1,314 research outputs found
Zora Neale Hurston Author and Anthropologist
No full textLike many artists before her, Zora Neale Hurston received virtually no recognition for her work until after her death. Hurston began her career as an anthropologist, observing and documenting the tension of race relations in the American South. She strove to expose the horrific practice of "paramour rights," wherein white men sexually exploited black women in their employment. But this work and her later fiction, including the now famous Their Eyes Were Watching God, would end up in relative obscurity as her fictional portrayal of African American dialect was criticized as offensive and her political views were often less progressive than those of her contemporaries. With engaging, accessible text, this biography gives readers a fuller picture of this complicated writer and woman.Like many artists before her, Zora Neale Hurston received virtually no recognition for her work until after her death. Hurston began her career as an anthropologist, observing and documenting the tension of race relations in the American South. She strove to expose the horrific practice of "paramour rights," wherein white men sexually exploited black women in their employment. But this work and her later fiction, including the now famous Their Eyes Were Watching God, would end up in relative obscurity as her fictional portrayal of African American dialect was criticized as offensive and her political views were often less progressive than those of her contemporaries. With engaging, accessible text, this biography gives readers a fuller picture of this complicated writer and woman.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Body, time, and the others: African-American anthropology and the rewriting of ethnographic conventions in the ethnographies by Zora Neale Hurston and Katherine Dunham
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This research looks at the ethnographies Mules and Men (1935) and Tell My Horse: Voodoo and Life in Haiti and Jamaica (1938) by Zora Neale Hurston focusing on representations of Time and the anthropologist’s body. Hurston was an African-American anthropologist, folklorist, and novelist who conducted research particularly between the end of the 1920s and the mid-1930s. At first, her fieldwork and writings dealt with African-American communities in Florida and Hoodoo practice in Louisiana, but she consequently expanded her field of anthropological interests to Jamaica and Haiti, which she visited between 1936 and 1937. The temporal and bodily factors in Hurston’s works are taken into consideration as coordinates of differentiation between the ethnographer and the objects of her research. In her ethnographies, the representation of the anthropologist’s body is analysed as an attempt at reducing temporal distance in ethnographical writings paralleled by the performative experience of fieldwork exemplified by Hurston’s storytelling: body, voice, and the dialogic representation of fieldwork relationships do not guarantee a portrayal of the anthropological subject on more egalitarian terms, but cast light on the influence of the anthropologist both in the practice and writing of ethnography. These elements are analysed in reference to the visualistic tradition of American anthropology as ways of organising difference and ascribing the anthropological ‘Others’ to a temporal frame characterised by bodily and cultural features perceived as ‘primitive’ and, therefore, distant from modernity. Representations and definitions of ‘primitiveness’ and ‘modernity’ not only shaped both twentieth-century American anthropology and the modernist arts (Harlem Renaissance), but also were pivotal for the creation of a modern African-American identity in its relation to African history and other black people involved in the African diaspora. In the same years in which Hurston visited Jamaica and Haiti, another African-American woman anthropologist and dancer, Katherine Dunham, conducted fieldwork in the Caribbean and started to look at it as a source of inspiration for the emerging African-American dance as recorded in her ethnographical and autobiographical account Island Possessed (1969). Therefore, Hurston’s and Dunham’s representations of Haiti are examined as points of intersection for the different discourses which both widened and complicated their understanding of what being ‘African’ and ‘American’ could mean.Isambard Research Scholarship from Brunel University and grant from Allan & Nesta Ferguson Charitable Trust
Zora Neale Hurston -- Anthropologist
No full textAnother side of Florida\u27s most famous African-American author is revealed by a Zora Neale Hurston scholar
The Undiscovered Zora Neale Hurston
No full textIn this 1997 report, one of the biographers of Florida novelist Zora Neale Hurston revealed some newly-discovered works by the author
Zora Neale Hurston
No full textFor many years, when giving talks in Florida, I have pointed out that there is only one first-class native-born Florida author who has written any even small body of work about the state. Marjorie Kinnan Rawlings, Philip Wylie, and all the others were born elsewhere and adopted the Florida scene. The exception was Zora Neale Hurston. Seldom, on inquiry, had any of the audiences ever heard of her or known any of her work. At that point I revealed to the white southern audiences that Zora was a Negro. As I announced this I looked around for the nearest exit. I never had to use the exit, and when I told this to Zora she roared with laughter
Their Own Perceptions: Non-Anglo Migrants and Aboriginal Australia (Editorial)
No full textAt the end of the last century, Ann Curthoys outlined the history of ‘two distinct yet connected public and intellectual debates concerning the significance of descent, belonging and culture’ in Australia. The first revolved ‘around the cleavage between Indigenous and non-Indigenous peoples’, and especially the issue of how to grapple with the lingering effects of past colonialisms.No Full Tex
Zora Neale Hurston in the Turpentine Camps
No full textHarlem Renaissance author Zora Neale Hurston collected music and oral histories in turpentine camps where working conditions were some of the harshest
Interview of author Tenea D. Johnson at the Zora Neale Hurston Festival in Eatonville, Florida
No full textTenea D. Johnson, award winning author and founder of Progress By Design, is interviewed by Grace Chun, project coordinator at University of Florida Samuel Proctor Oral History Program, as part of the Zora Neale Hurston Festival in Eatonville, Florida. Tenea speaks about her work, afrofuturism, and how her stories and songs create worlds to examine big questions. She defines speculative fiction anything that doesn't abide by the rules, that is not based in reality. Tenea says she hopes that afrofuturism and Black speculative fiction will become a greater force than just entertainment and that Zora Neale Hurston's ethnographies influenced her the most as she demonstrated confidence not out of ego but of skill, exemplifying bravery and openness
HISTORICAL SUBJECT MATTER IN ORAL LYRIC POETRY
No full textOno što se u usmenoj književnosti u prošlosti mijenjalo i kako se mijenjalo ostalo nam je slabo poznato. Zbog toga utječu na našu svijest oni aspekti koji se održavaju trajno i naglašenije negoli bi to bilo kad bismo mogli ravnomjerno poznavati međusobne odnose stabilnosti promjena u proteklim dugotrajnim razdobljima povijesti usmene književnosti. Međutim, trajnost pojava u usmenoj književnosti nije mjerilo njihove vrijednosti (premda i danas još postoji sklonost baštinjena iz romantičkih vremena, da se poistovjete ili bar blisko povežu starost i vrijednost).The relationship between lyrical oral poems and historial events is discussed. As contents of lyric oral poems, historical events are transformed according to poetical pattern. So transformed, they lose connection with the real historical data. The author concludes that it is necessary to distinguish the poetical pattern from the historical fact, and that the lyric poem has to be regarded as a folkloristic fact. Such a fact can only indirectly be considered as a testimony of historical data
Crvenokosa Zora i njezina družina i hrvatski kanon dječje književnosti
No full textRed Zora and Her Gang1 (orig. Die rote Zora und ihre Bande) is a 1941 novel by the German-Swiss author Kurt Held (Kurt Kläber), inspired by the Croatian mentality and Croatian history. While it was enormously popular in Germany, the Croatian translation was issued only in 2017. In this paper, we analyse the hypothetical position of Red Zora within the Croatian canon of children’s literature established at the time the novel was written. Red Zora tends towards realism in shaping children’s reality based on unusual adventures in common with the most dominant of children’s novels so that it fits into the contemporary novelistic matrix, however with a distinctive detail – a girl as “gang leader” – which goes beyond the trends of Croatian children’s literature of the time. The paper considers the hypothetical question of the possible influence of the novel on the development of
Croatian children’s literature regarding the construction of the female character.Crvenokosa Zora i njezina družina (Die rote Zora und ihre Bande) roman je njemačko-
švicarskoga pisca Kurta Helda (pravim imenom Kurt Kläber), napisan 1941. godine,
inspiriran hrvatskim prostorom i hrvatskom poviješću. Dok je u Njemačkoj doživio
veliku popularnost, prvi prijevod na hrvatski jezik dobili smo 2017. godine. U radu se
Crvenokosa Zora razmatra unutar kanona dječje književnosti, bilo na hrvatskom jeziku, bilo u prijevodu, koji je objavljen na hrvatskom etničkom prostoru u vrijeme nastanka
romana. Crvenokosa Zora dijeli s dominantnim romanima hrvatske dječje književnosti toga
vremena realistične tendencije u oblikovanju dječje stvarnosti zasnovane na neobičnim
pothvatima i pustolovinama dječje družine. Razvidno je iz toga da se Crvenokosa Zora
uklapa u romanesknu matricu dječjega romana toga vremena, ali značajnim detaljem –
likom djevojčice u ulozi „vođe bande“ – nadrasta onodobna stremljenja hrvatske dječje
književnosti. Problematizira se hipotetsko pitanje utjecaja izgradnje naslovnoga ženskoga
lika na razvoj ženskih likova hrvatske dječje književnosti
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