Brendan Connolly
Dr. Edwards
Language and The Human 2
27 January 2023
Title (Prompt 2)
The use of language plays an integral role in Zora Neale Hurston’s foundational work, Mules and Men. Throughout her careful curation of ordinary conversation and imaginative tales, elements of Bucholtz and Hall’s concepts of authorization and illegitimation are present in each level of storytelling. In presenting her own speech, the interactions of her subjects, and the dialogue within the folktales, the language choices initially seem to serve disparate purposes and to represent a potential instability. For example, Hurston’s accurate transcription of the speech of her subjects results in the authorization of their dialect. Conversely, the dialogue among characters within the folktales
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In the introduction, Hurston starts by using a more formal style, stating “I knew that I was going to have some hindrance among strangers” (3). She then switches to a more informal tone when speaking to the townspeople. In Chapter One when explaining why she came to the town, she says “ah come to collect some old stories and tales and ah know y’all know a plenty of ’em…” (8). This switch in style was done to gain the trust of the townspeople. In the introduction, Hurston describes how “Folklore is not as easy to collect as it sounds. The best source is where there are the least outside influences” (2). By changing the way she speaks to more closely align with the townspeople, Hurston was able to eliminate the perception of her as an “outside influence” and gain the trust of the local people. With this trust, Hurston was able to capture a more accurate and comprehensive view of the lives of these people, which she then transcribed into Mules and Men. By creating literature that accurately describes the lives of the townspeople, Hurston legitimizes their
Dese strange men runnin’ heah tryin’ tuh take advantage of yo’ condition.” (Hurston,
Hurston tells the story of Janie, a black woman who because of her grandmother experiences and beliefs was forced to marry into a loveless marriage with Logan Killicks, a hard-working farmer who had 60 acres of land and could provide for Janie. This marriage ended when Janie ran away with Joe Stark, a man that she fell in love with and thought could give her the love absent between her and Logan. But Janie soon realized that her second marriage wouldn’t turn out better than her first. Joe was just as controlling and degrading as Logan. He hardly expressed his love for Janie and spoke to her like an incompetent child.
In reading Joyce Carol Oates, “Hi Howya Doin”, 2007 and Zora Neale Hurston’s, “Spunk”, 1925, we have noticed similarities and differences between the two stories, which we have analyzed for further discussion. Both stories consist of life that is filled with uncertainty; good and evil are ill defined. In the story, “Hi Howya Doin”, by Joyce Carol Oates, she describes a husky male running along a path filled with a variety of different individuals from all walks of life who want only to be left alone, want no social interaction or discourse and prefer to contemplate in solitude with their miserable existence. In “Spunk”, the author paints a verbal picture of life during the early part of the 20th century, in a rural southern community, where social discourse, social contact and social interaction are extremely important for
In final words figurative language helps give ideas on how Hurston is allowing the stereotypes to not define her which leads to a brighter
Zora Neale Hurston reveals inner self versus outward self through different vocal and lyrical diction. Zora Neale Hurston uses dialect to cause familiarity in her novel and described the struggles as an everyday African American faced in their community. The theme of my novel was gender roles and relationships not as a black woman, but as a human being. Even having the desire for love from different men. The connecting themes were that “Black folks” were proud of their culture instead of being oppressed.
Hurston uses a mule, more specifically Matt Bonner’s mule, to symbolize Janie and all African American women because like African American women, mules are not held in high regard and work from the bottom, bearing the weight of many other that rely on them and their work. In Their Eyes Were Watching God, Matt Bonner’s mule is used to
“"…but Ah’m uh man even if Ah is de Mayor. But de mayor’s wife is somethin’ different again. Anyhow they’s liable tuh need me tuh say uh few words over de carcass, dis bein’ uh special case. But you ain’t goin’ off in all dat mess uh commonness."” (Hurston)
Zora Neale Hurston was an American novelist, anthropologist, folklorist, and short story writer and is closely associated with the Harlem Renaissance. Hurston grew up in one of America’s first all-black community’s this gave her a sense of independence, freedom and boldness that many African-Americans especially females did not have during this time, this distinguishes her from other writers of her time and it is clearly reflected in her work. In Hurston’s time she wrote a plethora of short stories, plays, essays and 4 published novels. Of all of the works she published and accomplishments she had, she is best known for her 1937 novel Their Eyes Were Watching God. This novel tells the story of Janie Crawford a young African-American girl growing
Their Eyes Were Watching God, The protagonist, Janie like Hurston, struggled with broken relationships and cultural hardships. This raises the line of inquiry: “How does Zora Hustron use Janie and her relations to reinforce negative stereotypes of the African American community and marriages?” Hurston’s use of dialogue and imagery not only reinforces negative stereotypes of Black culture, but exposes the ceaseless discriminatory mistreatment by White America. The first way Hurston affirmed black stereotypes and exposed African American is through dialogue.
To support this central point, Miss Tushabe used a variety of different types of details. One of the most memorable was the use of facts. She shared with us some facts about Hurston's life, such as that she was born in 1891 in a small town in Florida, and that she grew up in a community of Black people who
Throughout her story she meets new people and resides in many places, thus shaping and changing who she is. In her novel, Hurston uses characterization to illustrate the theme of how one’s trust of what
For example, in chapter eighteen Hurston writes “The wind came back with triple fury, and put out the light for the last time. They sat in company with the others in other shanties, their eyes straining against crude walls and their souls asking if He meant to measure their puny might against His. They seemed to be staring at the dark, but their eyes were watching God.” In this quote, the intertextuality can be found in the way Zora Neal Hurston writes the description of their eyes and souls. This gives insight into not only the personalities and identities of the characters but also assumes the male role is to seem strong and mighty, similar to that of a protector.
Zora Hurston uses vivid imagery, natural diction, and several literary tools in her essay “How It Feels to Be Colored Me”. Hurston’s use of imagery, diction, and literary tools in “How It Feels to Be Colored Me” contributes to, and also compliments, the essay’s theme which is her view on life as a “colored” person. Throughout “How It Feels to Be Colored Me” Hurston carefully incorporates aspects of her African American culture in an effort to recapture her ancestral past. Hurston’s use of imagery, diction, and use of literary tools shape her essay into a piece of Harlem Renaissance work. Imagery in “How It Feels to Be Colored Me” is quite abundant.
She thinks that women are the mules of the world, women, just like mules are forced to carry around the men’s possessions, but it it not only the white men who take advantage of the black women, it is also black men who make them carry “de load”. Wright may ignore this blatant example of what Hurston is communicating because he doesn't agree with it or he doesn't like how she portrays men. Like mules, women don’t have any say in where they go, what they carry, and when they get there. Women have to carry the weight of the world on their shoulders, they are there simply to serve men, just like mules they are the lowest of the low. Everyone treats black women as if they are animals.
Zora Neal Hurston depicts, Their Eyes Were Watching God, as both a reflection of, and a departure from, the Harlem Renaissance, by writing the book from a lower-class, woman’s, perspective. Over the years, Hurston has received praise for her use of African American dialect in her writing. An example of the dialect being, “She was an ironing board