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- handle: 10670/1.25ebe4
- hal: hal-03601785
- doi: 10.4000/ces.10401
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info:eu-repo/semantics/altIdentifier/doi/10.4000/ces.10401
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transculturalism Harlem Renaissance Negro Renaissance West Indian New Negro Black AtlanticSujets proches
Renaissance, Harlem New Negro MovementCiter ce document
Kerry-Jane Wallart, « Transculturalism of the Harlem Renaissance: West Indian presences in /The New Negro/ », HAL-SHS : littérature, ID : 10.4000/ces.10401
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The recently rediscovered West Indian influences in the “Harlem Renaissance” movement are taken here as a methodological tool with which to reconfigure issues of Black Atlantic transnationalism. This paper analyses The New Negro anthology edited by Alain Locke in 1925 in the light of USA exceptionalism, of political influences on canon-rebuilding, and of transcultural negotiations. It re-casts the long-standing postcolonial dialectics between self and other against the background of a movement promoting cultural cohesion but torn by dissonance. The argumentation challenges the national ambition and reception of a literary project whose constitution actually called into question national boundaries. This canon-revising view of the Harlem Renaissance is traced in a range of voices heard at that time, and later (as for instance in Caryl Phillips’s Dancing in the Dark, which revisits both the Barbadian figure of Bert Williams and his representation by Fauset in The New Negro).