American Life in the Great Gatsby and the Harlem Renaissance The Great Gatsby and the Harlem Renaissance (the world of Jay Gatsby, Nick Carraway, Daisy and the other inhabitants of Long Island, New York are the other side of the coin compared to the residents of Harlem, New York. F. Scott Fitzgerald's the Great Gatsby was written as not only a tribute to the Roaring Twenties, but also as a

Secondly, even the beginning of the film presents an African motif. The drums that open the scene are representative for the ancient tribal singing and dancing. The same drums are present in Cullen's poetry, revealing a deep African symbol. Moreover, the drums also make the passage from the contemporary life in which the film is first set, to the imaginary and ancient time of slavery. The characters are as well particularly

This is why people that had financial resources to move away from the agitated center often chose Harlem. At the same time however, On the periphery of these upper class enclaves, however, impoverished Italian immigrants huddled in vile tenements located from 110th to 125th Streets, east of Third Avenue to the Harlem River. To the north of Harlem's Italian community and to the west of Eighth Avenue, Irish toughs roamed

Their main arguments are based on historical assumptions and on facts which have represented turning points for the evolution of the African-American society throughout the decades, and especially during the Revolutionary War and the Civil War. In this regard, the Old Negro, and the one considered to be the traditional presence in the Harlem, is the result of history, and not of recent or contemporary events. From the point-of-view of

Some artists, such as Aaron Douglas, captured the feeling of Africa in their work because they wanted to show their ancestry through art. Others, like Archibald J. Motley Jr., obtained their inspiration from the surroundings in which they lived in; where jazz was at the forefront and African-Americans were just trying to get by day-to-day like any other Anglo-American. Additionally, some Black American artists felt more comfortable in Europe

Black Way, Kinloch, and the Spirit of the Los Angeles Renaissance In Chapter One of the The Great Black Way: L.A. in the 1940s and the Lost African-American Renaissance, R. J. Smith describes John Kinloch, the up-and-coming young African-American editor of the California Eagle. A charming personality with erudite expression and a radio gig to boot, Kinloch made a particular impression on Los Angeles in the 1940s. He had the