ज़ोरा नील हर्स्टन
हर्स्टन के अनुसार, दक्षिण के अश्वेत समुदायों की कहानियाँ, उपदेश, गीत और हूडू अपनी ही एक कला और ज्ञान हैं, जिनकी पहचान नाटकीयता और “अलंकृत करने की इच्छा” है; वक्ताओं की अपनी भाषा में दर्ज होकर वे अश्वेत जीवन को त्रासदी से कहीं अधिक दिखाते हैं।
पृष्ठभूमि
अफ़्रीकी अमेरिकी लेखिका और मानवविज्ञानी जिन्होंने फ़्रांत्स बोआज़ के साथ पढ़ा: उन्होंने अमेरिकी दक्षिण और कैरिबियन में लोककथाएँ, गीत और हूडू प्रथाएँ संकलित कीं, और “देयर आइज़ वर वाचिंग गॉड” (1937) जैसे उपन्यासों में अश्वेत जनभाषा को अपना साहित्यिक रूप दिया।
मुख्य विचार
- समुदाय की कला और ज्ञान के रूप में लोक-साहित्य
- अश्वेत अभिव्यक्ति में “सजाने की इच्छा”
- अपने ही समुदाय में क्षेत्र-कार्य
- अपनी आवाज़ की खोज में एक अश्वेत स्त्री
गुरु: फ़्रांत्स बोआज़
प्रभाव
जिनसे प्रभावित 1
फ़्रांत्स बोआज़ जिनसे पढ़ा
जिनसे पढ़ा ✓
Hurston studied anthropology with Boas at Barnard College (BA 1928) and later began graduate work with him at Columbia; Boas supported her folklore fieldwork in the South and wrote the preface to Mules and Men (1935). Z. N. Hurston, Mules and Men (1935), preface by F. Boas; Dust Tracks on a Road (1942)
साक्ष्य: AI मसौदा
फ़्रांत्स बोआज़ › 1858–1942
जिन्हें प्रभावित किया 3
एंजेला डेविस
जिन्हें प्रभावित किया
In Blues Legacies and Black Feminism (1998) Davis drew on Hurston’s Mules and Men (1935) for hoodoo and folk tales, setting Hurston beside Bessie Smith. A. Y. Davis, Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday (1998); Z. N. Hurston, Mules and Men (1935)
साक्ष्य: AI मसौदा
एंजेला डेविस › जन्म 1944
पैट्रिशिया हिल कॉलिन्स
जिन्हें प्रभावित किया
Collins used Nanny’s image of Black women as ‘de mule uh de world’ from Hurston’s Their Eyes Were Watching God (1937) as a leitmotif (Black Feminist Thought, 1990). P. H. Collins, Black Feminist Thought (1990); Z. N. Hurston, Their Eyes Were Watching God (1937)
साक्ष्य: AI मसौदा
पैट्रिशिया हिल कॉलिन्स › जन्म 1948
बेल हुक्स
जिन्हें प्रभावित किया
bell hooks read Hurston as an anthropologist and writer who preserved Black folk culture and its voice (‘Saving Black Folk Culture’, in Yearning, 1990). b. hooks, “Saving Black Folk Culture: Zora Neale Hurston as Anthropologist and Writer”, in Yearning: Race, Gender, and Cultural Politics (1990)
साक्ष्य: AI मसौदा
बेल हुक्स › 1952–2021
आलोचना
जिनके द्वारा आलोचित 1
एलेन लॉक जिनसे प्रभावित
जिनसे प्रभावित
Hurston joined Locke’s Stylus club at Howard (1921) and, on his recommendation, published in Opportunity; Locke included her ‘Spunk’ in The New Negro (1925). A. Locke (ed.), The New Negro (1925); R. E. Hemenway, Zora Neale Hurston: A Literary Biography (1977); V. S. Boyd, Wrapped in Rainbows (2003)
साक्ष्य: AI मसौदा
जिनके द्वारा आलोचित
Locke called Their Eyes Were Watching God ‘folklore fiction at its best’ but urged a turn to ‘motive fiction and social document fiction’ (Opportunity, 1938). A. Locke, “Jingo, Counter-Jingo and Us”, Opportunity 16 (January 1938); Hurston’s reply, “The Chick with One Hen” (1938), remained unpublished
साक्ष्य: AI मसौदा
एलेन लॉक › 1885–1954
कृतियाँ
- 1935म्यूल्स एंड मेन
लोककथाएँ, गीत, उपदेश और हूडू प्रथाएँ जो हर्स्टन ने 1927 से ईटनविल, पोल्क काउंटी के एक आरा-मिल शिविर और न्यू ऑरलियन्स में संकलित कीं; वे वाचकों की दक्षिणी अश्वेत अंग्रेज़ी को बोली गई जैसी प्रस्तुत करती हैं और अपने क्षेत्र-कार्य के वृत्तांत से उसे फ़्रेम करती हैं; भूमिका फ़्रांत्स बोआज़ की।
हैती में उनके क्षेत्र-कार्य के दौरान लिखा उपन्यास: जैनी क्रॉफ़र्ड फ़ीबी को तीन विवाहों और प्रेम तथा अपने जीवन की अपनी खोज के बारे में बताती है, ईटनविल से एवरग्लेड्स तक; संवाद दक्षिणी अश्वेत बोली को बनाए रखता है, और कथन उसके और मानक अंग्रेज़ी के बीच घूमता है।
मत
Hurston is on the map as an anthropologist and writer whose work joins two fields. Trained by Boas, she studied the folklore of her own community from within: “Mules and Men” (1935), with a preface by Boas, records tales, songs and hoodoo practices from Florida and Louisiana, and “Tell My Horse” (1938) describes Vodou in Haiti and Jamaica. In “Characteristics of Negro Expression” (1934) she described drama, the “will to adorn” and asymmetry as features of Black vernacular culture, and in “How It Feels to Be Colored Me” (1928) she wrote that she did not belong to “the sobbing school of Negrohood”. Her novel “Their Eyes Were Watching God” (1937) follows Janie Crawford’s search for a life of her own in a narrative voice that moves between standard English and the speech of its characters. Alain Locke published her in “The New Negro” (1925) but in 1938 asked when Black novelists would turn to “motive fiction and social document fiction”; Richard Wright accused the novel of minstrelsy. After long neglect, Alice Walker’s essay of 1975 began her rediscovery, and Black feminist thinkers such as Patricia Hill Collins, bell hooks and Angela Davis drew on her work. Her place in the African and Africana school refers to the Harlem Renaissance and to Black folklore studies; she belongs equally to the history of literature. Her political positions, among them her opposition to the school desegregation ruling of 1954, are set out under “Context & critique”.
जीवन और संदर्भ
Zora Neale Hurston was born on 7 January 1891 in Notasulga, Alabama, and grew up in Eatonville, Florida, one of the first incorporated all-Black towns in the United States. After her mother’s death in 1904 she worked in various jobs and finished high school at Morgan Academy in Baltimore in 1918. At Howard University (associate degree 1920) she joined Stylus, the literary club led by Alain Locke. In 1925 she moved to New York, took part in the Harlem Renaissance and studied anthropology with Franz Boas at Barnard College (BA 1928). Supported by the patron Charlotte Osgood Mason, she collected folklore in Florida, Alabama and Louisiana from 1927 to 1932; Guggenheim fellowships took her to Jamaica and Haiti in 1936–37. She worked for the Federal Writers’ Project in Florida and published four novels, an autobiography (1942) and many essays, but earned little in her later years. She died in Fort Pierce, Florida, on 28 January 1960 and was buried in an unmarked grave.
अन्य प्रमुख कृतियाँ
- Jonah’s Gourd Vine (1934)
- Mules and Men (1935)
- Their Eyes Were Watching God (1937)
- Tell My Horse (1938)
- Dust Tracks on a Road (1942)
- Barracoon (written 1931, publ. 2018)
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