Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 188-202). Also available on the Internet.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4326. Adviser: Siobhan Somerville. Includes bibliographical references (leaves 289-320) Available on microfilm from Pro Quest Information and Learning.

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 56-62). Also available in print.

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references. Also available in print.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Helena Woodard. Vita. Includes bibliographical references.

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Word coding can be traced to the ancient Kemetic practice of steganography (referring to hiding place or hidden message). Unless the reader is aware of the meaning, the Coded Word can often appear as just art. Afrocentric scholarship however, also incorporates the idea of functionality. Aesthetics, throughout African history, and to this day, serve a purpose. The beautiful quilts sewn by enslaved Black women served dual functions, as bed coverings and as symbols of resistance and liberation. The decorative wrought-ironwork found on gates and doors throughout the United States serves as a Sankofic reminder and protector. The highly coded language in the aesthetics of the Black Power/Black Arts Movement, shifted paradigms. Though the practice of word coding remains an active part of contemporary Black culture, there is a disconnection between the action and the aim (or function); a direct result of the destructive efforts of colonization. Today’s racially charged and oftentimes dangerous climate calls for a reexamination of word coding as a liberatory tool. I created the theory of the Coded Word to analyze three novels by Black women who are unique in their forms of word coding, just as they are characteristically distinct in their forms of expression. The findings for the three novels have resulted in the first three entries into the Glossary of the Coded Word, a resource to be used by Black people in resistance to oppression and in the struggle for liberation of all Black people. / African American Studies

This paper focuses on mysteries written by the Afro-American women authors Barbara Neely and Valerie Wilson Wesley. Both authors place a black woman in the role of the detective - an innovative feature not only in the realm of female detective literature of the past two decades but also with regard to the current discourse about race and class in US-American society.<br><br> This discourse is important because detective novels are considered popular literature and thus a mass product designed to favor commercial instead of literary claims. Thus, the focus is placed on the development of the two protagonists, on their lives as detectives and as black women, in order to find out whether or not and how the genre influences the depiction of Afro-American experiences. It appears that both of these detective series represent Afro-American culture in different ways, which confirms a heterogenic development of this ethnic group. However, the protagonist's search for identity and their relationships to white people could be identified as a major unifying claim of Afro-American literature.<br><br> With differing intensity, the authors Neely and Wesley provide the white or mainstream reader with insight into their culture and confront the reader&#39;s ignorance of black culture. In light of this, it is a great achievement that Neely and Wesley have reached not only a black audience but also a growing number of white readers. / Im Mittelpunkt dieser Arbeit stehen die Detektivserien der afroamerikanischen Autorinnen Barbara Neely und Valerie Wilson Wesley. Die Blanche White Mysteries von Neely und die Tamara Hayle Mysteries von Wesley repräsentieren mit der Einführung der schwarzen Hausangestellten Blanche White als Amateurdetektivin und der schwarzen Privatdetektivin Tamara Hayle nicht nur hinsichtlich der innerhalb der letzten zwanzig Jahre erschienen Welle von Kriminalautorinnen mit weiblichen Detektiven eine Innovation, sondern auch bezüglich der mit diesen Hauptfiguren verbundenen Auseinandersetzungen mit Klassenstatus und Rassismus.<br><br> Die bisher erschienen Detektivromane beider Serien werden in dieser Arbeit im Hinblick auf ihre Präsentation der Erfahrungen der Afroamerikaner in den USA der 1990er Jahre untersucht. Da Detektivromane der Populärliteratur zugerechnet werden und entsprechend ihrer Befriedigung von Massenansprüchen &quot;produziert&quot; werden, war die Fragestellung, ob in den genannten Detektivserien diese Hinwendung zur Mainstreamkultur mit einer verringerten Darstellung der afroamerikanischen Probleme und Lebensweise verbunden ist. Bei der Analyse der Serien wurde deshalb der Entwicklung der Protagonistinnen als Detektivinnen und als schwarze Frauen sowie der Wirkung ihrer Erzählerstimme besondere Aufmerksamkeit geschenkt.<br><br> Die beiden Serien repräsentieren die afroamerikanische Kultur auf unterschiedlichen Erfahrungsstufen, woran erkennbar ist, dass die afroamerikanische Bevölkerung in den USA keine homogene Gruppe darstellt. Ausschlaggebend für das Erreichen des Anspruchs der Afroamerikaner an ihre Literatur scheint die Auseinandersetzung mit Fragen der Identitätsfindung der schwarzen Protagonistinnen und der Beziehungen zwischen Schwarzen und Weißen zu sein. Den Autorinnen gelingt es in unterschiedlichem Maße den weißen und somit Mainstream-Lesern nicht nur einen Einblick in ihre Kultur zu vermitteln, sondern vielmehr, sie direkt mit ihrer Ignoranz gegenüber dieser schwarzen Kultur zu konfrontieren. Neelys und Wesleys große Leistung ist, dass die Stimmen ihrer Protagonistinnen sowohl ein zahlreiches schwarzes als auch ein wachsendes weißes Publikum erreichen.

This dissertation assesses rage and its utility for fictional Black girls and adolescents in asserting their humanity, accessing their voices, and developing strategies of resistance that contribute to their identity formation. Through analyses of six novels: 1) God Bless the Child, 2) Breath, Eyes, Memory, 3) The Hate U Give, 4) The Bluest Eye, 5) Daddy Was a Number Runner, and 6) The Poet X, this research presents rage as a canonical theme in Black women’s coming-of-age narratives and presents connections between rage, rights, and resistance. The connections, revealed through stimuli and adaptations associated with rage, frame an argument for North Americas as an arbiter of anger. The novels construct an “arc of anger” that places them in conversation about Black girl rage and presents a tradition of Black women crafting Black girl protagonists who are conduits for counternarratives of rage. This dissertation also examines how history, memory, and culture contribute to Black girls’ frustrations and knowledge bases. By looking to works published between the angry decade (the 1960s) and the age of rage (the 2010s), the research presents ways Black women novelists and their characters return to rage to combat social institutions and critique social constructions of Black girlhood and womanhood.

Esta pesquisa busca investigar os repertórios da literatura brasileira disponibilizados nas coleções didáticas de língua portuguesa para o Ensino Médio aprovadas pelo PNLD 2015, de modo a verificar quantitativa e qualitativamente a inserção de textos que tocassem a temática racial, independentemente do pertencimento étnico-racial de seus autores, por um lado, e especificamente a utilização de textos de autoria negra, por outro. Assim, a partir de um aparato teórico interdisciplinar que engloba as áreas dos estudos literários, da história, da sociologia, da educação e da psicologia social , analisa-se como tais textos e autores foram aproveitados pelas coleções, considerando o contexto em que aparecem nos livros, com ênfase nas atividades de interpretação literária. Constata-se lacunas importantes nos dados encontrados, uma vez que a inserção por si só dessas obras e desses escritores não é suficiente para uma reformulação do livro didático como instrumento possível de uma educação antirracista. Desse modo, são propostas alternativas tanto de repertório, privilegiando os nomes contemporâneos da literatura negro-brasileira, quanto de abordagem de autores que já figuram no cânone, alternativas pensadas para relacionar-se de maneira orgânica com todo o conteúdo das coleções didáticas, e não mais como apêndices e notas de rodapé. / This research aims to investigate the Brazilian literature repertoire available in the Portuguese language didactic collections for High School, approved by the PNDL 2015, measuring the insertion of texts approaching the racial thematic in both qualitative and quantitative ways, regardless of the authors ethnic and racial identity on the one hand, and specifically using texts written by black authors on the other hand. That way, through an interdisciplinary theoretical apparatus that encompass Literary Studies, History, Sociology, Education and Social Psychology , this research analyzes how the collections availed themselves of those texts and authors, taking into account the context in which they appear in the books, with emphasis on literary interpretation activities. There are important gaps in the data found, seeing as the insertion of those works and authors by itself is not enough to reformulate the textbook as an efficient instrument of an antiracist education. Thus, some alternatives are proposed regarding both repertoire, privileging contemporary names of the Brazilian black literature, and the approach of authors that already belong to the literary canon, alternatives thought to interact in an organic way with all the content of the didactic collections, and not only as appendices and footnotes.