assignment/Du-Bois-The-Souls-of-Black-Folks..pdf Du Bois, W. E. Burghardt. The Souls of Black Folk Electronic Text Center, University of Virginia Library Chapter 1 I. Of Our Spiritual Strivings -1- O...

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assignment/Du-Bois-The-Souls-of-Black-Folks..pdf Du Bois, W. E. Burghardt. The Souls of Black Folk Electronic Text Center, University of Virginia Library Chapter 1 I. Of Our Spiritual Strivings -1- O water, voice of my heart, crying in the sand, All night long crying with a mournful cry, As I lie and listen, and cannot understand The voice of my heart in my side or the voice of the sea, O water, crying for rest, is it I, is it I? All night long the water is crying to me. Unresting water, there shall never be rest Till the last moon droop and the last tide fail, And the fire of the end begin to burn in the west; And the heart shall be weary and wonder and cry like the sea, All life long crying without avail, As the water all night long is crying to me. ARTHUR SYMONS. [musial notation from "Nobody Knows the Trouble I've Seen"] Between me and the other world there is ever an unasked question: unasked by some through feelings of delicacy; by others through the difficulty of rightly framing it. All, nevertheless, flutter round it. They approach me in a half-hesitant sort of way, eye me curiously or compassionately, and then, instead of saying directly, How does it feel to be a problem? they say, I know an excellent colored man in my town; or, I fought at Mechanicsville; or, Do not these Southern outrages make your blood boil? At these I smile, or am interested, or reduce the boiling to a simmer, as the occasion may require. To the real question, How does it feel to be a problem? I answer seldom a word. And yet, being a problem is a strange experience, -- peculiar even for one who has never been anything else, save perhaps in babyhood and in Europe. It is in the early days of rollicking boyhood that the revelation first bursts upon one, all in a day, as it were. I remember well when the shadow swept across me. I was a little thing, away up in the hills of New England, where the dark Housatonic winds between Hoosac and Taghkanic to the sea. In a wee wooden schoolhouse, something put it into the boys' and girls' heads to buy gorgeous visiting-cards -- ten cents a package -- and exchange. The exchange was merry, till one girl, a tall newcomer, refused my card, -- refused it peremptorily, with a glance. Then it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but shut out from their world by a vast veil. I had thereafter no desire to tear down that veil, to creep through; I held all beyond it in common contempt, and lived above it in a region of blue sky and great wandering shadows. That sky was bluest when I could beat my mates at examination- time, or beat them at a foot-race, or even beat their stringy heads. Alas, with the years all this fine contempt began to fade; for the words I longed for, and all their dazzling opportunities, were theirs, not mine. But they should not keep these prizes, I said; some, all, I would wrest from them. Just how I would do it I could never decide: by reading law, by healing the sick, by telling the wonderful tales that swam in my head, -- some way. With other black boys the strife was not so fiercely sunny: their youth shrunk into tasteless sycophancy, or into silent hatred of the pale world about them and mocking distrust of everything white; or wasted itself in a bitter cry, Why did God make me an outcast and a stranger in mine own house? The shades of the prison-house closed round about us all: walls strait and stubborn to the whitest, but relentlessly narrow, tall, and unscalable to sons of night who must plod darkly on in resignation, or beat unavailing palms against the stone, or steadily, half hopelessly, watch the streak of blue above. After the Egyptian and Indian, the Greek and Roman, the �Teuton and Mongolian, the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world, -- a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one's self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt and pity. One ever feels his twoness, -- an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. The history of the American Negro is the history of this strife, -- this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face. This, then, is the end of his striving: to be a co-worker in the kingdom of culture, to escape both death and isolation, to husband and use his best powers and his latent genius. These powers of body and mind have in the past been strangely wasted, dispersed, or forgotten. The shadow of a mighty Negro past flits through the tale of Ethiopia the Shadowy and of Egypt the Sphinx. Through history, the powers of single black men flash here and there like falling stars, and die sometimes before the world has rightly gauged their brightness. Here in America, in the few days since Emancipation, the black man's turning hither and thither in hesitant and doubtful striving has often made his very strength to lose effectiveness, to seem like absence of power, like weakness. And yet it is not weakness, -- it is the contradiction of double aims. The double-aimed struggle of the black artisan -- on the one hand to escape white contempt for a nation of mere hewers of wood and drawers of water, and on the other hand �to plough and nail and dig for a poverty-stricken horde -- could only result in making him a poor craftsman, for he had but half a heart in either cause. By the poverty and ignorance of his people, the Negro minister or doctor was tempted toward quackery and demagogy; and by the criticism of the other world, toward ideals that made him ashamed of his lowly tasks. The would-be black savant was confronted by the paradox that the knowledge his people needed was a twice-told tale to his white neighbors, while the knowledge which would teach the white world was Greek to his own flesh and blood. The innate love of harmony and beauty that set the ruder souls of his people a-dancing and a-singing raised but confusion and doubt in the soul of the black artist; for the beauty revealed to him was the soul-beauty of a race which his larger audience despised, and he could not articulate the message of another people. This waste of double aims, this seeking to satisfy two unreconciled ideals, has wrought sad havoc with the courage and faith and deeds of ten thousand thousand people, -- has sent them often wooing false gods and invoking false means of salvation, and at times has even seemed about to make them ashamed of themselves. Away back in the days of bondage they thought to see in one divine event the end of all doubt and disappointment; few men ever worshipped Freedom with half such unquestioning faith as did the American Negro for two centuries. To him, so far as he thought and dreamed, slavery was indeed the sum of all villainies, the cause of all sorrow, the root of all prejudice; Emancipation was the key to a promised land of sweeter beauty than ever stretched before the eyes of wearied Israelites. In song and exhortation swelled one refrain -- Liberty; in his tears and curses the God he implored had Freedom in his right hand. At last it came, -- suddenly, fearfully, like a dream. With one wild carnival of blood and passion came the message in his own plaintive cadences: -- "Shout, O children! Shout, you're free! For God has bought your liberty!" Years have passed away since then, -- ten, twenty, forty; � -5- forty years of national life, forty years of renewal and development, and yet the swarthy spectre sits in its accustomed seat at the Nation's feast. In vain do we cry to this our vastest social problem: -- "Take any shape but that, and my firm nerves Shall never tremble!" The Nation has not yet found peace from its sins; the freedman has not yet found in freedom his promised land. Whatever of good may have come in these years of change, the shadow of a deep disappointment rests upon the Negro people, -- a disappointment all the more bitter because the unattained ideal was unbounded save by the simple ignorance of a lowly people. The first decade was merely a prolongation of the vain search for freedom, the boon that
Answered 1 days AfterOct 13, 2021

Answer To: assignment/Du-Bois-The-Souls-of-Black-Folks..pdf Du Bois, W. E. Burghardt. The Souls of Black Folk...

P answered on Oct 15 2021
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1.What if Kenrick Grandison studied the U. C. Berkeley campus? How do UC
Berkeley’s layout or facilities compare to the HBCUs that Kenrick Grandison writes
about in "Negotiated Space: The Black College Campus as a Cultural Record of
Postbellum America"? What questions might he ask about buildings, paths and
roads, architectural planning processes, or local racial dynamics here? (if you want
some additional inspiration to help
you brainstorm for this prompt, look at Ted
Gordon’s Black History Tour at UT Austin: https://racialgeographytour.org/ (Links to
an external site.)
If Kenrick Grandison was studied in the U.C. Berkeley campus he might have not get good experience about the architecture. Because as he is working predominately on Black colleges where there is a negotiated space to implement his interdisciplinary approach and in addition he claims that the landscape of the college represents the history. Based on this, he explains the struggles faced by the African Americans for their education of adult students [1]. The spatial relationships and the racism can be clearly understood by the architecture. In addition from the architecture (layout and space) of historically black college and university (HBCU) represents the inferior emotions and feelings among blacks in comparison with white people and white institutions [1] . Based on the infiltration theory most of the lands were sold to whites and physically undesirable lands for black people. Grandison also explained the backway designs of black colleges by comparison students with the students of prominent institutions. The first difference between both black and white institutions is the marginal land where the institute is located. It was also reported that valuable lands for the with rich resources vice versa for the black people. the lands for blacks are unplanned, un plotted, and unsanctioned and problem with road and transports. Some of the environmental challenges faced by the black universities are rains causing landslips and winds damaging hill tops. Besides these drawbacks the black students felt that these lands are better in comparison to huts. So Grandison educated the students to face the challenges by providing the technical skills by creating a community to utilise the space. Because of racism the blacks are restricted to only HBCU rather than white colleges. Hence, HBCUs can be opened for visitors to study the history, position and architectural design which shows a clear segregation between the African Americans and the Whites. From this it can be understood that the knowledge gained from the past can be used for the current development and empower the people and prevents future psychological impacts [2]. He might ask about the soil and place, confirms that there is a clear racial discrimination.
Reference:
1. Grandison, K. I. (1999). Negotiated space: The Black college campus as a cultural record of postbellum America. American Quarterly, 51(3), 529-579.
2. Grandison, K. I. (1996). From Plantation to Campus: Progress, Community, and the Lay of the Land in Shaping the Early Tuskegee Campus. Landscape Journal, 15(1), 6-22.
2. What if Samy Alim studied the Behind the Veil oral history project transcripts? What is one
language-related research question he might ask? And what type (or types) of evidence
might he use to try to answer it?
Behind the veil oral history: https://repository.duke.edu/dc/behindtheveil
some point to consider: What made you select it?
• What is something you learned from it?
• What was one question that elicited an interesting response?
• What is one question (or follow-up question) you WISH the interviewer had asked?
• What was the interaction between the interviewer and interviewee like? (casual or formal?
fluid or halting? focused or interrupted?)
The veil oral history main objective is to study the life of African American from 1890s to 1950s.various researchers have conducted oral interviews from the elderly African Americans about the legal segregation [1]. These various tapes and transcripts with the recorded interviews help to study the various personal stories and culture that bring to life of earlier African Americans. Samy Alim is a professor of anthropology, focuses on the racism, language education, black language, Hip Hop culture and...
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