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Alain Locke's New Negro and the New Negro: Of False Manifestos and Canon Formation

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Abstract:

Ever since the 1970s upsurge in interest and writing on the "Harlem Renaissance,"Alain Locke's 1925 anthology, the New Negro, has been regarded as the definitive account of the New Negro movement, perceived as an artistic and largely literary phenomenon. I intend to challenge this perception of the New Negro movement and also Locke's conceptualization. In the process, I intend to demonstrate that Locke's perception was profoundly flawed and indicate the manner in which Locke appropriated the term from a movement that was quintessentially political and radical, rather than artistic. Moreover, I shall demonstrate that Locke's appropriation of the concept was informed by conservative political instincts rather the the progressive ones often attributed to him. Indeed, I shall also document the manner in which the radicals, who defined themselves as New Negroes, objected to Locke's project.
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Association:
Name: 95th Annual Convention
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http://www.asalh.org


Citation:
URL: http://citation.allacademic.com/meta/p436404_index.html
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MLA Citation:

James, Winston. "Alain Locke's New Negro and the New Negro: Of False Manifestos and Canon Formation" Paper presented at the annual meeting of the 95th Annual Convention, Raleigh Convention Center, Raleigh, North Carolina, <Not Available>. 2014-11-27 <http://citation.allacademic.com/meta/p436404_index.html>

APA Citation:

James, W. "Alain Locke's New Negro and the New Negro: Of False Manifestos and Canon Formation" Paper presented at the annual meeting of the 95th Annual Convention, Raleigh Convention Center, Raleigh, North Carolina <Not Available>. 2014-11-27 from http://citation.allacademic.com/meta/p436404_index.html

Publication Type: Invited Paper
Abstract: Ever since the 1970s upsurge in interest and writing on the "Harlem Renaissance,"Alain Locke's 1925 anthology, the New Negro, has been regarded as the definitive account of the New Negro movement, perceived as an artistic and largely literary phenomenon. I intend to challenge this perception of the New Negro movement and also Locke's conceptualization. In the process, I intend to demonstrate that Locke's perception was profoundly flawed and indicate the manner in which Locke appropriated the term from a movement that was quintessentially political and radical, rather than artistic. Moreover, I shall demonstrate that Locke's appropriation of the concept was informed by conservative political instincts rather the the progressive ones often attributed to him. Indeed, I shall also document the manner in which the radicals, who defined themselves as New Negroes, objected to Locke's project.


Similar Titles:
The Use of Metaphor in Alain Locke's 'Enter the New Negro'

Alain Locke's "World Culture"

Constitutive Temporality in Alain Locke’s Philosophy of Becoming: A New Audience for 'The New Negro'


 
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