Zora Neale Hurston

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Hurston, Zora Neale,

1891?–60, African-American writer, b. Notasulga, Ala. She grew up in the pleasant all-black town of Eatonville, Fla. and, moving north, graduated from Barnard College, where she studied with Franz BoasBoas, Franz
, 1858–1942, German-American anthropologist, b. Minden, Germany; Ph.D. Univ. of Kiel, 1881. He joined an expedition to Baffin Island in 1883 and initiated his fieldwork with observations of the Central Eskimos.
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. Her placid childhood and privileged academic background are often cited as major reasons for her work's general lack of stress on racism, a characteristic so unlike such contemporaries as Richard WrightWright, Richard,
1908–60, American author. An African American born on a Mississippi plantation, Wright struggled through a difficult childhood and worked to educate himself.
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. An anthropologist and folklorist, Hurston collected African-American folktales in the rural South and sympathetically interpreted them in the collections Mules and Men (1935) and Tell My Horse (1938). A third volume of tales, Every Tongue Got to Confess, was discovered in manuscript and published in 2001. Hurston, a significant figure in the Harlem RenaissanceHarlem Renaissance,
term used to describe a flowering of African-American literature and art in the 1920s, mainly in the Harlem district of New York City. During the mass migration of African Americans from the rural agricultural South to the urban industrial North
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, was also the author of four novels including Jonah's Gourd Vine (1934) and the influential Their Eyes Were Watching God (1937). Her plays include the comedy Mule Bone (1931), written in collaboration with her friend Langston HughesHughes, Langston
(James Langston Hughes), 1902–67, American poet and central figure of the Harlem Renaissance, b. Joplin, Mo., grad. Lincoln Univ., 1929. He worked at a variety of jobs and lived in several countries, including Mexico and France, before Vachel Lindsay
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See her autobiography (1942); C. Kaplan, ed., Zora Neale Hurston: A Life in Letters (2002); biographies by R. E. Hemenway (1977) V. Boyd (2002), and V. L. Moylan (2011); studies by H. Bloom, ed. (1986), S. Glassman and K. L. Seidel (1991), J. Carter-Sigglow (1994), J. Lowe (1994), D. G. Plant (1995), L. M. Hill (1996), G. L. Cronin (1998), A. I. Karanja (1999), S. E. Meisenhelder (1999), and D. Miles (2002).

Hurston, Zora Neale

(1903–60) writer, anthropologist, folklorist; born in Eatonville, Fla. She studied at Howard University (1923–24), Barnard College (B.A. 1928), and did graduate work at Columbia University. She spent much of her life collecting folklore of the South (1927–31; 1938–39) and of other places such as Haiti (1937–38), Bermuda (1937–38), and Honduras (1946–48); she published her findings in such works as Mules and Men (1935). She lived in New York City and held a variety of jobs, such as teacher, librarian, and assistant to Fannie Hurst. She was associated with the Harlem Renaissance of the 1920s, and would later influence such writers as Ralph Ellison and Toni Morrison. She is best known for Their Eyes Were Watching God (1937), a novel celebrating the lives of African-Americans. In 1950 she moved to Florida and became increasingly conservative and alienated from her fellow African-Americans, taking a stand even against school integration. She died in poverty and was all but forgotten, but by the 1970s her works were being rediscovered and recognized for their insights.
References in periodicals archive ?
The Black Arts Movement of the 1950s, Slam poetry and social justice, New Black Aesthetic, Improvisation, Histories of Black Arts Movements, Hip hop, and political activism, Afrofuturism as a social justice project, Performance and politics, African-American aesthetics, Author as public intellectual, as well as the work of and questions raised by the creative productions of artists, including but not limited to: Erika Alexander, Alvin Ailey Dance Theater, Debbie Allen, Erykah Badu, RadcliffeBailey, James Baldwin, Harry Belafonte, Gwendolyn Brooks, Octavia Butler, Ta-Nehisi Coates, John Coltrane, Misty Copeland, Julie Dash, Miles Davis, Jimmy Greene, Zora Neal Hurston, Samuel L.
Some writers examined include Christine de Pizan, Mary Astell, Olympe de Gouges, William Thompson, Harriet Jacobs, Virginia Woolf, Zora Neal Hurston, Betty Friedan, Adrienne Rich, Andrea Dworkin, John Stuart Mills, Charlotte Perkins Gilman, Rokeya Sakhawat Hussain, and Nazira Zeineddin.
While I personally look forward to attending the Zora Neal Hurston Lecture and listening to Walker speak, her invitation to participate in a different event does not absolve the University of Michigan from any wrongdoing.
Significant historical figures, including many authors passed, through the bookstore: Malcolm X, Langston Hughes, Zora Neal Hurston, James Baldwin, Muhammad Ali, and Louis Armstrong.
Rolvaag, Richard Wright, Ernest Hemingway, and Zora Neal Hurston, among others, building on earlier insights to construct what ultimately reads like an extended conversation about the nature and limitations of our standard definition of modernism.
As sensational as all this attention may be, the combination of adversity and critical acclaim places him squarely in the cult of personality in American literature, right next to such luminaries as Langston Hughes (accused by Joseph McCarthy of being a Communist) and Zora Neal Hurston (famous for her life on the road).
An HBCU can provide an amiable setting for folks who are eager to study black literature, and create memorable work in the tradition of Richard Wright (Lincoln University), Zora Neal Hurston (Morgan State), Ralph Ellison (Tuskegee University), Toni Morrison (Howard University), Iyanla Vanzant (Medgar Evers College), James Baldwin (Lincoln University), Spike Lee (Morehouse University) and Earl Greaves (Morgan State University).
The biography of Zora Neal Hurston begins near the end of her life and then takes the reader back in time, to where her life began in rural Alabama.
Steward, Ana Julia Cooper, James Weldon Johnson, Langston Hughes and Zora Neal Hurston, stakes claims about the capacity of black people for liberty, citizenship, and self-determination.