Black Aesthetics and the Interior Life

This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.

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Literary Tradition and Black Aesthetics Revisited: Black Feminist Approaches to African American Literature in the Twenty-First Century (Karla Kovalova)

Black Feminist Literary Criticism ◽

10.3726/978-3-653-06373-8/7 ◽

2016 ◽

Keyword(s):

African American ◽

American Literature ◽

African American Literature ◽

Literary Tradition ◽

First Century ◽

Black Feminist ◽

Black Aesthetics ◽

Twenty First Century

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3. Gaceta del Caribe v. Orígenes in Cuba: Black Aesthetics as Battleground

10.36019/9781978822467-004 ◽

2021 ◽

pp. 56-100

Keyword(s):

Black Aesthetics

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Funky Bluesology

Groove Theory ◽

10.14325/mississippi/9781496830524.003.0006 ◽

2020 ◽

pp. 147-181

Author(s):

Tony Bolden

Keyword(s):

Political Philosophy ◽

African Americans ◽

Working Class ◽

Social Criticism ◽

Literary Scholarship ◽

Biographical Information ◽

Black Arts ◽

Black Aesthetics ◽

Critical Methods

This chapter examines Gil Scott-Heron as an exemplar of the socio-political manifestation of the contrarianism in funk aesthetics. Combining biographical information from Scott-Heron’s memoir and interviews, critical methods from literary scholarship, and insights from philosophy, the chapter highlights Scott-Heron’s understanding of the blues as a locus of black aesthetics and political philosophy. In doing so, the chapter illuminates Scott-Heron’s prescience, and examines many of his multiple talents, including poetry, songwriting, singing, and playing keyboards. Unlike most recording artists, however, Scott-Heron was influenced by writers, especially the Black Arts writers who generally believed that artists should create primarily for working-class African Americans. Consequently, he curtailed his budding career as a novelist and shifted his concentration to performing and recording songs and poems in the early 1970s. The chapter includes textual analyses of key recordings as well as discussions of Scott-Heron’s satire and social criticism. Additionally, Bolden highlights musical aspects of Scott-Heron’s appeal, especially the timbre of his voice but also the musicianship of the Midnight Band, which he co-led with longtime collaborator Brian Jackson.

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