Bertram D Ashe
Biographic Data
| ID | 1707607 |
|---|---|
| NAME | Bertram D Ashe |
| GIVEN NAMES | Bertram D |
| FAMILY NAME | Ashe |
| SIGNATURE | ASHE B D |
| AFFILIATIONS | University of Richmond |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 11 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1995 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
African American Literature in Transition, 1980–1990
African American Literature in Transition, 1980–1990 tracks Black expressive culture in the 1980s as novelists, poets, dramatists, filmmakers, and performers grappled with the contradictory legacies of the civil rights era, and the start of culture wars and policy machinations that would come to characterize the 1990s. The volume is necessarily interdisciplinary and critically promiscuous in its methodologies and objects of study as it reconsider…
Slavery and the Post-Black Imagination
Honorable Mention for the 2022 Modern Language Association Prize for an Edited Collection Interrogates how artists have created new ways to imagine the past of American slavery From Kara Walker’s hellscape antebellum silhouettes to Paul Beatty’s bizarre twist on slavery in The Sellout and from Colson Whitehead’s literal Underground Railroad to Jordan Peele’s body-snatching Get Out , this volume offers commentary on contemporary artistic works tha…
"These - Are - The "Breaks
Theorizing the Post-Soul Aesthetic
one. End of the Beginning of the Post-Soul time. Clearly, it's time. As I begin this introduction, in the spring of 2006, landmark anniversaries press in on me from every side: 20 years ago, Greg Tate wrote Cult-Nats Meet Freaky-Deke: the Return of the Black Aesthetic for the Village Voice in the fall of 1986. And Spike Lee's She's Gotta Have It--that totemic anthem--was released in the summer of 1986, as well. More personally, I first taught Tre…
Under the Umbrella of Black Civilization
Talking to Reginald McKnight is like scanning an imaginary worldwide radio dial. At any given moment he can transform his pleasant speaking voice into raspy, aged, Middle Eastern-by-way-of-New York accent--or deep Southern drawl. an instant he can switch from precise West African dialect to hip, urban street lingo, and then effortlessly segue back to his normal voice. McKnight says he hit the ground running as mimic, and his talent was broadened …
Why don't he Like My Hair
Bertram D. Ashe, "Why don't he Like My Hair?": Constructing African-American Standards of Beauty in Toni Morrison's Song of Solomon and Zora Neale Hurston's Their Eyes were Watching God, African American Review, Vol. 29, No. 4 (Winter, 1995), pp. 579-592
Theorizing the Post-Soul Aesthetic
one. End of the Beginning of the Post-Soul time. Clearly, it's time. As I begin this introduction, in the spring of 2006, landmark anniversaries press in on me from every side: 20 years ago, Greg Tate wrote Cult-Nats Meet Freaky-Deke: the Return of the Black Aesthetic for the Village Voice in the fall of 1986. And Spike Lee's She's Gotta Have It--that totemic anthem--was released in the summer of 1986, as well. More personally, I first taught Tre…
Why don't he Like My Hair
Bertram D. Ashe, "Why don't he Like My Hair?": Constructing African-American Standards of Beauty in Toni Morrison's Song of Solomon and Zora Neale Hurston's Their Eyes were Watching God, African American Review, Vol. 29, No. 4 (Winter, 1995), pp. 579-592
Why don't he Like My Hair
Bertram D. Ashe, "Why don't he Like My Hair?": Constructing African-American Standards of Beauty in Toni Morrison's Song of Solomon and Zora Neale Hurston's Their Eyes were Watching God, African American Review, Vol. 29, No. 4 (Winter, 1995), pp. 579-592
Under the Umbrella of Black Civilization
Talking to Reginald McKnight is like scanning an imaginary worldwide radio dial. At any given moment he can transform his pleasant speaking voice into raspy, aged, Middle Eastern-by-way-of-New York accent--or deep Southern drawl. an instant he can switch from precise West African dialect to hip, urban street lingo, and then effortlessly segue back to his normal voice. McKnight says he hit the ground running as mimic, and his talent was broadened …
"These - Are - The "Breaks
Theorizing the Post-Soul Aesthetic
one. End of the Beginning of the Post-Soul time. Clearly, it's time. As I begin this introduction, in the spring of 2006, landmark anniversaries press in on me from every side: 20 years ago, Greg Tate wrote Cult-Nats Meet Freaky-Deke: the Return of the Black Aesthetic for the Village Voice in the fall of 1986. And Spike Lee's She's Gotta Have It--that totemic anthem--was released in the summer of 1986, as well. More personally, I first taught Tre…
Slavery and the Post-Black Imagination
Honorable Mention for the 2022 Modern Language Association Prize for an Edited Collection Interrogates how artists have created new ways to imagine the past of American slavery From Kara Walker’s hellscape antebellum silhouettes to Paul Beatty’s bizarre twist on slavery in The Sellout and from Colson Whitehead’s literal Underground Railroad to Jordan Peele’s body-snatching Get Out , this volume offers commentary on contemporary artistic works tha…
African American Literature in Transition, 1980–1990
African American Literature in Transition, 1980–1990 tracks Black expressive culture in the 1980s as novelists, poets, dramatists, filmmakers, and performers grappled with the contradictory legacies of the civil rights era, and the start of culture wars and policy machinations that would come to characterize the 1990s. The volume is necessarily interdisciplinary and critically promiscuous in its methodologies and objects of study as it reconsider…
Art (6 works) · History (6 works) · Aesthetics (5 works) · History (4 works) · Literature (4 works) · Philosophy (3 works) · Philosophy (3 works) · Race, History, and American Society (3 works) · African american (2 works) · Art history (2 works)