| 1. Fuller suggests that revolutionary black writers have begun the journey toward a “black aesthetic.” How does he define a “black aesthetic”? According to Fuller, how do writers achieve a “black aesthetic”? |
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| 2. To what extent do the historical allusions in Malcolm X’s autobiography support his assertions about the education system of the United States? |
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| 3. How do you interpret Etheridge Knight’s assertion that “life and art cannot be separated”? Identify passages in the anthology selections of his poetry that illustrate this contention. |
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| 4. To what extent does Knight’s poetry deploy conventions of black vernacular orality? |
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| 5. How does Addison Gayle conceptualize Black Nationalism? |
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| 6. What implicit definition of Black Nationalism emerges in Dutchman by Amiri Baraka? |
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| 7. Through what rhetorical strategies does Ed Bullins link love and sexuality to political imperatives? |
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| 8. What rhetorical devices does Toni Cade Bambara use to expose sociopolitical hypocrisies in U.S. systems constructed or endorsed by white supremacy and capitalism? |
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| 9. What images and other rhetorical devices of James Alan McPherson’s fiction intimate that he was trained as a lawyer? |
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| 10. What allusions to his religious faith as a Black Muslim does Eldridge Cleaver deploy in his writings? |
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| 11. According to Cortez, what is the role of the artist in the black community? |
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| 12. According to Maulana Karenga, art should play a significant role in a revolution. What role does he ascribe to Black art in the 1960s and 70s? |
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| 13. What images or phrases in Nikki Giovanni’s poetry can be argued as expressing a militant disposition? |
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