Andere Kunden interessierten sich auch für
![Slavery and Sentiment: The Politics of Feeling in Black Atlantic Antislavery Writing, 1770-1850]( "Slavery and Sentiment: The Politics of Feeling in Black Atlantic Antislavery Writing, 1770-1850")
Slavery and Sentiment: The Politics of Feeling in Black Atlantic Antislavery Writing, 1770-185043,99 €![The Avowal of Difference: Queer Latino American Narratives]( "The Avowal of Difference: Queer Latino American Narratives")
The Avowal of Difference: Queer Latino American Narratives101,99 €![The American Optic: Psychoanalysis, Critical Race Theory, and Richard Wright]( "The American Optic: Psychoanalysis, Critical Race Theory, and Richard Wright")
The American Optic: Psychoanalysis, Critical Race Theory, and Richard Wright101,99 €![Postmodernism, Traditional Cultural Forms, and African American Narratives]( "Postmodernism, Traditional Cultural Forms, and African American Narratives")
Postmodernism, Traditional Cultural Forms, and African American Narratives101,99 €![Dancing on the White Page: Black Women Entertainers Writing Autobiography]( "Dancing on the White Page: Black Women Entertainers Writing Autobiography")
Dancing on the White Page: Black Women Entertainers Writing Autobiography101,99 €![Rhetorical Healing: The Reeducation of Contemporary Black Womanhood]( "Rhetorical Healing: The Reeducation of Contemporary Black Womanhood")
Rhetorical Healing: The Reeducation of Contemporary Black Womanhood100,99 €![Black Harlem and the Jewish Lower East Side: Narratives Out of Time]( "Black Harlem and the Jewish Lower East Side: Narratives Out of Time")
Black Harlem and the Jewish Lower East Side: Narratives Out of Time102,99 €
In this wide-ranging analysis, W. Lawrence Hogue argues that African American life and history is more diverse than even African American critics generally acknowledge. Focusing on literary representations of African American males in particular, Hogue examines works by James Weldon Johnson, William Melvin Kelley, Charles Wright, Nathan Heard, Clarence Major, James Earl Hardy, and Don Belton to see how they portray middle-class, Christian, subaltern, voodoo, urban, jazz/blues, postmodern, and gay African American cultures. Hogue shows that this polycentric perspective can move beyond a "racial uplift" approach to African American literature and history and help paint a clearer picture of the rich diversity of African American life and culture.