Resources on the life and legacy of W.E.B. Du Bois from Special Collections & University Archives at the University of Massachusetts, Amherst. The online collection includes photographs; digitized editions of Du Bois books, articles & letters; a biography and critical essays; and DuBoisopedia, a wiki-fueled exploration of Du Bois' life and times.
Accounts of two crucial decades of black little magazine publication. Highlighting the period are the beginnings of three major journals: the NAACP's Crisis (1910-present), the Urban League's Opportunity (1923-1949), and A. Philip Randolph's Messenger ( 1917-1928). Each had an important editor-W. E. B. Du Bois, Charles S. Johnson, Wallace Thurman.
This copy of Garvey's FBI file was obtained through the Freedom of Information Act. Other Garvey primary documents are also available at Internet Archive, including recordings of speeches and transcripts of the 1987 House of Representatives hearing regarding mail fraud charges in 1922.
More Sources for Scholarly Articles
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Use the catalog to look for additional titles on African American political activists, social thought, and intellectual life, as well as searching on the names of particular individuals and on specific movements (Pan-Africanism, Socialism).
Search by author, title, keyword or subject.
Search on the general topic "Harlem Renaissance" to get a sense of the scope of the collection.
Also search for titles on 20th century African American history and social and political movements, as well as on the names of theorists such as W.E.B. DuBois, Alain Locke and Marcus Garvey.
Dissatisfied with a 1934 exhibition sponsored by the Citizen's Committee of Harlem, six local graphic artists organized the Harlem Artists' Guild. Aaron Douglas, Augusta Savage, Romare Bearden, Charles Alston, Henry W. Bannarn, and Gwendolyn Bennett combined to forge cooperation among black artists and to tell the nation that blacks were "destined to play an important part in the art of America."
An examination of how the New Negro movement, also known as the Harlem Renaissance, provoked and sustained public discourse and deliberation about black culture and identity in the early twentieth century. Borrowing its title from a W. E. B. Du Bois essay, Hearing the Hurt explores the nature of rhetorical invention, performance, and mutation by focusing on the multifaceted issues brought forth in the New Negro movement, which Watts treats as a rhetorical struggle over what it means to be properly black and at the same time properly American. Who determines the meaning of blackness? How should African Americans fit in with American public culture? In what way should black communities and families be structured?
An examination of how the New Negro movement, also known as the Harlem Renaissance, provoked and sustained public discourse and deliberation about black culture and identity in the early twentieth century. Focuses on the issues brought forth in the New Negro movement, which Watts treats as a struggle over what it means to be properly black and at the same time properly American. Who determines the meaning of blackness? How should African Americans fit in with American public culture? In what way should black communities and families be structured? The New Negro movement animated tension among diverse characterizations of African American civil rights, intellectual life, and well-being, and thus it provides a fascinating and complex stage on which to study how ideologies clash with each other to become accepted universally.
Mary White Ovington was born into relative privilege and comfort at the end of the Civil War and like other members of her class had a "hatred of dirt, odor, [and] ill health." But unlike most of her peers, rather than avoid these problems she dedicated her life to doing something about them. Through her work in settlement houses, she saw that the problems facing poor African Americans were different from those facing their white counterparts. Other settlement workers either failed to recognize or failed to act on America's "race problem," but Ovington made it her life's work. As a founding member of the NAACP and a lifelong advocate of integration, she distinguished herself as a leader in the fight for social, racial, and economic equality. Wedin also explores Ovington's lifelong relationship to the organization she helped found and with such notable figures as W.E.B. DuBois and the journalist Oswald Garrison Villard. -Library Journal
This collection of essays by American philosopher Alain Locke (1885-1954) makes readily available for the first time his important writings on cultural pluralism, value relativism, and critical relativism. As a black philosopher early in this century, Locke was a pioneer: having earned both undergraduate and doctoral degrees at Harvard, he was a Rhodes scholar at Oxford, studied at the University of Berlin, and chaired the Philosophy Department at Howard University for almost four decades. He was perhaps best known as a leading figure in the Harlem Renaissance. Locke's works conceptually frame the Harlem Renaissance and New Negro movement and provide an Afro-American critique of pragmatism and value absolutism, and also offer a view of identity, communicative competency, and contextualism.
In his own time, W.E.B. Du Bois was a controversial figure, and now, more than 30 years after his death, he continues to be so. Born in 1868, Du Bois was a central figure in African American intellectual life during the late 19th and early 20th centuries, yet many of his positions are difficult to reconcile with current African American thought. Du Bois, for example, was an elitist who believed that black society was divided between "the talented tenth" and everybody else. Yet in his later years, he joined the communist party and moved to Africa, where he lived out the remainder of his life. Since his death in 1963, a generation of African American intellectuals have tried to interpret, explain, or revise him according to their own beliefs; now Adolph Reed Jr. weighs in with W.E.B. Du Bois and American Political Thought.
From the publisher: Often, the decade of the 1920s has been stereotyped with such labels as "The Roaring Twenties," "The Jazz Age," or "The Lost Generation." Historical perspective has forced reevaluation of this decade. Articles in this collection are presented in the most definitive anthology dealing with 1920s America. The contributors have put aside stereotypes to offer a valuable critique of the American dream during a time of major crises. Dancing Fools and Weary Blues also presents its readers a picture of the continual redemption and revitalization of that dream, and reasserts its basic democratic values.