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The Black nationalist aesthetic and ...

Janifer, Raymond Edward.

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The Black nationalist aesthetic and the early fiction of John Edgar Wideman.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The Black nationalist aesthetic and the early fiction of John Edgar Wideman./
Author:	Janifer, Raymond Edward.
Description:	424 p.
Notes:	Adviser: Walter A. Davis.
Contained By:	Dissertation Abstracts International58-02A.
Subject:	Black Studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9721112
ISBN:	0591298317

The Black nationalist aesthetic and the early fiction of John Edgar Wideman.
Janifer, Raymond Edward.

The Black nationalist aesthetic and the early fiction of John Edgar Wideman. - 424 p.

Adviser: Walter A. Davis.

Thesis (Ph.D.)--The Ohio State University, 1996.

The Black Nationalistic Aesthetic and the Early Fiction of John Edgar Wideman utilizes Black Nationalism as a critical methodology to demonstrate why Wideman's depiction of African-American culture in his early novels A Glance Away (1967), Hurry Home (1970), and The Lynchers (1973) would have been rejected by black nationalistic critics like Addison Gayle, Larry Neal, and Amiri Baraka. Black nationalistic critics would have been against Wideman's portrayals of African-American culture in these early novels because he always balanced them with allusions to modernism and existentialism. The Black nationalistic critics saw modernism and existentialism as theories which emanated from the Western Cultural Aesthetic and inapplicable to any analysis of African-American culture. In these early novels Wideman constructed a personal view of African-American folklore and traditions which was not Black nationalistic. Although he did not adopt a black nationalist point-of-view in his later novels his fiction beginning with his Homewood Trilogy (1981-1983) started to demonstrate an appreciation for African-American folklore and traditions which the black nationalist would have accepted. The black nationalistic critics would have accepted Damballah (1981), Hiding Place (1981), and Sent For You Yesterday (1983) because in these works Wideman utilized African-American folklore and traditions as the dominant voice and sustaining force for his black characters. In his Homewood Trilogy (1981-1983) Wideman did not mitigate his personal construction of African-American folklore and traditions with modernism or existentialism. Instead African-American folklore and traditions became an independent voice which expressed the universal human condition. In his Homewood Trilogy Wideman began to portray African-American folklore and traditions as capable of speaking to the universal human condition.

ISBN: 0591298317Subjects--Topical Terms:

1017673
Black Studies.

The Black nationalist aesthetic and the early fiction of John Edgar Wideman.
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245 1 0 $a The Black nationalist aesthetic and the early fiction of John Edgar Wideman.
300 $a 424 p.
500 $a Adviser: Walter A. Davis.
500 $a Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0456.
502 $a Thesis (Ph.D.)--The Ohio State University, 1996.
520 $a The Black Nationalistic Aesthetic and the Early Fiction of John Edgar Wideman utilizes Black Nationalism as a critical methodology to demonstrate why Wideman's depiction of African-American culture in his early novels A Glance Away (1967), Hurry Home (1970), and The Lynchers (1973) would have been rejected by black nationalistic critics like Addison Gayle, Larry Neal, and Amiri Baraka. Black nationalistic critics would have been against Wideman's portrayals of African-American culture in these early novels because he always balanced them with allusions to modernism and existentialism. The Black nationalistic critics saw modernism and existentialism as theories which emanated from the Western Cultural Aesthetic and inapplicable to any analysis of African-American culture. In these early novels Wideman constructed a personal view of African-American folklore and traditions which was not Black nationalistic. Although he did not adopt a black nationalist point-of-view in his later novels his fiction beginning with his Homewood Trilogy (1981-1983) started to demonstrate an appreciation for African-American folklore and traditions which the black nationalist would have accepted. The black nationalistic critics would have accepted Damballah (1981), Hiding Place (1981), and Sent For You Yesterday (1983) because in these works Wideman utilized African-American folklore and traditions as the dominant voice and sustaining force for his black characters. In his Homewood Trilogy (1981-1983) Wideman did not mitigate his personal construction of African-American folklore and traditions with modernism or existentialism. Instead African-American folklore and traditions became an independent voice which expressed the universal human condition. In his Homewood Trilogy Wideman began to portray African-American folklore and traditions as capable of speaking to the universal human condition.
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