<p>"Reading the Street" chronicles the rise of black pulp fiction in the post-civil rights era from the perspective of its urban readership. Black pulp fiction was originally published in the late 1960s and early 1970s; it consisted of paperback novels about tough male characters navigating the pitfalls of urban life. These novels appealed mainly to inner-city readers who felt left out of civil rights' and Black Power's promises of social equality. Despite the historic achievements of the civil rights movement, entrenched structural inequalities led to America's ghettos becoming sites of concentrated poverty, rampant unemployment, and violent crime. While mainstream society seemed to turn a blind eye to how these problems were destroying inner-city communities, readers turned to black pulp fiction for the imaginative resources that would help them reflect on their social reality. In black pulp fiction, readers found confirmation that America was not on the path toward extending equal opportunities to its most vulnerable citizens, or that the rise of Black Power signaled a change in their fortunes. Yet in black pulp fiction readers also found confirmation that their lives as marginalized subjects possessed a value of its own, and that their day-to-day struggles opened up new ways of "being black" amid the blight of the inner city.</p> / Dissertation

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O objetivo desta dissertação é apresentar, discutir e analisar a relação que Cane, de Jean Toomer, Dutchman, de Amiri Baraka e Playing in the Dark, de Toni Morrison possuem com seus contextos no século XX em manifestações artisticas em três gêneros literários distintos. Após construir e delimitar o pano de fundo vivido pelos Afro-Americanos ao longo do século, pretendo analisar cada obra ao período em que foi escrita. Desta forma, a questão central de minha dissertação é como a Literatura produzida pelos Afro-Americanos (representada pelos três textos literários em pauta) dialoga com a realidade vivida por essas pessoas dentro da sociedade estadunidense ao longo do século XX, e como essa literatura funciona como um poderoso instrumento de expressão da ideologia, das questões raciais e dos sentimentos Afro-Americanos / This dissertation intends to present, discuss and analyse the relation that Cane by Jean Toomer, Dutchman by Amiri Baraka, and Playing in the Dark by Toni Morrison, have with their backgrounds during the twentieth century in artistic manifestations of three distinct literary genders. After designing a background of the African-American people along that century, I intend to relate each of the three works to time in which they were written. This way, the central question of this dissertation is how the Literature produced by the African-Americans (represented by those three works) dialogues with the reality lived by those people within the US society during the twentieth century and how such literature works as an extremely important instrument of expression of the African-American feelings, racial concerns and ideology

O objetivo desta dissertação é apresentar, discutir e analisar a relação que Cane, de Jean Toomer, Dutchman, de Amiri Baraka e Playing in the Dark, de Toni Morrison possuem com seus contextos no século XX em manifestações artisticas em três gêneros literários distintos. Após construir e delimitar o pano de fundo vivido pelos Afro-Americanos ao longo do século, pretendo analisar cada obra ao período em que foi escrita. Desta forma, a questão central de minha dissertação é como a Literatura produzida pelos Afro-Americanos (representada pelos três textos literários em pauta) dialoga com a realidade vivida por essas pessoas dentro da sociedade estadunidense ao longo do século XX, e como essa literatura funciona como um poderoso instrumento de expressão da ideologia, das questões raciais e dos sentimentos Afro-Americanos / This dissertation intends to present, discuss and analyse the relation that Cane by Jean Toomer, Dutchman by Amiri Baraka, and Playing in the Dark by Toni Morrison, have with their backgrounds during the twentieth century in artistic manifestations of three distinct literary genders. After designing a background of the African-American people along that century, I intend to relate each of the three works to time in which they were written. This way, the central question of this dissertation is how the Literature produced by the African-Americans (represented by those three works) dialogues with the reality lived by those people within the US society during the twentieth century and how such literature works as an extremely important instrument of expression of the African-American feelings, racial concerns and ideology

This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non-diegetic tone parallel that musically narrates several authentic characteristics of African-American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. My new work––Black Magic––is a musical response to the research found within this study. The through-composed piece is written in three movements for a studio orchestra. It is an homage to the musical, cultural, and entertainment contributions of African-Americans in the magical realm of Hollywood cinema.

Harlem is an emblematic neighborhood in New York City, historically perceived both as the center of African American culture and a black ghetto. This thesis explores the African American urban culture at its birth and analyzes it through the portrayals of Harlem in black literature, music, and visual art of the period. The era of the 1920s through the 1940s illustrates most distinctly the dual identity of Harlem as a cultural capital versus a ghetto as the 1920s marked a period of unprecedented cultural flowering embodied by the Harlem Renaissance, whereas the 1930s and 1940s were characterized by the Great Depression and its aftermath. During these years the living conditions in Harlem significantly deteriorated. The aim of this work is to critically analyze the period of African American cultural boom of the Harlem Renaissance years and discuss its relevance for the period in comparison to the artistic reactions to the experience of life in the ghetto. The proposed argument is that the way Harlem was depicted in African American culture and the artistic reflection of its duality characterized African American urban experience and culture in the period of 1920s through the 1940s, concentrating on the problem of urban reality in contrast with urban fantasy.

No description available.

This work is a study of the origins, development, and contributions of the black religious colleges of East Texas. The central purpose of the study is to reexamine the role Wiley, Bishop, Texas, and Jarvis colleges have played in black higher education. Although prior to 1960 most studies of Negro institutions of higher education described such schools as total failures in their effort to uplift American Negroes, since that time many scholars have published works which pointed up the achievements as well as the problems of those colleges. In addition to their efforts to provide the Negro community with capable leaders, the black religious colleges of East Texas also directed public service projects. Especially beneficial, these efforts, which included farm demonstration programs and home demonstration classes, were designed to help black people at whatever level needed. Wiley, Bishop, Texas College, and Jarvis have not been total failures. Although always academically weak, they have served the black community well. However, in spite of the valuable service they have rendered, unless these schools can generate new and larger sources of revenue, they stand little chance of remaining viable institutions. Each of these colleges desperately needs more money. Ironically, it may be that black colleges will decline in the future primarily not because their raison d' etre has been eliminated, but because the public and government agencies have concluded that such institutions no longer warrant their support.

No description available.

Cette recherche est née des inquiétudes déclenchées à partir d’une pratique éducationnelle anti-raciste, à travers laquelle j’ai été amené à problématiser l’actuelle formation de professeurs d’Histoire et l’Enseignement de l’Histoire de l’Afrique à l’Université Fédérale de Rio Grande do Sul – UFRGS – pénétrant dans la Loi 10.639/2003 – dans l’enseignement obligatoire de l’Histoire Africaine qui émane de ces Lois et de l’Arrêt 003/2004 du Conseil Nacional d’Education. J’ai aussi étudié la nouvelle Loi 11.645/2008 qui a modifié quelques aspects de la Loi 10.639/2003. J’ai eu pour but, en ce sens, de connaître et de saisir les possibilités produites par la pratique sociale et éducationnelle des étudiants et des professeurs de la Formation en Histoire de la UFRGS, à travers lesquelles se sont produites leurs représentations sociales. À travers l’Etude de Cas, en tant que méthodologie de recherche, en me servant d’interviews demi-structurés, de l’observation demi-dirigée en classe et dans des activités liées à l’Enseignement et à l’Histoire Africaine, de l’analyse de la documentation légale pertinente et du soutien theórico-méthodológique, fondé sur la pensée de Marx, Lukács et Frantz Fanon, je considère que les possibilités de rendre effectif l’enseignement de l’Histoire de l’Afrique à la UFRGS moyennant la Loi 10.639/2003 et la Loi 11.645/2008 restent encore formelles, liées à des aspects contingents et à des actions individuelles. Cependant, les contradictions qui régissent les rapports éducatifs et formatifs des professeurs et des étudiants de la Licence en Histoire de la UFRGS créent les conditions nécessaires à l’objectivation même des pratiques éducationnelles émanées des principes de la Loi, surpassant le cursus à nuances eurocentriques, basé sur le quadripartisme français et qui impute le caractère optionnel/facultatif à l’enseignement de l’Histoire de l’Afrique. Celui-ci s’est développé, mais n’est pas encore structuré. Les représentations sociales des sujets interviewés se sont montrées conflictuelles, car à la fois elles observaient le développement de l’interêt de quelques étudiants concernant la question qui se trouve maintenant renforcé par l’approbation de l’entrée par cotes éthnico-raciales, et manifestaient la méconnaissance de la loi 10.639/2003 par la plupart des étudiants. Les fondements eurocentriques du cursus se manifestent encore dans le processus de formation de professeurs. En ce sens, en suivant la onzième thèse Ad Feuerbach de Marx, en plus d’interpréter et de comprendre le phénomène, je construis des propositions d’effective-action de l’enseignement de l’Histoire de l’Afrique qui ne soient pas uniquement une insertion mécanique de contenus dans l’actuel cursus, mais la construction d’une transversalité de ce sujet, reconnaissant et faisant valoir la contribution fondamentale de la cosmovision africaine au Brésil. / A presente pesquisa surgiu das inquietações catalisadas a partir de uma prática educacional anti-racista, através da qual fui levado a problematizar a atual formação de professores de História e o Ensino de História da África na Universidade Federal do Rio Grande do Sul – UFRGS – adentrando na Lei 10.639/2003 - na obrigatoriedade do ensino de História Africana que emana dessa Lei e do Parecer 003/2004 do Conselho Nacional de Educação. Estudei também a nova Lei 11.645/2008 que modificou alguns aspectos da Lei 10.639/2003. Almejo conhecer e apreender as possibilidades produzidas pela prática social e educativa dos estudantes e professores do Curso de História da UFRGS, através das quais se produziram suas representações sociais. Através do Estudo de Caso, enquanto metodologia de pesquisa, valendo-se de entrevistas semi-estruturadas, da observação semi-dirigida em sala de aula e em eventos ligados ao Ensino e História Africana, da análise da documentação legal afim e do apoio teórico-metodológico, fundamentado no pensamento de Marx, Lukács e Frantz Fanon, considero que as possibilidades de efetivação do ensino de História da África na UFRGS através da Lei 10.639/2003 e da Lei 11.645/2008 ainda são formais, ligadas a aspectos contingenciais e a ações individualizadas. Entretanto, as contradições que movem as relações educativas e formativas dos professores e estudantes do Curso de Licenciatura em História da UFRGS criam as condições necessárias para a própria objetivação das práticas educativas emanadas dos princípios da Lei, superando o currículo com matizes eurocêntricas, baseado no quadripartismo francês e que imputa o caráter opcional/eletivo ao ensino da história da África. O ensino de História africana se desenvolveu, mas ainda não está estruturado. As representações sociais dos sujeitos entrevistados se mostraram conflitantes, pois, ao mesmo tempo, que observavam o desenvolvimento do interesse de alguns estudantes quanto ao tema, que agora é reforçado pela aprovação do ingresso via cotas étnico-raciais, também levavam em conta o desconhecimento da lei 10.639/2003 pela maioria dos estudantes. Os fundamentos eurocêntricos do currículo ainda se manifestam no processo de formação de professores. Neste sentido, seguindo a décima primeira tese Ad Feuerbach de Marx, além de interpretar e compreender o fenônemo, construí propostas de efetiva-ação do ensino de História da África que não sejam apenas uma inserção mecânica de conteúdos no atual currículo, mas a construção de uma transversalidade deste tema, que reconheça e valorize a contribuição fundamental da cosmovisão africana no Brasil.