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Caroline Rae - One of the best experts on this subject based on the ideXlab platform.

  • from a Foreign Correspondent the parisian chronicles of alejo carpentier
    2018
    Co-Authors: Caroline Rae
    Abstract:

    The Cuban writer Alejo Carpentier (1904-1980) was of French-Russian parentage and resided in Paris both during his formative years and after being forced to flee Havana in 1928 due to his leftist political activities. Remaining in self-imposed exile for a period of eleven years until 1939, Carpentier became closely involved with musical as well as literary and artistic circles of the contemporary Parisian avant-garde, and survived writing music and arts criticism. Before his enforced departure from Havana, Carpentier had established himself as a leading critic for the Cuban intellectual journals Social and Carteles; his monthly columns reveal his committed advocacy of European modernism at a time when musical and artistic life in Havana was as conservative as the political regime of Cuba’s president Machado was repressive. When he arrived in Paris, Carpentier continued to write for Social and Carteles, serving as a Foreign Correspondent reporting on musical and artistic life in the French capital to feed the ever-growing Cuban appetite for cultural news from the city that had long been the cultural promised land for Latin American musicians, artists and intellectuals. Although Carpentier’s Parisian articles were intended for a Cuban readership, his criticism provides a personal assessment of contemporary trends while shedding valuable light on the activities and interactions of the Parisian avant-garde. This paper discusses Carpentier’s Parisian music criticism of the interwar years, preserved in the multi-volume collections entitled Cronicas and Ese musico que llevo dentro, to reveal not only his commitment to new music of the age, but also his engagement with current issues in France.

  • from a Foreign Correspondent alejo carpentier s parisian chronicles
    2011
    Co-Authors: Caroline Rae
    Abstract:

    The Cuban writer Alejo Carpentier (1904-1980) was of French-Russian parentage and resided in Paris both during his formative teenage years and after being forced to flee Havana in 1928 due to his leftist political activities. Remaining in self-imposed exile for a period of eleven years until 1939, Carpentier became closely involved with musical as well as literary and artistic circles of the contemporary Parisian avant-garde, and survived writing music and arts criticism. Before his enforced departure from Havana, Carpentier had established himself as a leading critic for the Cuban intellectual journals Social and Carteles; his monthly columns reveal his committed advocacy of European modernism at a time when musical and artistic life in Havana was as conservative as the political regime of Cuba’s president Machado was repressive. When he arrived in Paris, Carpentier continued to write for both Social and Carteles, serving as a Foreign Correspondent reporting on musical and artistic life in the French capital to feed the ever-growing Cuban appetite for cultural news from the city that had long been the cultural promised land for Latin American musicians, artists and intellectuals. Although Carpentier’s Parisian articles were intended for a Cuban readership already familiar with his modernist aesthetic standpoint (some articles were, however, published in France), his criticism provides a personal interpretation and assessment of contemporary trends while shedding valuable light on the broader activities and interactions of the Parisian musical milieu. This paper will investigate Carpentier’s Parisian music criticism of the interwar years preserved in the multi-volume collections entitled Cronicas and Ese musico que llevo dentro, to reveal not only his commitment to new music of the age, but also his engagement with current issues in France.

Kenneth Lasson - One of the best experts on this subject based on the ideXlab platform.

Linda J Lumsden - One of the best experts on this subject based on the ideXlab platform.

  • buying the night flight the autobiography of a woman Foreign Correspondent
    Journalism & Mass Communication Quarterly, 2001
    Co-Authors: Linda J Lumsden
    Abstract:

    Buying the Night Flight: The Autobiography of a Woman Foreign Correspondent. Georgie Anne Geyer. Chicago, IL: University of Chicago Press, 2001. 381 pp. $16 pbk. What makes this paperback edition of Buying the Night Flight truly new is neither the new preface nor epilogue that sandwich Geyer's eighteen-year-old account of her swashbuckling career. Simply reading the book after the terrorist attacks of September 11, 2001, lends her chronicle new historical weight. Geyer had chased revolutions in the jungles and Sheratons of Latin America nearly a decade when she landed in the Middle East in 1970, where she labored the next decade trying to decode the Rosetta Stone of its bloody geopolitics. She slept in Palestinian refugee camps, chatted up nervous Palestinian soldiers while they trained their submachine guns on her, and pursued Saddam Hussein and Muammar Qaddafi for exclusive interviews. "Terrorism was the symptom of breakdown," she writes of her tenacity, "and I knew I was dealing first-hand with one of the epi-themes of our era." Her observations on the new kind of war in the twentieth century's evening shade offer intriguing if truncated glimpses of journalists' changing role after the cold war. Much more satisfying is Geyer's main theme, a young woman's love affair with journalism and travel. A graduate of Northwestern University's Medill School of Journalism, Geyer's career began in 1960 at 25 at the late, great Chicago Daily News. She soon wangled herself a grant to report on Central America, crammed in Spanish, and taught herself the art of how to make sense in a hurry of a strange land. Journalism students will be charging up their laptop batteries midway through Night Flight. Geyer's galloping memoir captures the exquisite pleasure of the Foreign Correspondent, clasping like a totem the information that she-and only she-has retrieved to bring to the world. She also is blunt about its downside, like the time she lay awake for five straight nights after reporting on the kidnapping and murder of American diplomats in Khartoum, or her two-year bout with dysentery that doctors dismissed as a symptom of her single, childless lifestyle. Night Flight's other great strength is Geyer's frank analysis of challenges facing female Foreign Correspondents. While she faced plenty of sex discrimination and was beaten and nearly raped in Russia, she points out her sex's advantages: listening skills inculcated in girls; the stressed-out potentate's occasional preference for female, blonde company; the Third World revolutionary's hatred of American men and his resulting identification with their women. Geyer makes it clear she was no nun, although she never slept with sources and spares readers details of her many trysts. …

Lael Hugheswatkins - One of the best experts on this subject based on the ideXlab platform.

  • fay m jackson and the color line the first african american Foreign Correspondent for the associated negro press
    The Journal of Pan-African Studies, 2009
    Co-Authors: Lael Hugheswatkins
    Abstract:

    Introduction Fay M. Jackson was born on May 8, 1902 in Dallas, Texas and moved to Los Angeles, California in 1922. By twenty-six years old Jackson acquired the foundation needed to turn into an entrepreneur, a two-fisted reporter deeply concerned about the political welfare of her community, and a revolutionary voice in the Black press. Jackson started the first Black intellectual newsweekly on the west coast entitled Flash in 1928; became the political editor of the California Eagle in 1931, and served as the first Hollywood Correspondent for the Associated Negro Press (ANP) in the 1930s. But her work as the first Black female Foreign Correspondent for the ANP in 1937 remains her most important contribution to the Black press. Little work exists, however, on her life and achievements in this arena; hence Jackson remains a part of a forgotten legacy of Black female pioneers in the field of journalism. Black Female Journalists Scholars of African American Studies have been less than deliberate in providing in depth analysis on female journalists in the Black press, specifically from the 1890s to the 1930s. Roland E. Wolsey once stated, "female editors and writers of the nineteenth century had been ignored as journalists by almost all who had written on Black journalism before 1970" (Broussard 5). The role of Black women in journalism has remained in a state of obscurity until the last 18 to 20 years. Ida B. Wells is the most iconic female pioneer of this group. She was one of the most rebellious and prolific voices of her time but a biography chronicling her work did not appear for close to half a century after her death (5). Wells, who brought international attention to lynching and championed the rights of Blacks, women, and children, served as the progenitor of women like Fay Jackson. But only recently has there been an emergence of other biographical publications of women who worked as political and social activists with their pens. The contributions of Mary Ann Shadd Cary, the editor of Provincial Freeman from 1854-1858 have become the focus of new biographies and biographical sketches. Amy Jacques Garvey, editor for the Negro World newspaper, and Alice Dunbar--Nelson who wrote for the Pittsburgh Courier have also received attention from historians (Broussard 7). Though publications such as Raising Her Voice: African American Women Journalists Who Changed History by Rodger Streitmatter, Giving a Voice to the Voiceless by Jinx Broussard and Missing Pages: Black Journalists of Modern America: An Oral History by Wallace Terry are valuable as the introduction of women who had been invisible, they do not offer the in-depth narratives of these leaders in journalism and the Black community. Many African American women during the middle and late nineteenth century moved toward journalism because of their work in the women's club movement. Publications such as Women's Era founded by Josephine St. Pierre Ruffin in 1894 for the National Association of Colored Women worked to systematically uplift the race (Broussard 14). Black female journalists have used the press to underscore issues of education, legal and economic conditions, politics, status, social reform, African American history, and literature (14). Black women journalists of the nineteenth and early 20th century were central characters, helping to distribute this information and participate in the debates that followed. The premier historian of Black Women's Studies, Darlene Clark-Hine, has made some of the most important inroads in this area, such as the publication of the first major encyclopedia on Black Women in America and her various books from Hine Sight: Black Women and the Reconstruction of American History to Black Women in White: Racial Conflict and Cooperation in the Nursing Profession, 1890-1950. Her work emphasizes Black women who transcended positions of servitude to roles of leadership during the most oppressive periods of American history. …

Barbara Diggsbrown - One of the best experts on this subject based on the ideXlab platform.

  • philippa duke schuyler african american woman Foreign Correspondent
    Afro-Americans in New York life and history, 1994
    Co-Authors: Barbara Diggsbrown
    Abstract:

    Philippa Duke Schuyler: African American Woman Foreign CorrespondentAmong the maze of corridors that make up the Pentagon, the walls of a small alcove bear inscriptions of the names of all Americans killed in Vietnam. One inscription reads: "Philippa Duke Schuyler - May 9, 1967."(2)Journalism history has no such alcove, but if it did, it would probably fail, as do its chronicles, to include Schuyler. She was the first African American woman journalist to report on the war in Vietnam.(3) As a Foreign Correspondent for a half dozen news organizations including the Manchester Union Leader and United Press, Schuyler was an African American voice during the middle of this century. Through her journalistic skills and activism, Schuyler supported conservative political ideology and the international crusade for human rights. She is also an example of the many African Americans who felt compelled to live abroad to gain appreciation and recognition for their work.While journalism history overlooks Schuyler,(4) American history does not exclude her completely. Schuyler, an accomplished classical composer and pianist, journalist, linguist, and author, was the subject of many newspaper articles from age two until her death. Born in New York City's Harlem, Schuyler was a child of superior intellect. When she was nine, The New York City Clinic for Gifted Children rated Schuyler at sixteen mental years. New York University rated her I.Q. at 188, and Fordham University rated it at 185. Both schools rated 140 I. Q. as that of a genius.(5)The Schuyler family was more affluent than most in the Harlem community. Her father, George S. Schuyler, was editor of the Pittsburgh Courier and a syndicated columnist who wrote several books. Her mother, Josephine Cogdell Schuyler, was a painter and writer. The Schuylers knew and worked with leaders of the Harlem Renaissance period, and they hosted local and world leaders in the arts, politics, and government.(6)Philippa's fame was so great that her fifth birthday present -- a grand piano -- and her worldwide classical piano tours were reported in the news media around the world.(7) In 1940, Time heralded her as the brightest young composer in the United States.(8) She was an active composer and performer. At age four, she had composed ten pieces, surpassing Mozart's record of only one piece by that age. By age eleven, she had written 100 pieces for piano. At fourteen, she won both first and second prizes in a national competition held by the Grinnell Foundation of Detroit, and her prize-winning work was performed by the Detroit Symphony Orchestra. In 1950 she made her premier international performance in Port-au-Prince, Haiti. Schuyler rediscovered her childhood love for writing while in Haiti and began her journalism career with a five-part series for the Pittsburgh Courier.(9)She found also she had a talent for encouraging others to relate their stories to her. In 1960 Schuyler wrote in the author's preface to her autobiography: "Wherever I traveled, people confided in me. As if they were still puzzled themselves by what had happened. I listened eagerly, often shocked but fascinated. This was my college education! It all helped me form a more accurate picture of life."(10)Schuyler made two trips to Vietnam as a Correspondent. After completing the second, Schuyler delayed her scheduled departure to the United States. On May 9, 1967 she died a hero while rescuing Vietnamese orphans. She died in a helicopter which exploded in midair and crashed into Da Nang Bay. She was the second American woman Correspondent killed in action. American and international dailies announced her death on their front pages, but journalism history reference sources ignore her.(11)The story of Philippa Duke Schuyler's 36 years deserves a place in journalism history. She covered the world for the Manchester Union Leader, United Press, Spaeda Syndicate, The New York Daily Mirror, Triumph magazine, and the National Catholic Press. …