...as prominent figures—Langston Hughes ( The most prolific writer of the Harlem Renaissance. He casted off the influences of white poets and wrote with the rhythmic meter of blues and jazz), Claude McKay (urged African Americans to stand up for their rights in his powerful verses),Billie Holiday (Billie Holiday was one of the most influential jazz singers of all time. She had a thriving career for many years before she lost her battle with addiction), and Jean Toomer wrote plays and short stories, as well as poems, to capture the spirit of his times), to name a few—pushed art to its limit as a form of expression and representation. These are some of the famous African Americans who shaped the influential movement known as the Harlem Renaissance. During this period Harlem was a cultural center, drawing black writers, artists, musicians, photographers, poets, and scholars. In November 1924, Langston Hughes returned to the United States and worked various jobs. In 1925, he was working as a busboy in a Washington, D.C. hotel restaurant when he met American poet Vachel Lindsay. Hughes showed some of his poems to Lindsay, who was impressed enough to use his connections to promote Hughes’s poetry and ultimately bring it to a wider audience. In 1925, Hughes’s poem “The Weary Blues” won first prize in the Opportunity magazine literary competition, and Hughes also received a scholarship to attend Lincoln University, in Pennsylvania. While studying at Lincoln, Hughes poetry came to the attention...
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...The Negro Speaks of Rivers “The Negro Speaks of Rivers” by poet Langston Hughes indeed spoke of rivers, but those rivers were a metaphor for a deeper subject. The poem is about the relevance of the rivers throughout African American history. At age seventeen Langston Hughes decided he was going to be a poet. He wrote “The Negro Speaks of Rivers” on an envelope in 1920 while traveling by train across The Mississippi River to visit his father in Mexico. The poem was published in June of the following year in The Crisis, a magazine popular in African American life. The poem’s beginning: "I’ve known rivers: I’ve known rivers ancient as the world and older than the flow of human blood in human veins" is a representation of water being older than humanity. The line: “My soul has grown deep like the rivers" shows the connection of Hughes to his race. The line: "I bathed in the Euphrates when dawns were young. I built my hut near the Congo and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I’ve seen its muddy bosom turn all golden in the sunset" expresses the connection of the rivers to African American history, and how Abraham Lincoln worked to put an end to slavery in the United States. The poem's ending: "I’ve known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers" again shows the rivers effect on African American history throughout the years...
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...Harlem Renassainse poets The Harlem Renaissance Poets: Langston Hughes and Countee Cullen Strayer University HUM112 May 29, 2013 Langston Hughes often referred to as the leader of the leader of the Harlem Renaissance or the father of Harlem Renaissance poetry. Pulling from major iconic influences such as Paul Laurence Dunbar, Walk Whitman, and Carl Sandburg; who Langston Hughes referred to as, his “guiding star”, and was ultimately responsible Hughes’ use of free verse. With the completion of his first two books, The Weary Blues (1926) and Fine Clothes to the Jew (1927), Langston Hughes earned his place as a major driving force of the Harlem Renaissance (Rampersad, 2013). One of the major contributions to the Harlem Renaissance was the article called,”The Negro Artist and the Racial Mountain” in the June 23, 1926 edition of The Nation. In the article is describes as a manifesto in which Langston Hughes “skillfully argues the need for both race pride and artistic independence.” (Rampersad, 2013) Countee Cullen is somewhat viewed as a mystery. Facts about his location of birth, and early childhood life cannot be exactly pinpointed. Originally it was claimed by Cullen on a New York transcript that he was born in Louisville, Kentucky but later claimed New York City as his official place of birth. The way that Countee Cullen contributed to the Harlem Renaissance was through the many talents he displayed as a poet, children’s writer, novelist, translator, playwright, and...
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...voices of the African American Authors who were taken serious by their white connects for the first time in history. It focused on portraying black culture and life in the ghetto. And it gave the African American Culture uniqueness within literature and art. Harlem Renaissance was an evident racial pride that symbolized the melodic theme of the New Negro. New Negro challenged the penetrating racial discrimination to encourage socialistic help of art and literature. As to be significant in the Harlem Renaissance the writers used poetry to present the African American experiences. Grabbing the attention between both black and white readers around the world. One Poet that set that bar really was Langston Hughes he was one of the most popular black poets of the Harlem Renaissance. Hughes was great at his job with more diversity in his choice of writings. He had written Plays, Novels, Poems, and Short Stories, Most of his writings were the real situations that really happened in black cultures. Movies were highly looked up upon in the Harlem Renaissance. D.W. Griffith directed “The Birth of a Nation” the film was over African Americans directors who countered negative stereotypes promoted in majority of the mainstream movies. Then released films in The Harlem Renaissance showcased the struggle of the African Americans in the U.S. alone. Musicians during the Harlem Renaissance developed a style and movement that simply took Americans by storm. Musicians such as Duke Ellington and...
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...В.А. Кухаренко ПРАКТИКУМ ПО ИНТЕРПРЕТАЦИИ ТЕКСТА Допущено Министерством просвещения СССР в качестве учебного пособия для студентов педагогических институтов по специальности № 2103 «Иностранные языки» МОСКВА «ПРОСВЕЩЕНИЕ» 1987 ББК 81.2 Англ К95 Рецензенты: кафедра английской филологии ЛГПИ им. А. И. Герцена; кандидат филологических наук, доцент МГПИИЯ им. Мориса Тореза О. Л. Каменская Кухаренко В. А. КЯ5 Практикум по интерпретации текста: Учеб. пособие для студентов пед. ин-тов по спец. № 2103 «Иностр. яз.».— Просвещение. 1987.—176 с. 4309000000—608 103(03)—87 Пособие предназначено для студентов старших курсов факультетов английского языка педагогических институтов. Оно написано в соответствии с программой по данному курсу и состоит из двух частей. Первая часть пособия включает 6 рассказов и образцы их интерпретации. Во второй части даны 16 рассказов, представляющих различные жанры короткой прозы писателей США, Великобритании, Австралии и Новой Зеландии, предназначенные для самостоятельной работы студентов. ББК 81.2Англ © Издательство сПросвещение», 1987 ПРЕДИСЛОВИЕ Настоящее издание представляет собой практическое пособие по интерпретации текста. Оно предназначено для студентов факультетов английского языка педагогических институтов и написано в соответствии с Программой МП СССР по курсу языкознания. Цель пособия — научить студентов не только умению глубоко проникать в художественный...
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...Barack Obama Dreams from My Father “For we are strangers before them, and sojourners, as were all our fathers. 1 CHRONICLES 29:15 PREFACE TO THE 2004 EDITION A LMOST A DECADE HAS passed since this book was first published. As I mention in the original introduction, the opportunity to write the book came while I was in law school, the result of my election as the first African-American president of the Harvard Law Review. In the wake of some modest publicity, I received an advance from a publisher and went to work with the belief that the story of my family, and my efforts to understand that story, might speak in some way to the fissures of race that have characterized the American experience, as well as the fluid state of identitythe leaps through time, the collision of cultures-that mark our modern life. Like most first-time authors, I was filled with hope and despair upon the book’s publication-hope that the book might succeed beyond my youthful dreams, despair that I had failed to say anything worth saying. The reality fell somewhere in between. The reviews were mildly favorable. People actually showed up at the readings my publisher arranged. The sales were underwhelming. And, after a few months, I went on with the business of my life, certain that my career as an author would be short-lived, but glad to have survived the process with my dignity more or less intact. I had little time for reflection over the next ten years. I ran a voter registration project in...
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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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