REPOZYTORIUM UNIWERSYTETU
W BIAŁYMSTOKU
UwB

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dc.contributor.authorGłębocki, Zdzisław-
dc.date.accessioned2020-07-24T12:21:17Z-
dc.date.available2020-07-24T12:21:17Z-
dc.date.issued2019-
dc.identifier.citationBiałostockie Studia Literaturoznawcze, nr 15, 2019, s. 207-220pl
dc.identifier.issn2082-9701-
dc.identifier.urihttp://hdl.handle.net/11320/9332-
dc.description.abstractThe article addresses the question of African inspirations in the works of African-American artists. In the poem Heritage Countee Cullen asks: “What is Africa to me?”. The question was also formulated by African-American intellectuals, social activists, and artists, in particular those associated with the Harlem Renaissance, becoming an important metaphor in formulating racial and artistic identity. The article traces this quest in selected literary works which echo the Dark Continent and supplements the discussion with examples of visual arts from this period inspired by Africa.pl
dc.language.isoplpl
dc.publisherWydawnictwo Uniwersytetu w Białymstokupl
dc.subjectHarlem Renaissancepl
dc.subjectNew Negropl
dc.subjectAfrican-American identitypl
dc.subjectliteraturepl
dc.subjectvisual artspl
dc.title„Czym jest dla mnie Afryka?” Renesans harlemowski w poszukiwaniu tożsamościpl
dc.title.alternative“What is Africa to Me?”: Harlem Renaissance Searches for Identitypl
dc.typeArticlepl
dc.identifier.doi10.15290/bsl.2019.15.13-
dc.description.Emailglebocki@uwb.edu.plpl
dc.description.BiographicalnoteZdzisław Głębocki, dr, adiunkt w Kolegium Literaturoznawstwa Uniwersytetu w Białymstoku. Jego zainteresowania naukowe obejmują szeroko pojętą antropologię kulturową ze szczególnym uwzględnieniem kultury amerykańskiej i kultury Afroamerykanów. W ostatnich badaniach koncentruje się na kulturowych aspektach wirtualności i obecności Polonii amerykańskiej i innych diaspor w cyberprzestrzeni.pl
dc.description.AffiliationKolegium Literaturoznawstwa, Wydział Filologiczny, Uniwersytet w Białymstokupl
dc.description.referencesBarksdale Richard K. (1977), Langston Hughes: The Poet and His Critics, Chicago: American Library Association.pl
dc.description.referencesBrown Fahamisha (1999), Performing the Word: African American Poetry as Vernacular Culture, New Brunswick: Rutgers University Press.pl
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dc.description.referencesFaith Michel (2001), The Syncopated Africa: Constructions of Origins in the Harlem Renaissance (Literature, Music, Visual Arts), w: Temples for Tomorrow. Looking Back at the Harlem Renaissance, eds. G. Fabre, M. Faith, Bloomington: Indiana University Press, s. 51–72.pl
dc.description.referencesFrydman Jason (2009), Zora Neale Hurston, Biographical Criticism, and African Diasporic Vernacular Culture, „Melus”, Vol. 34 (4), s. 99–118.pl
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dc.description.referencesGruesser Cullen (2000), Black on Black: Twentieth-Century African American Writing about Africa, Lexington: University Press of Kentucky.pl
dc.description.referencesHolloway Jonathan Scott (2002), What is America To Me? Defining Black Life Through The Motherland, „Reviews in American History”, Vol. 31, (1), s. 93–100.pl
dc.description.referencesHughes Langston (1926), The Negro Artist and the Racial Mountain, „The Nation”, Vol. 122, 23 June, s. 692–694.pl
dc.description.referencesHughes Langston (1940), The Big Sea, New York: Alfred A. Knopf.pl
dc.description.referencesHughes Langston (2016), Letters from Langston: From the Harlem Renaissance to the Red Scare and Beyond, Berkerley: University of California Press.pl
dc.description.referencesHurston Zora Neale (1976), Their Eyes Were Watching God, 1937, Urbana: University of Illinois Press.pl
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dc.description.referencesLocke Alain (1992), The Legacy of Ancestral Arts, w: The New Negro. Voices of the Harlem Renaissance, ed. A. Locke, New York: Atheneum, s. 254–267.pl
dc.description.referencesMeriwether James H. (2002), Proudly We Can Be Africans: Black Americans and Africa, 1935–1961, Chapel Hill: University of North Carolina Press.pl
dc.description.referencesObiwu (2007), The Pan-African Brotherhood of Langston Hughes and Nnamdi Azikiwe, „Dialectical Anthropology”, Vol. 31, (1/3), s. 143–165.pl
dc.description.referencesSchomburg Arthur A. (1992), The Negro Digs Up His Past, w: The New Negro. Voices of the Harlem Renaissance, ed. A. Locke, New York: Atheneum, s. 231–37.pl
dc.description.referencesSmethurst Edward James (1999), The New Red Negro: The Literary Left and African American Poetry, 1930–1946, Oxford/New York: Oxford University Press.pl
dc.description.referencesSmith Raymond (1997), Langston Hughes: Evolution of the Poetic Persona, w: The Harlem Renaissance Re-Examined, eds. V.A. Kramer, R.A. Russ, Troy: Whitson Publishing Company, s. 259–273.pl
dc.description.referencesUllendorff Edward (1989), Ethiopia and the Bible, London: British Academy and the Museums, s. 5–14.pl
dc.description.referencesWestover Jeff (2002), Africa/America. Fragmentation and Diaspora in the Work of Langston Hughes, „Callaloo”, Vol. 25 (4), s. 1207–1223.pl
dc.description.number15-
dc.description.firstpage207pl
dc.description.lastpage220pl
dc.identifier.citation2Białostockie Studia Literaturoznawczepl
dc.identifier.orcid0000-0001-5472-2875-
Występuje w kolekcji(ach):Artykuły naukowe (WFil)
Białostockie Studia Literaturoznawcze, 2019, nr 15

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