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000767296 020__ $$z9781611174922
000767296 020__ $$a9781611174939$$q(electronic book)
000767296 035__ $$a(CaPaEBR)ebr11070998
000767296 040__ $$aCaPaEBR$$beng$$erda$$epn$$cCaPaEBR
000767296 043__ $$an-us---$$an-us-ny
000767296 05014 $$aPS153.N5$$bD53 2015eb
000767296 08204 $$a810.9/896073$$223
000767296 1001_ $$aDickson-Carr, Darryl,$$d1968-$$eauthor.
000767296 24510 $$aSpoofing the modern :$$bsatire in the Harlem Renaissance /$$cDarryl Dickson-Carr.
000767296 264_1 $$aColumbia :$$bUniversity of South Carolina Press,$$c[2015]
000767296 264_4 $$c©2015
000767296 300__ $$a1 online resource (173 pages) :$$billustrations
000767296 336__ $$atext$$2rdacontent
000767296 337__ $$acomputer$$2rdamedia
000767296 338__ $$aonline resource$$2rdacarrier
000767296 504__ $$aIncludes bibliographical references and index.
000767296 506__ $$aAccess limited to authorized users.
000767296 520__ $$a"Spoofing the Modern is the first book devoted solely to studying the role satire played in the movement known as the "New Negro," or Harlem, Renaissance from 1919 to 1940. As the first era in which African American writers and artists enjoyed frequent access to and publicity from major New York-based presses, the Harlem Renaissance helped the talents, concerns, and criticisms of African Americans to reach a wider audience in the 1920s and 1930s. These writers and artists joined a growing chorus of modernity that frequently resonated in the caustic timbre of biting satire and parody. The Harlem Renaissance was simultaneously the first major African American literary movement of the twentieth century and the first major blooming of satire by African Americans. Such authors as folklorist and anthropologist Zora Neale Hurston, poet Langston Hughes, journalist George S. Schuyler, writer-editor-poet Wallace Thurman, physician Rudolph Fisher, and artist Richard Bruce Nugent found satire an attractive means to criticize not only American racism, but also the trials of American culture careening toward modernity. Frequently, they directed their satiric barbs toward each other, lampooning the painful processes through which African American artists struggled with modernity, often defined by fads and superficial understandings of culture. Dickson-Carr argues that these satirists provided the Harlem Renaissance with much of its most incisive cultural criticism. The book opens by analyzing the historical, political, and cultural circumstances that allowed for the "New Negro" in general and African American satire in particular to flourish in the 1920s. Each subsequent chapter then introduces the major satirists within the larger movement by placing each author's career in a broader cultural context, including those authors who shared similar views. Spoofing the Modern concludes with an overview that demonstrates how Harlem Renaissance authors influenced later cultural and literary movements"--$$cProvided by publisher.
000767296 588__ $$aDescription based on print version record.
000767296 650_0 $$aAmerican literature$$xAfrican American authors$$xHistory and criticism.
000767296 650_0 $$aHarlem Renaissance.
000767296 650_0 $$aSatire, American$$xHistory and criticism.
000767296 650_0 $$aAfrican Americans in literature.
000767296 650_0 $$aAfrican Americans in popular culture.
000767296 651_0 $$aHarlem (New York, N.Y.)$$xIntellectual life$$y20th century.
000767296 852__ $$bebk
000767296 85640 $$3ProQuest Ebook Central Academic Complete$$uhttps://univsouthin.idm.oclc.org/login?url=http://site.ebrary.com/lib/usiricelib/Doc?id=11070998$$zOnline Access
000767296 909CO $$ooai:library.usi.edu:767296$$pGLOBAL_SET
000767296 980__ $$aEBOOK
000767296 980__ $$aBIB
000767296 982__ $$aEbook
000767296 983__ $$aOnline