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Essay / Research Paper Abstract
A 7 page paper which assesses the amount and type of influence that white literary movements had on the distinctive literature that arose in Harlem in the 1920s. Bibliography lists 7 sources.
Page Count:
7 pages (~225 words per page)
File: D0_Whitehar.doc
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Unformatted sample text from the term paper:
distinctive, complex, exciting -- and based in the soulful melodies that had crossed the Atlantic from Africa. A new literature arose that gave dignity and relevance to black people. There
was black art and black theater -- and it was a far cry from Aunt Jemima and the blackface minstrel shows. The development of this movement was as sudden, historically
speaking, as the awakening of the Renaissance in Europe, and so this phenomenon became known as the Harlem Renaissance. For the past seventy years, however, historians, musicians, and scholars have
been trying to determine exactly where the Harlem Renaissance came from. Its dynamics, its spirit, its drive were black, for sure. But what relationship did the Harlem movement have to
literary movements in the white world? This paper will look at some of the premier writers of this era -- Jean Toomer, Nella Larsen, Zora Neale Hurston, and Langston Hughes
-- and, with the help of contemporary writers such as Toni Morrison and Steven Watson, attempt to answer that question. The "Renaissance" began in the aftermath of World War I,
when nearly a million blacks moved northward out of the Southern states under the impression that the North was fully integrated and they would be afforded a better life there.
This was not necessarily the case, but the self-assertion required for such a huge segment of a population to pick up and move characterized the mood of these "New Negroes"
-- a term taken from a book edited by a teacher at all-black Howard University, Alain Locke. The intelligentsia of the Urban Leagues in northern cities, as well as the
NAACP, spawned a coterie of artists, writers, and musicians with a unique viewpoint and the courage to express it artistically. In his book, Locke identified the New Negro as "a
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