The Harlem Renaissance represents a key episode in the history
of African American art and in American modernism, more generally.
In recent years, scholars have begun to reconsider the era, pushing
its boundaries back to the first decade of the twentieth century and
forward into the 1940s, while also expanding its purview from New
York City to variously related yet distinct local manifestations of
the New Negro movement elsewhere around the globe – in Chicago, San
Francisco, Paris and even Britain and Jamaica, for example. Readings
will not only expand the canon but consider how various conceptions
of race, gender, sexuality, social class and nationality defined the
artistic and cultural  activities of the Harlem Renaissance.


	Finally, we will explore possibilities for situating the
period within international and transnational modernisms, examining
African Americans’ relationships to the Caribbean, Latin America,
Asia, Africa, and Europe.