000			03908cam a2200457 i 4500
001			126859
005			20230411085743.0
008			151119s2016 nyua b 001 0 eng
035			_a18865754
010			_a 2015038527
020			_a9780199335558 (paperback : acid-free paper)
040			_aDLC _beng _cDLC _erda _dDLC
042			_apcc
043			_an-us--- _an-us-ny
050	1	4	_aR AC 5 _bV573
082	0	0	_a810.9/896073
100	1		_aWall, Cheryl A.
245	1	4	_aThe Harlem Renaissance : _ba very short introduction / _cCheryl A. Wall.
260			_aNew York, NY : _bOxford University Press, _cc2016
300			_a135 p : _bill. ; _c18 cm.
490	0		_aVery short introductions; _vn.479
520			_a"The Harlem Renaissance was a cultural awakening among African Americans between the two world wars. It was the cultural phase of the "New Negro" movement, a social and political phenomenon that promoted a proud racial identity, economic independence, and progressive politics. In this Very Short Introduction, Cheryl A. Wall captures the Harlem Renaissance's zeitgeist by identifying issues and strategies that engaged writers, musicians, and visual artists alike. She introduces key figures such as Langston Hughes, Zora Neale Hurston, Claude McKay, and Jean Toomer, along with such signature texts as "Mother to Son," "Harlem Shadows," and Cane. In examining the "New Negro," she looks at the art of photographer James Van der Zee and painters Archibald Motley and Laura Wheeler and the way Marita Bonner, Jessie Fauset, and Nella Larsen explored the dilemmas of gender identity for New Negro women. Focusing on Harlem as a cultural capital, Wall covers theater in New York, where black musicals were produced on Broadway almost every year during the 1920s. She also depicts Harlem nightlife with its rent parties and clubs catering to working class blacks, wealthy whites, and gays of both races, and the movement of Renaissance artists to Paris. From Hughes's "The Negro Speaks of Rivers" to W.E.B. Du Bois's novel Dark Princess, black Americans explored their relationship to Africa. Many black American intellectuals met African intellectuals in Paris, where they made common cause against European colonialism and race prejudice. Folklore - spirituals, stories, sermons, and dance - was considered raw material that the New Negro artist could alchemize into art. Consequently, they applauded the performance of spirituals on the concert stage by artists like Roland Hayes and Paul Robeson. The Harlem Renaissance left an indelible mark not only on African American visual and performing arts, but, as Cheryl Wall shows, its legacies are all around us"-- _cProvided by publisher.
504			_aIncludes bibliographical references (p. 124-127) and index.
505	0		_a"When the negro was in vogue" -- Inventing new selves -- Harlem: city of dream -- What is Africa to me? -- "Strong roots sink down" -- Epilogue: Beyond Harlem.
650		0	_aHarlem Renaissance.
650		0	_aAmerican literature _xAfrican American authors _xHistory and criticism.
650		0	_aAfrican American arts _zNew York (State) _zNew York _y20th century.
650		0	_aAfrican Americans _zNew York (State) _zNew York _xIntellectual life.
650		0	_aAfrican Americans in popular culture.
650		0	_aAfrican Americans in literature.
651		0	_aHarlem (New York, N.Y.) _xIntellectual life.
650		4	_aHarlem Renaissance (Movimiento cultural).
650		4	_aLiteratura americana _xAutores afroamericanos _xHistoria y crítica.
650		4	_aArte afroamericano _zNueva York (Estados Unidos) _ySiglo XX.
650		4	_aAfroamericanos _zNueva York (Estados Unidos) _xVida intelectual.
650		4	_aAfroamericanos _xCultura popular.
650		4	_aAfroamericanos en la literatura.
650		4	_aHarlem (Nueva York, Estados Unidos) _xVida intelectual.
942			_2lcc _cbk
946			_arsfv
999			_c106983 _d106983