Collage Aesthetic in the Harlem Renaissance
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A01=Rachel Farebrother
african
African American Cultural Forms
African American Cultural Identity
African American Culture
African American modernism
African Americans
anthropology
Author_Rachel Farebrother
Big Sweet
Boas's Emphasis
Boas's Thinking
Boas's Work
boasian
Boasian anthropology
Boas’s Emphasis
Boas’s Thinking
Boas’s Work
bois
Category=DSBH
Collage Aesthetic
Collage Form
collage technique in Harlem Renaissance literature
Contemporary Society
cross-cultural literary analysis
cultural nationalism studies
culture
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
expression
frank
Harlem Renaissance
Harlem Renaissance Writers
Height Sitting
Hurston's Work
Hurston's Writings
Hurston’s Work
Hurston’s Writings
JOHN HENRY
Jonah's Gourd Vine
Jonah’s Gourd Vine
literary form politics
Moses Story
Moving Picture
negro
Negro Expression
Picasso's Collages
Picasso’s Collages
Real Race Problem
Survey Graphic
vernacular aesthetics
waldo
writers
Product details
- ISBN 9780754661986
- Weight: 566g
- Dimensions: 156 x 234mm
- Publication Date: 28 Oct 2009
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Beginning with a subtle and persuasive analysis of the cultural context, Farebrother examines collage in modernist and Harlem Renaissance figurative art and unearths the collage sensibility attendant in Franz Boas's anthropology. This strategy makes explicit the formal choices of Harlem Renaissance writers by examining them in light of African American vernacular culture and early twentieth-century discourses of anthropology, cultural nationalism and international modernism. At the same time, attention to the politics of form in such texts as Toomer's Cane, Locke's The New Negro and selected works by Hurston reveals that the production of analogies, juxtapositions, frictions and distinctions on the page has aesthetic, historical and political implications. Why did these African American writers adopt collage form during the Harlem Renaissance? What did it allow them to articulate? These are among the questions Farebrother poses as she strives for a middle ground between critics who view the Harlem Renaissance as a distinctive, and necessarily subversive, kind of modernism and those who foreground the cooperative nature of interracial creative work during the period. A key feature of her project is her exploration of neglected connections between Euro-American modernism and the Harlem Renaissance, a journey she negotiates while never losing sight of the particularity of African American experience. Ambitious and wide-ranging, Rachel Farebrother's book offers us a fresh lens through which to view this crucial moment in American culture.
Rachel Farebrother is lecturer in American Studies at the University of Swansea, UK.
