Bøger af James Weldon Johnson

A detailed analysis of the various African tribes, their cultures, religions, and traditions, and their impact on the continent as a whole. James Weldon Johnson brings his unique perspective and voice to this comprehensive study, providing an insightful look into the diverse populations that make up Africa.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

The Autobiography of an Ex-Colored Man (1912/1927) by James Weldon Johnson is the fictional account of a young biracial man, referred to only as the "Ex-Colored Man," living in post-Reconstruction era America in the late nineteenth and early twentieth centuries. He lives through a variety of experiences, including witnessing a lynching, that convince him to "pass" as white to secure his safety and advancement, but he feels as if he has given up his dream of "glorifying" the black race by composing ragtime music.

Self-Determining Haiti,Four articles reprinted from The Nation embodying a report of an investigation made for the National Association for the Advancement of Colored People., a classical book, has been considered essential throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

The Autobiography of an Ex-Colored Man was written by James Weldon Johnson who was an important 20th century author, journalist and poet. As one of the early American civil rights leaders he became a major figure in the Harlem Renaissance. This classic publication is James Weldon Johnson's autobiography, and is an excellent resource for those learning about the earliest days of the civil rights movement and a classic tale of how an individual can overcome and achieve what they set their mind to.

This is a new release of the original 1925 edition.

Fifty years & Other Poems By James Weldon Johnson

TO know the reasons for the present political situation in Haiti, to understand why the United States landed and has for five years maintained military forces in that country, why some three thousand Haitian men, women, and children have been shot down by American rifles and machine guns, it is necessary, among other things, to know that the National City Bank of New York is very much interested in Haiti.

This vivid and startlingly new picture of conditions brought about by the race question in the United States makes no special plea for the Negro, but shows in a dispassionate, though sympathetic, manner conditions as they actually exist between the whites and blacks to-day. Special pleas have already been made for and against the Negro in hundreds of books, but in these books either his virtues or his vices have been exaggerated. This is because writers, in nearly every instance, have treated the colored American as a whole; each has taken some one group of the race to prove his case. Not before has a composite and proportionate presentation of the entire race, embracing all of its various groups and elements, showing their relations with each other and to the whites, been made. It is very likely that the Negroes of the United States have a fairly correct idea of what the white people of the country think of them, for that opinion has for a long time been and is still being constantly stated; but they are themselves more or less a sphinx to the whites. It is curiously interesting and even vitally important to know what are the thoughts of ten millions of them concerning the people among whom they live. In these pages it is as though a veil had been drawn aside: the reader is given a view of the inner life of the Negro in America, is initiated into the "freemasonry," as it were, of the race.

James Weldon Johnson (June 17, 1871 - June 26, 1938) was an American author, educator, lawyer, diplomat, songwriter, and civil rights activist. Johnson is best remembered for his leadership of the National Association for the Advancement of Colored People (NAACP), where he started working in 1917. In 1920 he was the first African American to be chosen as executive secretary of the organization, effectively the operating officer. He served in that position from 1920 to 1930. Johnson established his reputation as a writer, and was known during the Harlem Renaissance for his poems, novels, and anthologies collecting both poems and spirituals of black culture. He was appointed under President Theodore Roosevelt as US consul in Venezuela and Nicaragua for most of the period from 1906 to 1913. In 1934 he was the first African-American professor to be hired at New York University. Later in life he was a professor of creative literature and writing at Fisk University.ohnson was born in 1871 in Jacksonville, Florida, the son of Helen Louise Dillet, a native of Nassau, Bahamas, and James Johnson. His maternal great-grandmother, Hester Argo, had escaped from Saint-Domingue during the revolutionary upheaval in 1802, along with her three young children, including James's grandfather Stephen Dillet (1797-1880). Although originally headed to Cuba, their boat was intercepted by privateers and they were taken to Nassau, Bahamas, where they permanently settled. In 1833 Stephen Dillet became the first man of color to win election to the Bahamian legislature (ref. James Weldon Johnson, Along this Way, his autobiography)

"O brothers mine, to-day we stand / Where half a century sweeps our ken, / Since God, through Lincoln's ready hand, / Struck off our bonds and made us men." In Fifty Years and Other Poems, his second collection of poetry, poet and civil rights activist James Weldon Johnson reflects on emancipation while remaining hopeful for a brighter future to come.

The protagonist of this fictional autobiography wrestles with race in America from the perspective of someone who learns that he is considered black but also that he can pass as white if he wants to. His personal ambitiousness and racial ambivalence makes him a sort of American Hamlet: undone by indecision. Will he be ¿a credit to his race¿ by advancing an African-American heritage he loves and appreciates in the face of a hostile culture, or will he retreat into the mediocrity of a safe, white, middle-class family life?Along the way, he shares his penetrating observations about race relations in the American north and south, about the ¿freemasonry¿ of subterranean black American culture, about the emerging bohemian jazz subculture in New York City, and about traditions of African American religious music and oratory.

In one of his most acclaimed works, James Weldon Johnson (1871-1938) transforms seven inspiring spiritual sermons of African American preachers into poetry. Johnson equates the Black oral tradition and its characteristic cadence with the sweeping tonal ranges of the trombone, which most closely resembles the human voice. Each poem includes punctuation and line breaks that represent the preacher's tempo and voice. This eloquent collection includes "Listen, Lord--A Prayer"; "The Creation"; "The Prodigal Son"; "Go Down Death--A Funeral Sermon"; "Noah Built the Ark"; "The Crucifixion"; "Let My People Go"; and "The Judgment Day." People of all faiths will enjoy Johnson's poetic reimagining of classic African American sermons. A key figure in the Harlem Renaissance, Johnson was a revered African American civil rights leader, diplomat, lawyer, novelist, poet, and songwriter. He coauthored the hymn "Lift Every Voice and Sing," known as the Black national anthem.

An award-winning retelling of the Biblical creation story from a star of the Harlem Renaissance and an acclaimed illustrator.

African-American scholars have cited James Weldon Johnson's 1927 book of poems, "God's Trombones: Seven Negro Sermons in Verse" as one of the author's most notable works. Johnson, who is best known for his 1912 work, "The Autobiography of an Ex-Colored Man", was an American writer and civil rights activist born in Jacksonville, Florida in 1871. As a leader of the National Association for the Advancement of Colored People, Johnson helped to bring awareness to the problem of black lynching in America during the first part of the 20th century as well as other civil rights issues that people of color faced in America. A collection of eight poems, "God's Trombones" draws upon the tradition in the black church of drawing upon black folklore to preach the word of god. The title of the work has been described by Johnson as a metaphor for the powerfully persuasive nature of the vocal and rhetorical qualities of the sermons of a folk preacher. Immediately upon its publication "God's Trombones" would go on to achieve great critical acclaim in the black community further helping to establish Johnson as one of the principal figures of the Harlem Renaissance. This edition is printed on premium acid-free paper.

God's Trombones: Seven Negro Sermons in Verse is a 1927 book of poems by James Weldon Johnson patterned after traditional African-American religious oratory. African-American scholars Henry Louis Gates and Cornel West have identified the collection as one of Johnson's two most notable works, the other being Autobiography of an Ex-Colored Man. Johnson observed an absence of attention in folklore studies to what he called a "folk sermon," then went on to describe its nature and specific examples from his memory:I remember hearing in my boyhood sermons that were current, sermons that passed with only slight modifications from preacher to preacher and from locality to locality. Such sermons were: "The Valley of Dry Bones," which was based on the vision of the prophet in the 37th chapter of Ezekiel; the "Train Sermon," in which both God and the devil were pictured as running trains, one loaded with saints, that pulled up in heaven, and the other with sinners, that dumped its load in hell; the "Heavenly March," which gave in detail the journey of the faithful from earth, on up through the pearly gates to the great white throne. Then there was a stereotyped sermon which had no definite subject, and which was quite generally preached; it began with the Creation, went on to the fall of man, rambled through the trials and tribulations of the Hebrew Children, came down to the redemption by Christ, and ended with the Judgment Day and a warning and an exhortation to sinners.Johnson explains the title's use of the trombone by discussing the vocal and rhetorical qualities of a preacher he had recently heard who, he felt, exemplified the compelling and persuasive nature of the folk preacher, naming the trombone as "the instrument possessing above all others the power to express the wide and varied range of emotions encompassed by the human voice - and with greater amplitude." He also cited a dictionary definition that noted the trombone as being the brass instrument most resembling the range and sound of the human voice.The seven poems were composed primarily in 1926, with "Go Down[,] Death" being composed in the space of a single afternoon on Thanksgiving Day, 1926, and the remaining five poems during a two-week retreat; "The Creation," the first poem of the set, had been composed about 1919.The work went on to find acclaim in many circles, proving "enormously popular among both the black cognoscenti as well of the masses of black Americans" and being used widely in oratorical contests; poet Owen Dodson wrote Johnson in 1932 to tell him that Dodson and his brother had taken first and second place in a poetry-recitation competition with works from that volume.Gates and West particularly note that the work "attempts a mimetic capturing of the black church sermon... without making recourse to the misspellings and orthographic tricks often employed in representing black vernacular speech." Dorothy Canfield Fisher, in a personal letter to the poet to thank him and offer to help promote the collection, praised the work as "heart-shakingly beautiful and original, with the peculiar piercing tenderness and intimacy which seems to me special gifts of the Negro. ...it is a profound satisfaction to find those special qualities so exquisitely expressed."The poem "The Creation" was used in the 1951 film Five, serving as the soliloquy for the character Charles, played by African-American actor Charles Lampkin. Lampkin convinced film-maker Arch Oboler to include excerpts of the poem in the final script of Five where it would become Lampkin's soliloquy for his character Charles. This may be the first time that audiences in the USA, Latin America, and Europe were exposed to African-American poetry, albeit not identified as such in the film. (wikipedia.org)