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Zora neale hurston literary criticism
Zora neale hurston literary criticism
Zora neale hurston literary criticism
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Zora Neale Hurston - Celebrating the Culture of Black Americans
In her life and in her writings, Zora Neale Hurston, with the South and its traditions as her backdrop, celebrated the culture of black Americans, Negro love and pride with a feminine perspective that was uncommon and untapped in her time. While Hurston can be considered one of the greats of African-American literature, it’s only recently that interest in her has been revived after decades of neglect (Peacock 335). Sadly, Hurston’s life and Hurston’s writing didn’t receive notoriety until after her death in 1960.
Hurston’s upbringing was pivotal in her unique sense of identity and
culture. “Born in 1891, Hurston spent much of her childhood in Eatonville,
Florida” (Boyd 28). Hurston was born and raised in the first incorporated black
township in the United States. “Eatonville provided her with a sense of identity
and emotional health rare for a black American growing up at the turn of the
century” (Boyd 28). In the video Tell About the South, Hurston stated she lived
not in “the black back-side of an average town but a pure Negro town—charter,
mayor, council, town marshal and all.”
As a child, Hurston was sheltered from the realities of discrimination and
hatred against blacks. Author Mary E. Lyons explains: “Eatonville residents were
somewhat safe from lynchings and other racial violence, although Zora recalled
that the village did its best to teach her fear of white strangers” (11). Zora’s
childhood was filled with thriving community as well as isolation from the hatred and racism that lurked outside of the confines of Eatonville. “[Zora’s] early childhood was so free from discrimination that it took a trip to Jacksonville, with its...
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...oman and Her Community. Orlando, FL:
Sentinel Communications Company, 1991.
Peacock, Scot. “Zora Neale Hurston.” Black Writers A Selection of Sketches from
Contemporary Authors, 1999: 334-37.
Smith, Jessie Carney, ed. “Zora Neale Hurston.” Notable Black American Women,
1992, 543-47.
Tell About the South. Dir. Ross Spears. James Agee Film Project.
The Student Bible: New International Version. Michigan: Zondervan Corporation,
1996.
Washington, Booker T. “Atlanta Exposition Address.” Making Literature Matter: An
Anthology for Readers and Writers. Ed. John Schilb and John Clifford:
Bedford/St. Martin’s, 2000. May 1990. 948-51.
Witcover, Paul. Zora Neale Hurston. New York: Chelsea House Publishers, 1991.
“Zora Neale Hurston-The School District of Palm Beach County, Florida”
http://learnet.palmbeach.k12.fl.us/AfricanAmerican/documents/Unit20.pdf.
Appiah, K.A. and Gates, Henry Louis, Jr. eds. Zora Neale Hurston: Critical Perspectives Past and Present. New York: Amistad Press, Inc., 1993.
...dies the theme, because Zora was never a nigger. She tried her best to be everything but that just as she promised the man. Zora was so much more than just a ‘nigger” she brought the best that any black women could bring in that time period. She made sure she stood outside her color where ever she went. Not because she was ashamed of who she was, but because she wanted to be more than her color. Not be black women who have not accomplished much but that black women who open doors. Going through her life making an impact on things she believed in rather it hurt blacks or rather it disappointed whites. She made the best with what she had even though she knew what she had could have been more. You can believe in so much but you have to eventually go out and find out for yourself. Zora proved that quote so many times to ensure that she did what she had to do many times.
This paper examines the drastic differences in literary themes and styles of Richard Wright and Zora Neale Hurston, two African--American writers from the early 1900's. The portrayals of African-American women by each author are contrasted based on specific examples from their two most prominent novels, Native Son by Wright, and Their Eyes Were Watching God by Hurston. With the intent to explain this divergence, the autobiographies of both authors (Black Boy and Dust Tracks on a Road) are also analyzed. Particular examples from the lives of each author are cited to demonstrate the contrasting lifestyles and experiences that created these disparities, drawing parallels between the authors’ lives and creative endeavors. It becomes apparent that Wright's traumatic experiences involving females and Hurston's identity as a strong, independent and successful Black artist contributed significantly to the ways in which they chose to depict African-American women and what goals they adhered to in reaching and touching a specific audience with the messages contained in their writing.
It is strange that two of the most prominent artists of the Harlem Renaissance could ever disagree as much as or be as different as Zora Neale Hurston and Richard Wright. Despite the fact that they are the same color and lived during the same time period, they do not have much else in common. On the one hand is Hurston, a female writer who indulges in black art and culture and creates subtle messages throughout her most famous novel, Their Eyes Were Watching God. On the other hand is Wright, who is a male writer who demonstrates that whites do not like black people, nor will they ever except for when they are in the condition “…America likes to see the Negro live: between laughter and tears.” Hurston was also a less political writer than Wright. When she did write politically, she was very subtle about stating her beliefs.
How does Zora Neale Hurston’s race affect her approach to life? America has a long history of discriminating certain groups of people, particularly people of color. African-Americans were treated as slaves and was not seen as equal. Although slavery remained a history and was ultimately legally abolished, race still plays a big role in determining superiority today. Author of How it feels to be colored me, Zora Neale Hurston, describes her journey of racial recognition outside her world that reshaped her conception of racial identity that resulted in the prideful embrace of her African American heritage.
"How it Feels to Be Colored Me", by the brave Zora Neale Hurston, expresses the author's vanity in her individuality. Instead of writing an essay of discussing racial inequality, Hurston creates a moving story that displays how different she.
...rom the rural south who challenged racial, class, and sexual, assumptions in her writing, Hurston has become an
When handling a controversial subject, it is important to recognize the opinion of everyone, not just of oneself. If an author does not recognize, at least to some degree, the opinion of everyone in their audience, they risk losing the interest of readers whose opinions are different. African American writers must consider how it feels to be an African American to their audience; they must understand that there is no such thing as one identity for an entire race.
Hurston writes about how she moved to Jacksonville, Florida, and it wasn’t until then that she realized she wasn’t just Zora—she was also colored. She says, “I was not Zora of Orange County any more, I was now a little colored girl” (941). It was after she was thrown against the backdrop of a white community that others made her feel colored. But even though she was made aware of her differences she did not feel any anger about slavery or the discrimination she was faced with. She states, “…I am not tragically colored. There is no great sorrow dammed up in my soul, n...
Alice Walker and Zora Neale Hurston are similar to having the same concept about black women to have a voice. Both are political, controversial, and talented experiencing negative and positive reviews in their own communities. These two influential African-American female authors describe the southern hospitality roots. Hurston was an influential writer in the Harlem Renaissance, who died from mysterious death in the sixties. Walker who is an activist and author in the early seventies confronts sexually progression in the south through the Great Depression period (Howard 200). Their theories point out feminism of encountering survival through fiction stories. As a result, Walker embraced the values of Hurston’s work that allowed a larger
In 1928 when Zora Neale Hurston wrote “How it Feels to Be Colored Me” it was not very common for a person to freely speak about how racial discrimination was not bothersome to African Americans and it certainly did not reflect the way most had felt towards racial discrimination. Hurston spoke of when she was growing up in Eatonville, Florida and how, “white people differed from colored to me only in that they rode through town and never lived there” (Hurston, par. 4). In this essay she explains how she does not let all of these injustices continue to be bothersome to her whether they happened in her past or in the present, she does not let these injustices keep her from living a virtuous life.
Canadian television viewers were formerly very passive consumers (Miller, 2010), whom, without government intervention and regulations, would see that Canadian television programming would move to a United States based market. "There has been over half a century of battling what is perceived as “an ideological misrecognition whereby Canadians mistake American television for what they really like while simultaneously neglecting the Canadian television that they ought to like” (Miller, 2010, p.39). Miller’s media studies II (2010) sees audiences gain more power and awareness, but it wasn’t until that audiences’ recent shift towards aligning with Miller’s media studies III category, that set a landscape that is ready to see Canadian television truly flourish. This can be seen through recent polling, done by the Alliance of Canadian Cinema, Television, and Radio Artists (ACTRA), the Canadian Film and Television Production Association (CFTPA),, the Directors Guild of Canada (DGC), and the Writers Guild of Canada (WGC) (2008), “that not only is it important to Canadians to have access to Canadian programming that distinguishes itself from foreign programs, (but) they also want to be able to choose programming that reflects national
African American Review 32.2 (1998): 293-303. JSTOR.com - "The New York Times" Web. The Web. The Web. 11 April 2012.
Violent television shows lead to violence in children between the ages of two and five. A study conducted by Albert Bandura concludes that violence in the media can lead to aggressive behavior. In this study, the experimental group was shown a cartoon where the characters acted in a violent manner, while the control group was not. When given a large inflatable doll to play with, the experimental group punched the doll, while the control group ignored it. Likewise, another study showed that the murder rate in the United States dramatically increased when the television became more available (Westrup). Violence in prime-time television has considerably increased since 1994. Even though TV shows have a rating system, many are overlooked as being aggressive. Violence is shown to children as being "desirable, necessary and painless" ("Children") which is a danger to children this age. Many can grow up thinking that violence is okay since it was seen on a cartoon. In cartoons, little effort is given to show the effect...
The CRTC is a federal organization that creates rules and regulations for telecommunications and broadcasting companies to follow in Canada (Gasher et al., 2012). The communications policy is necessary in Canada for the reason that frames media, culture and society of the nation-state. (Gasher et al., 2012). It creates rules to ensure that the media serves citizens and society. The purpose of the policy is that communications should be well managed and responsive to information to the public. Therefore, the CRTC is a major sector of the media that the government implemented. Hence, the government is a major contributor to mass media. They create regulations and shape viewer’s perceptions of messages being