Archive - History of Black Writing Blog
The Banner image for the HBW Blog, which was published from 2011-2021.
Black Literary History Making
The HBW Blog published regularly for ten years from 2011-2021 at the URL https://projecthbw.ku.edu. During that time, it served as a major forum for the exchange of information and ideas, as well as a robust network for scholars, teachers, and students from different disciplines around the world.
Guest contributors include leading scholars and writers, but most of the posts were conceived of, researched, and written by HBW's staff of undergraduate and graduate students. Its content consists of feature editorials, book reviews, memorials, and coverage of HBW programming. Altogether, 95 writers contributed more than 750 posts.
The HBW Blog Archive is searchable by topic, month and year, and contributor name.
| Blog Post/Link | Date |
|---|---|
| Novels Written in African American Vernacular English The language choices black novelists make constitute a liberation from Eurocentric concepts of literature as they manipulates the narrative mode and Standard English dialect and rely more on African AmericanVernacular English (AAVE)... | |
| Memorable Character Names in 100 Novels Project Today, I chose to highlight five character names in five novels out of the “100 Novels Collection.”.. | |
| Toni Morrison and Memorable Character Names In recent weeks, numerous blog sites, newspapers, and other online forums have been buzzing talking about Jay-Z and Beyonce’s daughter, Blue Ivy. These sites have commented on the name and its significance to the superstar couple, with many saying since their favorite number is “4” the name “Ivy” is a play off of the roman numeral... | |
| 30 Days of 100 Novels For the next 30 days, I will elaborate on the HBW’s “100 Novels Project” by presenting brief entries that focus on notable factors and trends from our project. .. | |
| The Black Arts Enterprise—Professor Howard Rambsy Besides sharing parents and a last name with Howard Rambsy II, I had the opportunity to share the stage and serve on a panel of respondents with him at Make It Funky III. This experience gave me the opportunity to view Howard as more than an older sibling, but to also gain a deeper sense of the work he is doing. More importantly, I have come to understand how it extends our conceptions of African American literature and performative culture. .. | |
| Make It Funky III—Professor Adam Bradley I tend to take for granted that I am not an expert on rap music in its entirety. I play the music daily, attend concerts regularly, and read nearly every hip-hop blogs, but, often times, I neglect to fully comprehend that what I understand hip-hop to be in its current state is actually the product of years-and-years of artistic and cultural movements... | |
| The KU Organizer—Professor Tony Bolden Professor of African and African American Studies TonyBolden is certainly a social artifact at the University of Kansas. By social artifact, I mean a witness to numerous social and artistic developments in black culture, a poet, a critic of black writing, as well as a mentor to undergrad and graduate students. .. | |
| A 2011 Recap of Public Events The year 2011 served as evidence that Black Studies is alive and well at the University of Kansas. There were a host of events on campus that emphasized the significance of integrating the study of black artistic culture with more traditional scholarship in the academy. .. | |
| Ballers of the New School—Professor Thabiti Lewis Rock Chalk, Jayhawk! At the University of Kansas, athletic culture certainly influences the student body a great deal. Considering the very successful basketball team and other sports programs, students at KU have the unique opportunity to be firsthand spectators and critics of the Big 12 Conference and other Division I programs. In other words, the students can personally analyze the politics of sports culture and bear witness to the opportunities and challenges or the current system. .. | |
| Aesthetic/Aesthetics/The (…..) Aesthetic: A Note for Emerging Scholars and Critics 1798, from Ger. Ästhetisch or Fr. esthétique, both from Gk. aisthetikos “sensitive, perceptive,” from aisthanesthai “to perceive (by the senses or by the mind), to feel,” from PIE *awis-dh-yo-, from base *au- “to perceive” (see audience). Popularized in English by translation of Immanuel Kant, and used originally in the classically correct sense “the science which treats of the conditions of sensuous perception.” Kant had tried to correct the term after Alexander Baumgarten had taken it in German to mean “criticism of taste” (1750s), but Baumgarten’s sense attained popularity in English c.1830s (despite scholarly resistance) and removed the word from any philosophical base. Walter Pater used it (1868) to describe the late 19c. movement that advocated “art for art’s sake,” which further blurred the sense. Related: Aesthetically. 1798, from Ger. Ästhetisch or Fr. esthétique, both from Gk. aisthetikos “sensitive, perceptive,” from aisthanesthai “to perceive (by the senses or by the mind), to feel,” from PIE *awis-dh-yo-, from base *au- “to perceive” (see audience). Popularized in English by translation of Immanuel Kant, and used originally in the classically correct sense “the science which treats of the conditions of sensuous perception.” Kant had tried to correct the term after Alexander Baumgarten had taken it in German to mean “criticism of taste” (1750s), but Baumgarten’s sense attained popularity in English c.1830s (despite scholarly resistance) and removed the word from any philosophical base. Walter Pater used it (1868) to describe the late 19c. movement that advocated “art for art’s sake,” which further blurred the sense. Related: Aesthetically. .. |