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Race, politics and popular culture in the poetry of the Harlem renaissance Раса, политика и массовая культура в поэзии Гарлемского ренессанса

dc.contributor.advisorVukotić, Aleksandra
dc.creatorMarkovć, Milan
dc.date.accessioned2022-02-23T14:04:38Z
dc.date.available2022-02-23T14:04:38Z
dc.date.issued2021-09-14
dc.identifier.urihttp://eteze.bg.ac.rs/application/showtheses?thesesId=8513
dc.identifier.urihttps://uvidok.rcub.bg.ac.rs/bitstream/handle/123456789/4343/Referat.pdf
dc.identifier.urihttps://fedorabg.bg.ac.rs/fedora/get/o:25060/bdef:Content/download
dc.identifier.urihttp://vbs.rs/scripts/cobiss?command=DISPLAY&base=70036&RID=53011977
dc.identifier.urihttps://nardus.mpn.gov.rs/handle/123456789/18951
dc.description.abstractOva disertacija predstavlja sveobuhvatno razmatranje afroameričke poezije koja je okvirno pisana dvadesetih i tridesetih godina 20. veka, u periodu takozvane Harlemske renesanse. Osnovna građa ispituje se kroz prizmu rase, politike i popularne kulture, kao fenomena koji su u pomenutom periodu uspostavili temelje savremenog afroameričkog identiteta, ali i definisali autentično crni umetnički izraz u Sjedinjenim Američkim Državama, koji se reflektuje i u poeziji, počevši od ispitivanog perioda sve do današnjih dana. Okosnicu disertacije čine pregled i analiza poetskog korpusa četiri najznačajnija pesnika Harlemske renesanse: Kauntija Kalena, Kloda Makeja, Sterlinga Brauna i Lengstona Hjuza sa ciljem da se ispita geneza moderne afroameričke poezije, locira njeno mesto u odnosu na poetsku produkciju glavnog toka i utvrde njene autentične karakteristike. Kroz pomenuti poetski korpus i njegovo ukrštanje sa relevantnom teorijskom građom autor nastoji da pojasni preplitanja i međusobna prelivanja koja se javljaju kod fenomena rase, politike i popularne kulture, identifikuje tačke gde rasno, odnosno političko postaje popularno, a popularno političko, utvrdi koliki je aktivistički potencijal poetskog izraza i zašto je upravo poezija ta forma u kojoj su se tokom ispitivanog perioda političke ideje na najneposredniji način materijalizovale i postale dostupne najvećem broju ljudi. Tako se u radu ispituju poetski odjeci značajnih istorijskih događaja, odnosno upisi političke istorije u pesništvo, ali i situacije u kojima poezija transcendira polje umetnosti, te sama postaje izraz i sredstvo političke borbe, često kroz iskorak u domen popularne kulture.sr
dc.description.abstractThe dissertation represents a comprehensive exploration of the African-American poetry written roughly during the 1920s and 1930s, in the period of the so-called Harlem Renaissance. The primary sources are examined in the context of race, politics and popular culture, as the phenomena that in the said period established the foundations for modern Afro-American identity, as well as defined the authentic black artistic expression in the USA, reflected in poetry ever since the examined period. The body of the dissertation comprises a review and analysis of the poetic oeuvre by the four greats of the Harlem Renaissance poetry: Counteé Cullen, Claude McKay, Sterling Brown and Langston Hughes, with the purpose of exploring the genesis of the modern Afro-American poetry, locate it with respect to the mainstream poetic production and establish its authentic characteristics. By using the aforementioned poetic corpus and intersecting it with relevant works of theory, the author strives to clarify the overlapping and interweaving between the phenomena of race, politics and popular culture, identify the points where the racial, i.e. political becomes popular, and the popular in return becomes political, to determine the activist potential of poetic expression and identify the reasons which caused poetry to be the very form in which political ideas became most directly materialized and available to the masses during the examined period. Thus the dissertation explores poetic echoes of major historical events, that is, the inscriptions of political history in poetry, but also the situations in which poetry transcended the scope of art and itself became an expression and agent of political struggle, often within the domain of popular culture.en
dc.formatapplication/pdf
dc.languagesr
dc.publisherУниверзитет у Београду, Филолошки факултетsr
dc.rightsopenAccessen
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.sourceУниверзитет у Београдуsr
dc.subjectafroamerička poezijasr
dc.subjectAfrican-American Poetryen
dc.subjectHarlem Renaissanceen
dc.subjectNew Negro Renaissanceen
dc.subjectRaceen
dc.subjectPoliticsen
dc.subjectPopular Cultureen
dc.subjectCounteé Cullenen
dc.subjectClaude McKayen
dc.subjectSterling Brownen
dc.subjectLangston Hughesen
dc.subjectHarlemska renesansasr
dc.subjectNovocrnačka renesansasr
dc.subjectrasasr
dc.subjectpolitikasr
dc.subjectpopularna kulturasr
dc.subjectKaunti Kalensr
dc.subjectKlod Makejsr
dc.subjectSterling Braunsr
dc.subjectLengston Hjuzsr
dc.titleRasa, politika i popularna kultura u poeziji Harlemske renesansesr
dc.title.alternativeRace, politics and popular culture in the poetry of the Harlem renaissance Раса, политика и массовая культура в поэзии Гарлемского ренессансаen
dc.typedoctoralThesis
dc.rights.licenseBY-NC-ND
dcterms.abstractВукотић, Aлександра; Марковћ, Милан; Раса, политика и популарна култура у поезији Харлемске ренесансе; Раса, политика и популарна култура у поезији Харлемске ренесансе;
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/142223/Izvestaj_Komisije_12097.pdf
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/142222/Disertacija_12097.pdf
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_nardus_18951


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