EMAIL<\/a> | SYLLABUS<\/a> | POLICIES<\/a> | QUESTIONS<\/a> | PRESENTATIONS<\/a> | JOURNALS<\/a> | PAPER<\/a> | FINAL<\/a><\/strong><\/p>\n\n\n\n Assigned: Langston Hughes. \u201cThe Negro Artist and the Racial Mountain\u201d (1192-96 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism. <\/em>2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8. )<\/p>\n\n\n\n 1. On 1192-93 of \u201cThe Negro Artist and the Racial Mountain,\u201d Langston Hughes defines what he calls \u201cthe racial mountain\u201d that black artists must climb in order to realize their full potential. What exactly is that \u201cmountain,\u201d and why is it so hard to make one\u2019s way to the top of it and look beyond<\/p>\n\n\n\n 2. On 1193-94 of \u201cThe Negro Artist and the Racial Mountain,\u201d Langston Hughes anatomizes the three classes of black America: the middle class or bourgeoisie, the upper class, and the poor or working class. Which of these classes does he criticize most heavily, and why? Which does he favor as both the best source and beneficiary of African-American art and literature, and why? What kind of art is Hughes thereby calling for?<\/p>\n\n\n\n 3. On 1194-96 of \u201cThe Negro Artist and the Racial Mountain,\u201d Langston Hughes addresses the issue of assimilationism, or the temptation for black artists to give in and pander to white aesthetic and racial expectations. In spite of this temptation, what black art forms does he think have most flourished, and which ones still need to be fully developed? With regard to jazz, how does Hughes delineate and expand on the significance of this key form of African-American art?<\/p>\n\n\n\n 4. On 1195-96 of \u201cThe Negro Artist and the Racial Mountain,\u201d Langston Hughes sums up his call for the development of black art forms. What key points does he make at this final juncture of his essay? In responding, consider what he says about the \u201cduty of the younger Negro artist\u201d (1195 bottom-1196 top) as well as his conclusion on 1196 about the extent to which the art he calls for will please either black or white audiences. In sum, what is the primary responsibility of the black artist, according to the overall argument that Hughes has been making all along?<\/p>\n\n\n\n 5. General question that might be folded into a presentation on one of the questions above. In \u201cThe Negro Artist and the Racial Mountain,\u201d Langston Hughes assesses the state of African-American art production and issues a call for the kind of creativity and subject matter that he believes would be most productive. For this class, we will most likely have already read W. E. B. Du Bois\u2019 \u201cCriteria of Negro Art\u201d (Norton 2nd ed. , 870-77), so how do the points that Hughes has made stack up in comparison to what Du Bois prescribed? What are the main similarities between the two authors, and what important differences can you find?<\/p>\n","protected":false},"excerpt":{"rendered":" LANGSTON HUGHES QUESTIONS FOR E492 MODERN CRITICAL THEORYCSU FULLERTON, FALL 2015 Assigned: Langston Hughes. \u201cThe Negro Artist and the Racial Mountain\u201d (1192-96 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism. 2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8. ) \u201cThe Negro Artist and the Racial Mountain\u201d 1. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_eb_attr":"","footnotes":""},"wf_page_folders":[47],"class_list":["post-940","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/940","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/comments?post=940"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/940\/revisions"}],"predecessor-version":[{"id":5086,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/940\/revisions\/5086"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=940"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=940"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u201cThe Negro Artist and the Racial Mountain\u201d<\/h2>\n\n\n\n