Countee Cullen, one of Locke's earliest proteges, came to defy anyone who suggested that his racial origins should determine his poetic heritage. True to the example set by John Keats and Edna St. Vincent Millay, he considered the Anglo-American poetic heritage to be as much his as any white American of his time. In his manifesto The Negro Artist and the Racial Mountain (1926, "The Black Artist and the Racial Mountain"), Langston Hughes instead professed, according to a well-known formula, that black poets should create a characteristic "black" art, struggling against the incentive to get closer to the white race ”.
Langston Hughes' position reveals how, alongside primitivism, the tendency to encourage "authentic" American art forms - and to find them in black America - brought black writers closer to commoners. Their interest in the latter was also manifested at a time when American anthropologists influenced by Franz Boas were revolutionizing their discipline by developing arguments against the racist paradigms inherited from the past. The common people - the inhabitants of the rural South in particular, but also the new emigrants who had come to settle in the cities of the North - were supposed to carry within them the seeds of black artistic development in a relative autonomy from traditions " white ”. Thus in the poem The Creation (1920, "The Creation") then in the collection God's Trombones (1927, Black Sermons), James Weldon Johnson adapted the traditional American black sermons in free verse according to poetic forms taking up the techniques of the black pastors.
Drawing inspiration from jazz and popular Southern songs, Jean Toomer experimented with innovative poetic prose in a dense, genre-crossing masterpiece, Cane (1923, “Canne”), which many saw as a radically new way of doing describe the daily life of blacks. Refusing to adopt a Mora tone [...]
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salut j'espère que sa t'aiderais :)
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Countee Cullen, one of Locke's earliest proteges, came to defy anyone who suggested that his racial origins should determine his poetic heritage. True to the example set by John Keats and Edna St. Vincent Millay, he considered the Anglo-American poetic heritage to be as much his as any white American of his time. In his manifesto The Negro Artist and the Racial Mountain (1926, "The Black Artist and the Racial Mountain"), Langston Hughes instead professed, according to a well-known formula, that black poets should create a characteristic "black" art, struggling against the incentive to get closer to the white race ”.
Langston Hughes' position reveals how, alongside primitivism, the tendency to encourage "authentic" American art forms - and to find them in black America - brought black writers closer to commoners. Their interest in the latter was also manifested at a time when American anthropologists influenced by Franz Boas were revolutionizing their discipline by developing arguments against the racist paradigms inherited from the past. The common people - the inhabitants of the rural South in particular, but also the new emigrants who had come to settle in the cities of the North - were supposed to carry within them the seeds of black artistic development in a relative autonomy from traditions " white ”. Thus in the poem The Creation (1920, "The Creation") then in the collection God's Trombones (1927, Black Sermons), James Weldon Johnson adapted the traditional American black sermons in free verse according to poetic forms taking up the techniques of the black pastors.
Drawing inspiration from jazz and popular Southern songs, Jean Toomer experimented with innovative poetic prose in a dense, genre-crossing masterpiece, Cane (1923, “Canne”), which many saw as a radically new way of doing describe the daily life of blacks. Refusing to adopt a Mora tone [...]