This dissertation is structured as a handbook and guide. It provides selected published materials in Afro-American vocal music. These materials include music for solo voice, including the art sang, arrangements of spirituals and choral music. Emphasis is placed on composers of record whose works are in print. This handbook and guide will serve as a reference guide for musicians, choral directors or persons who simply want sane general sense of the composers and major compositions. Chapter One, "Introduction," gives the purpose of the handbook and guide. Chapter .Two, entitled "Four Pioneers," includes Harry Thacker Burleigh (1866-1949), Robert Nathaniel Dett (1882-1943), John Rosamond Johnson (1873-1954) and Hall Johnson (1888-1970). Chapter Three, "Second Generation," includes four selected composers - - Edward Hanmond Boatner (1898-1981), Frederick "Fred" Douglas Hall (1898-1981), William Levi Dawson (1899-) and John Wesley Work III (1901-1967). Chapter Four concerns "In The Contemporary Idiom: The Art Composers." The art composers selected for this period are Howard Swanson (1907-1985), Margaret Allison Bonds (1913-1972), and Undine Moore (1906-1989). "Four Avant-Garde Composers: The New Generation," Chapter Five, are composers who shared much in common with their predecessors. However, these Black composers felt the strong need and demand for the expression of "self," a heritage and a national acceptance. They used the musical tools contributed by Black people of this country. Their inclusion of the blues, spirituals and jazz as inspirations for compositions further implants nationalism into their music. The composers selected are Ulysses Sinpson Kay (1917-), Hale Smith (1925-), Arthur Cunningham (1934-), and Dorothy Rudd Moore (1940-). In addition to the bibliography, there are three appendices. Appendix I - Selected Vocal Music by Fifteen Composers; Appendix II- Selected Discography of Vocal Music by Composers; and Appendix III-Selected Publishers

The aim of the study is to illustrate the importance of magic realism in American women's fiction in the late twentieth century. The term magic realism, which has traditionally been associated with Latin American men's writing, has been known by different, and often contradictory, definitions. It may be argued that, properly defined, it can be a valid term to describe a number of characteristics common to a corpus of work, and can be considered as an aesthetic category different from others such as Surrealism or Fantastic literature, with which it has often been compared. Furthermore, magic realism has viability as a contemporary international mode and is particularly suitable to women writers from minority ethnic groups. The present study intends to draw relevant comparative analyses of uses of magic realism that show various formal and thematic interactions between separate literary traditions. The introduction offers an overview of the different conceptions and applications of the term since its origins within the area of painting, and suggests a working definition that can be effective for intensive textual analysis of several novels. In order to offer a new approach which can enable us to move away the paradigm of magic realism from Latin America towards a more multicultural framework, the focus will be on three geographical-cultural areas: African American, Native American and Chicano/Mexican writing. The implementation of magic realist strategies in African American writing will be examined in Toni Morrison's Song of Solomon (1977) and Gloria Naylor's Mama Day (1988), with a particular emphasis on the significance of African mythical background and the experience of dispossession and transference of culture. Magic realist elements in the novels Tracks (1988) by Louise Erdrich and Ceremony (1977) by Leslie Marmon Silko will be studied in the context of Native American oral tradition and cosmologies. The practice of magic realism on both sides of the U. S. - Mexico border will be explored in the novels So Far from God (1993), by the Chicana Ana Castillo, and Like Water for Chocolate (1989), by the Mexican Laura Esquivel. A description of the borderland culture in the American Southwest, as well as comparisons between North and Latin American uses of magic realism will be provided. Finally, some connections amongst the discussed literary traditions and further lines of research will be suggested.

Although DuBois has been the subject of considerable scholarly work, little of that scholarship has concentrated on his political thought. This dissertation addresses that lacuna in the literature on DuBois by analyzing his writings from the standpoint of a concern with their political and philosophical dimensions and their relation to the social and intellectual contexts within which DuBois wrote and acted. Most significant in this research among the contexts within which DuBois' work was constituted are those aspects related to: (1) rise of the corporation as a central organizing force in United States political economy; (2) development of intellectuals as a self-conscious, discernibly interested stratum in twentieth-century American society; and (3) the continuing efforts of elites within the Afro-American population to congeal a social and political agenda for themselves and hegemony over the organization of the race. This study identifies collectivism as a useful critical concept in interpretation of the intellectual and institutional thrusts of those three elements of the environment of DuBois' theoretical development and points of similarity and confluence among them. Collectivism is seen as a meta-theoretical outlook that values specialized expertise in social decision-making, rational organization and planning and asserts the primacy of the economy in society. To that extent collectivism provides a rubric subsuming the principal ideological stances common among intellectuals during the early decades of this century-i.e., socialism, progressivism, and the varieties of managerialism--and their derivatives. DuBois' thought is found to demonstrate sharp continuities at the philosophical or meta-theoretical level. These continuities are most significant in his attitudes concerning the nature and purposes of knowledge and the proper organization of society in general and of the Afro-American population in particular, and they resonate with the attitudes of his collectivist contemporaries. Notwithstanding DuBois' movements into and out of the university and "activism," the Socialist Party, the NAACP, Pan-Africanism and finally the CPUSA, he is found to have maintained throughout his career commitment to: (1) a positivist-pragmatist view of knowledge; (2) a rationalistic, collectivist view of proper social organization, including a preference for meritocracy; and (3) a belief that the elite of "ability" or the "Talented Tenth" should have primacy in and over the Afro-American population.

English Abstract Toni Morrison deals with the topic of community to a greater or lesser extent in all of her books. Being influenced by her own upbringing, she has always been aware of the role community plays in one's life and its influence on an individual. Community can both save you and forsake you. The nature of black community has been changing, according to Morrison, and so has her view of it. Her writing career reflects these alternations, revealing a significant change in her perspective. Looking at her first novel, The Bluest Eye, published in 1970, her third novel written seven years later, Song of Solomon, and her seventh novel, Paradise, written in 1998, this thesis traces the way her position alters throughout the years. Being opposed to both radical separatism and blind assimilation, Morrison first proposed return to traditional African values as the possible cure for the black community destroyed by the forces of capitalist society. Later in her career, however, Morrison changes her ideology and suggests as a remedy a community that does not exclude the unworthy, but is open, caring, and inclusive. By evolving from individualism to individuality, communities that will include everyone can be created.

The problem with which this study is concerned is that of determining the role of war and social revolution in Afro-American poetry of the 1960's. For this study, four major poets were selected: Gwendolyn Brooks, Nikki Giovanni, LeRoi Jones, and Don L. Lee.

Este trabalho centra sua atenção sobre a construção identitária por meio da palavra escrita, refletindo sobre o passado por meio da narrativa autobiográfica I Know Why the Caged Bird Sings (1970) da escritora afro-americana Maya Angelou. Utilizamos a obra de Maya Angelou devido ao seu esforço pioneiro em confrontar abertamente seu passado e fazer de suas mazelas pessoais um meio catártico: descer aos infernos, ou à morte para retornar transformada. / This work focuses its attention on the construction of identity by means of the written word using the autobiographical narrative I Know Why the Caged Bird Sings (1970) by the afroamerican writer Maya Angelou. We have utilized the work of Maya Angelou due to her pioneering efforts to openly confront her past and use her personal challenges as a cathartic means to descend to the hells or to death so that she could be transformed.

Made available in DSpace on 2017-07-21T20:31:29Z (GMT). No. of bitstreams: 1 Lucia Mara de Lima Padilha.pdf: 2572405 bytes, checksum: 003a3660351914d1527628bae4b8e827 (MD5) Previous issue date: 2016-03-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis aimed at analyzing the public and republican education and the (in) existence of an educational project for Afro- Americans in Paraná, in the historical period defined between the late nineteenth and early twentieth century. From this larger objective elapsed specific ones: to understand the historical context in which they were enslaved and the formation of “Quilombos” in Paraná; investigate when liberal and capitalist ideas started in Paraná as an antagonistic movement to slavery; identify the (in) existence of an educational project for them in Paraná, within the historical period defined. The categories of analysis chosen for this study were: – Contradiction; Class struggle and Wholeness. The method used had, as theoretical and methodological assumption, the Historical and Dialectical Materialism, which involves carrying out an analysis of the totality of the political, economic and social relations present in the society of the period, taking into account that education does not occur in an isolated form but, is part of the human life and is structured to change the way man produces his existence in a material way. The research was developed under a documentary and bibliographical approach and the methodological procedures were as followed: literature review; documentary research and survey of primary and secondary sources about the afro - American population and education in Paraná, located in Parana´s Public Library, House of Memory, Paranaense Museum and Paraná´s Public Archives, Campos Gerais Public Library and Museum in Ponta Grossa. In view of the proposed objectives for this study, this research is constituted of four chapters: in the first chapter, questions about the slavery of the Afro-American and the formation of “Quilombos” in Paraná, as a slavery resistance movement, were addressed; in the second, we sought at investigating when was the beginning of liberal ideas as an antagonistic movement to slavery in Paraná; the third chapter aimed at understanding how was the integration of Afro-American to Paranaense republican society in the post-abolition period, and,in the fourth chapter, the analysis of public education and republican state in Paraná ,as well as the (in) existence of an educational project for negroes in the late nineteenth century and early twentieth century were carried out. Concluding, the thesis defended is that there wasn’t an educational project aimed at the formation of Afro-American children, children of former slaves, in the first decades after the abolition of slavery in Parana. / A presente tese teve como objetivo geral analisar a educação pública e estatal republicana e a (in) existência de um projeto educacional para os negros no Paraná, no período histórico delimitado entre o final do século XIX e início do século XX. Deste objetivo maior decorreram os objetivos específicos: compreender o contexto histórico no qual os negros foram escravizados e a formação dos Quilombos no Paraná; investigar quando se deu o início das ideias liberais e do capitalismo no Paraná como um movimento antagônico à escravidão; Identificar a (in) existência de um projeto educacional para os negros no Paraná, no período histórico delimitado. As categorias de análise escolhidas para este estudo foram: – Contradição; Luta de Classes e Totalidade. O método teve como pressuposto teórico-metodológico o Materialismo Histórico e Dialético, que pressupõe realizar uma análise da totalidade das relações, políticas, econômicos e sociais, presentes na sociedade da época, pois a educação não se dá de forma isolada, mas faz parte da vida do ser humano e articula-se às transformações do modo como ele produz materialmente a sua existência. A pesquisa teve caráter documental e bibliográfico e os procedimentos metodológicos seguiram as seguintes etapas: revisão bibliográfica; pesquisa documental e levantamento de fontes primárias e secundárias sobre os negros e a educação no Paraná, localizados na Biblioteca Pública do Paraná, Casa da Memória, Museu Paraense e Arquivo Público do Paraná, Casa da Memória, Biblioteca Pública Museu Campos Gerais em Ponta Grossa. Tendo em vista os objetivos propostos para este estudo, a presente pesquisa constitui-se em quatro capítulos: no primeiro capítulo foram abordadas questões sobre a escravidão do negro e a formação dos Quilombos no Paraná como um movimento de resistência a escravidão; no segundo, buscou-se investigar quando se deu o inicio das ideias liberais no Paraná como um movimento antagônico à escravidão; o terceiro capítulo consistiu em compreender como foi a integração do negro à sociedade republicana paranaense, no período pós-abolição, e, no quarto capítulo, tratou-se da análise sobre a educação pública e estatal republicana no Paraná e a (in) existência de um projeto educacional para os negros no final do século XIX e inicio do século XX. Como conclusão, a tese defendida é a de que não houve um projeto educacional voltado para a formação das crianças negras, filhas de ex-escravos, nas primeiras décadas após a abolição da escravatura no Paraná.

Este trabalho centra sua atenção sobre a construção identitária por meio da palavra escrita, refletindo sobre o passado por meio da narrativa autobiográfica I Know Why the Caged Bird Sings (1970) da escritora afro-americana Maya Angelou. Utilizamos a obra de Maya Angelou devido ao seu esforço pioneiro em confrontar abertamente seu passado e fazer de suas mazelas pessoais um meio catártico: descer aos infernos, ou à morte para retornar transformada. / This work focuses its attention on the construction of identity by means of the written word using the autobiographical narrative I Know Why the Caged Bird Sings (1970) by the afroamerican writer Maya Angelou. We have utilized the work of Maya Angelou due to her pioneering efforts to openly confront her past and use her personal challenges as a cathartic means to descend to the hells or to death so that she could be transformed.

The problem of this study is that of discerning the board positions, the roles, and the perceptions of Black elected public school board members in Mississippi as perceptions relate to racial discrimination, interpersonal relationships, and primary education interests. Major problems in education as perceived ranged from "racism" to "finances." Major contributions to education in Mississippi in the last five years as perceived ranged from "court decisions" to "election of Blacks to education positions." General conclusions are that less racial discrimination exists in school systems with Blacks represented on school boards; however, some racism is still perceived by Black board members.

No description available.