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The Chicago Black Renaissance: Exercises in aesthetic ideology and cultural geography in Bronzeville, 1932--1945.

机译:芝加哥黑人文艺复兴时期:1932--1945年在青铜城进行的审美意识形态和文化地理演习。

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摘要

This dissertation aims to recover the Chicago Black Renaissance from a problematic black mythical geography heavily reliant on the divisions of north/south, east/west, and urban/rural. The Chicago Black Renaissance, a rich artistic and cultural movement, finds itself sequestered between these spaces and has been vastly under-theorized, making it, as a result, an invisible black space. My recovery of the Chicago Black Renaissance means adding important dimensions of study to this invisible space---describing a Midwest artistic movement where artists such as Gwendolyn Brooks are fully at home and artistically potent in the ground between the rural south and the urban metropolis. This dissertation intends, then, to position the Chicago Black Renaissance as an alternative geographic and cultural moment that disrupts the binaries of east/west, north/south, urban/rural, and pop culture/high culture. This expansive narrative responds to the challenge of dismantling simplistic rigid geographical axes along which we have typically studied black cultural output.;This dissertation focuses primarily on the geography and cultural setting in which the Chicago Black Renaissance took place to explore the degree to which Bronzeville figures as a unifying theme throughout the movement's creative output. This dissertation reads the texts---literary, visual, and musical---of the Chicago Black Renaissance through a materialist lens; it ties cultural production to the materials or environment informing the literature and arts. Authors, artists, and musicians of the Chicago Black Renaissance owe debts of gratitude to myriad institutions, financial patronage, thriving in 1940s Chicago as well as their aesthetic predecessors of the Harlem Renaissance, such WEB DuBois and Langston Hughes. DuBois and Hughes' aesthetic philosophies combined with Bronzeville as a thematic referent drove Bronzeville's remarkable cultural creativity to such a success that Bronzeville easily assumed the title of America's most thriving center of African American culture and arts in the mid twentieth century.
机译:本文旨在从一个严重依赖北部/南部,东部/西部和城市/农村地区的黑人神话地理环境中恢复芝加哥黑人复兴。芝加哥黑人文艺复兴运动是一种丰富的艺术和文化运动,发现自己被隔离在这些空间之间,并且理论上存在很大的不足,因此,它成为了一个看不见的黑色空间。我对芝加哥黑人文艺复兴的恢复意味着在这个无形的空间中增加了重要的研究领域-描述了中西部艺术运动,其中包括格温道林·布鲁克斯(Gwendolyn Brooks)等艺术家完全在家中,并且在乡村南部和城市都市之间的地面上具有强大的艺术力量。因此,本论文旨在将芝加哥黑人文艺复兴时期定位为一种替代性的地理和文化时刻,它破坏了东西方,北方/南方,城市/农村以及流行文化/高级文化的双轨。这种宽泛的叙事回应了拆解我们通常研究黑人文化产出的僵化的僵硬地理轴所带来的挑战。本论文主要关注芝加哥黑人文艺复兴时期发生的地理和文化背景,以探索青铜人的身影。作为运动创新成果的统一主题。本论文通过唯物主义的视角来阅读芝加哥黑人文艺复兴时期的文学,视觉和音乐文本。它将文化生产与告知文学和艺术的物质或环境联系起来。芝加哥黑人文艺复兴时期的作家,艺术家和音乐家对无数机构,金融赞助,1940年代繁荣的芝加哥以及哈林文艺复兴的美学前身,例如WEB DuBois和Langston Hughes都怀有感激之情。 DuBois和Hughes的美学哲学与Bronzeville作为主题参照物相结合,推动Bronzeville的非凡文化创造力取得了如此巨大的成功,以至于Bronzeville轻松地获得了20世纪中叶美国最繁荣的非裔美国人文化和艺术中心的称号。

著录项

  • 作者

    Schroeder, Elizabeth R.;

  • 作者单位

    Saint Louis University.;

  • 授予单位 Saint Louis University.;
  • 学科 American studies.;Black history.
  • 学位 Ph.D.
  • 年度 2008
  • 页码 195 p.
  • 总页数 195
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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