Portal de Periódicos da CAPES

Harlem on Our Minds

1997; University of Chicago Press; Volume: 24; Issue: 1 Linguagem: Alemão

10.1086/448865

1539-7858

Henry Louis Gates,

African history and culture studies

Previous articleNext article No AccessHarlem on Our MindsHenry Louis Gates, Jr.Henry Louis Gates, Jr. Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 24, Number 1Autumn, 1997 Article DOIhttps://doi.org/10.1086/448865 Views: 106Total views on this site Citations: 22Citations are reported from Crossref Copyright 1997 The University of ChicagoPDF download Crossref reports the following articles citing this article:Boukary Sawadogo Presence and exhibition of African film in Harlem, Journal of African Cinemas 12, no.2-32-3 (Dec 2020): 163–175.https://doi.org/10.1386/jac_00034_1 References, (Aug 2019): 153–240.https://doi.org/10.1108/978-1-78756-999-720191001Joshua I Cohen Harlem and Abroad, Wasafiri 34, no.33 (Aug 2019): 37–48.https://doi.org/10.1080/02690055.2019.1613012Richard Douglass-Chin Madness and Translation of the Bones-as-Text in M. NourbeSe Philip’s Experimental Zong!, (Nov 2017): 51–74.https://doi.org/10.1007/978-3-319-58127-9_3Horace J. Maxile Jr. On Vernacular Emblems and Signification in David N. Baker’s The Black Experience, American Music 32, no.22 (Jul 2014): 223–251.https://doi.org/10.5406/americanmusic.32.2.0223Cécile Cottenet Introduction, (Jan 2014): 1–25.https://doi.org/10.1057/9781137390523_1Stephen Knadler Unsanitized Domestic Allegories: Biomedical Politics, Racial Uplift, and the African American Woman's Risk Narrative, American Literature 85, no.11 (Mar 2013): 93–119.https://doi.org/10.1215/00029831-1959553Sharon Zukin Harlem between Ghetto and Renaissance, (May 2012): 561–570.https://doi.org/10.1002/9781444395105.ch49 Introduction, (Jan 2011): 1–29.https://doi.org/10.1215/9780822393894-001 “A Combination Madhouse, Burlesque Show and Coney Island, (Jan 2011): 33–71.https://doi.org/10.1215/9780822393894-002 “Inanimate Hideosities”, (Jan 2011): 72–110.https://doi.org/10.1215/9780822393894-003 “The Last American Frontier”, (Jan 2011): 113–151.https://doi.org/10.1215/9780822393894-004 “Ah Gives Myself de Privilege to Go”, (Jan 2011): 152–188.https://doi.org/10.1215/9780822393894-005 “Am I Laughing?”, (Jan 2011): 191–240.https://doi.org/10.1215/9780822393894-006 Notes, (Jan 2011): 251–286.https://doi.org/10.1215/9780822393894-007 Bibliography, (Jan 2011): 287–310.https://doi.org/10.1215/9780822393894-008Daylanne K. English The Harlem Renaissance, (Dec 2010).https://doi.org/10.1002/9781444337822.wbetcfv2h004CATHERINE ROTTENBERG Affective Narratives: Harlem and the Lower East Side, Journal of American Studies 44, no.44 (Jan 2010): 777–793.https://doi.org/10.1017/S0021875809991423Maria-Sabina Draga Alexandru Love as reclamation in Toni Morrison's African American rhetoric, European Journal of American Culture 27, no.33 (Oct 2008): 191–205.https://doi.org/10.1386/ejac.27.3.191_1Michael Bieze Booker T. Washington and the Art of Resistance, (Jan 2006): 85–102.https://doi.org/10.1016/S0195-7449(06)13005-6 Michael Bieze RUSKIN IN THE BLACK BELT: BOOKER T. WASHINGTON, ARTS AND CRAFTS, AND THE NEW NEGRO, Source: Notes in the History of Art 24, no.44 (Sep 2015): 24–34.https://doi.org/10.1086/sou.24.4.23207947Toni Morrison, Maxine Hong Kingston, Cynthia Ozick Fictions for the Village, (Jan 1999): 195–218.https://doi.org/10.1007/978-1-349-27794-0_9