黑人美学

Oak and Ivy: A Biography of Paul Laurence Dunbar (1971), Claude McKay: The Black Poet at War (1972), andRichard Wright: Ordeal of a Native Son (1980). Gayle's autobiography, Wayward Child: A Personal Odyssey (1977),
Addison Gayle, Jr
A frequent contributor to Hoyt Fuller's journal Black World, Gayle edited Black Expression:
Essays By and About Black Americans in the Creative Arts (1969), an anthology of critical
writings on African American folk culture, poetry, drama, and fiction. His subsequent publication, The Black Situation (1970), contains a collection of personal essays that chronicle his intellectual development and emerging political militancy in the wake of the civil rights movement and the Black Power struggle.
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The Black Aesthetic
Delilah Luc.
The Black Aesthetic Anger; Black Nationalism
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In his introduction to The Black Aesthetic, Gayle took a bolder and more radical stand than in Black Expression, arguing that anger was the ongoing currency of black art and, controversially, that "the serious black artist of today is at war with the American society." In his essays "Cultural Strangulation: Black Literature and the White Aesthetic" and "The Function of Black Literature," both included in The Black Aesthetic, Gayle criticized the domination of literary criticism by white academics and commentators and asserted the irrelevance of white aesthetics to any discussion of black literature. This separatist doctrine garnered attention and met with some skepticism, but Gayle received recognition for the vitality of his intellectual approach to both black writing and black literary criticism.
PART Ⅰ Anger
Frances Ellen Watkins: abolitionist, poet I ask no monument, proud and high To arrest the gaze of the passer-by, All that my yearning spirit craves Is bury me not in a land of slaves. Claude Mckay: if we must die, let it not be like hogs. ... if we musr die,O let us nobly die.
The Black Aesthetic
This work collects and comments on a broad range of African American literature and criticism to espouse the view that the standards set by white society and its critics do not apply to black writers and artists. What matters, Gayle argues, is how a work of art transforms the lives of African Americans, not how the African American artist can be assimilated into the white mainstream. Gayle's book is frequently cited as a controversial and landmark study in the history of African American criticism.
Addison Gayle, Jr. (1932–1991), literary critic, educator, lecturer, essayist, and biographer. One of the chief advocates of the Black Aesthetic, Addison Gayle, Jr., was born in Newport News, Virginia, on 2 June 1932. Inspired by the growing example of Richard Wright, young Gayle became a fastidious reader and hoped that a writing career would enable him to over come the strictures of poverty and racism. By the time he graduated from high school in 1950, Gayle had completed a three-hundred-page novel.
PART Ⅰ Anger
If I had-a my way, Samson Agonistes I`d tear this building down Great God,then, if I had-a my way If I had-a my way, little children If I had-a my way, I`d tear this building down...
PART Ⅰ Anger
Du Bois: I hate them, oh! I hate them well, I hate them, Christ! As I hate the hell! If I were God, I`d sound their knell This day.
PART Ⅱ Black Nationalism
1900, Pauline Hopkins relized that art was "of great value to any people as a preserver of manners and customs-religious, political, and social. No one will do this for us; we must ourselves develop the men and women who will faithfully portray the inmost thoughts and feelings of the Negro with all the fire and romance which lie dormant in our history.... " Pauline Elizabeth Hopkins (1859 – 13, 1930) was a prominent African-American novelist, journalist, playwright, historian, and editor. She is considered a pioneer in her use of the romantic novel to explore social and racial themes. Her work reflects the influence of W. E. B. Du Bois.
Addison Gayle, Jr
Gayle's best-known work, The Black Aesthetic (1971), is a compilation of essays written by prominent African American writers and leading Black Aesthetic theorists. In both the introduction and an essay entitled ““Cultural Strangulation: Black Literature and the White Aesthetic”,” Gayle championed cultural nationalism and argued that the central aim of the African American artist was to address and improve social and political conditions.