience of African-Americans and the catastrophic history of black Africans dismantling colonial narratives and erecting their own cultural mythology.

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