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"Angelou, Maya"
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Networking as Teachers for Civic Transformation
Yet in \"The Good That Viruses Do,\" Dutchen (2022) observes that this is \"only one part of the picture\" because viruses can also be used to prevent, treat, and research illnesses and disease. [...]as paradoxical as it may seem, viruses actually constitute \"a crucial part of the global ecosystem that allows us to survive.\" [...]in both a literal and figurative sense, it matters whom you \"sit\" beside in the teachers' lounge or any other professional context because these settings function as micro-cultures. [...]p]eople can catch' emotional states they observe in others over time frames ranging from seconds to weeks\" (Fowler & Christakis, 2008). [...]in 2017, the World Health Organization (WHO) designated it as an official syndrome that refers to chronic, unmanaged workplace stress. Burnout has three dimensions: \"1) feelings of energy depletion or exhaustion; 2) increased mental distance from one's job, or feelings of negativism or cynicism related to one's job; and 3) a sense of ineffectiveness and lack of accomplishment\" (WHO, n.d.). Picking Positivity Tapping into positive emotional contagion is like winning a group lottery ticket because social networks are also \"required for the spread of good and valuable things, like love and kindness and happiness and altruism and ideas\" (Christakis, 2010).
Journal Article
Critical companion to Maya Angelou : a literary reference to her life and work
A comprehensive and up-to-date resource for students interested in Maya Angelou. Coverage includes a complete biography, entries on all works and related people, places, and topics, a chronology, and bibliograpy of her work.
BOOK
A History We Can Neither Accept nor Deny: Feeding and Purging the Spirits in Maya Angelou’s All God’s Children Need Traveling Shoes
This essay examines Maya Angelou’s 1980 memoir
All God’s Children Need Traveling Shoes
. From 1962 to 1965, Angelou was part of a community of African American writers, artists, intellectuals, and activists who settled in Ghana as its first president, Kwame Nkrumah, seemed poised to usher in a new era of pan-African unity. Hoping to situate her identity within this dream of global pan-Africanism, Angelou narrates her relationship to Africa through the trope of diaspora-as-family. Her use of this metaphor, however, is complicated by her growing awareness of the involvement of Africans in the trans-Atlantic slave trade, as both victims and participants. While other scholarship on All God’s Children focuses on Angelou’s supposed inability to achieve a diasporan identity, I argue that Angelou is successfully able to come to terms with the trauma of the middle passage by listening to the “voices” of her enslaved ancestors (as they emerge within her own consciousness), and participating in an indigenous Ewe mourning ritual that she inadvertently precipitates. As a result of these experiences, Angelou comes to realize that while narration is important to the formation of both identity and community, African-descended people living in the Americas must first grapple with a historical trauma that exceeds the limits of narration. It is only when Angelou realizes this that she allows herself to be receptive to the spectral voices of her enslaved ancestors and the power of mourning to forge community across divides of time and place.
Journal Article
Maya Angelou
\"The My Itty-Bitty Bio series are biographies for the earliest readers. This book examines the life of Maya Angelou in a simple, age-appropriate way that will help children develop word recognition and reading skills. Includes a timeline and other informative backmatter.\"-- Provided by publisher
BOOK
How does Maya Angelou perceive the African female body?
Not seeking to gain privilege for the Black community, Afrocentrism seeks to speak the truth about the suffering of racial discrimination and enslavement. Feminism exposes the stereotypes surrounding Black women due to sexism, racism and capitalism. Silence only serves to increase fear and to diminish the power of oppressed Black women. Investigating the theme of African women in poetry became central to contemporary literary studies. This study analyzes Maya Angelou’s use of imagery and body-oriented conceptual metaphors in her poetry in order to compare her perception of the African female body to that of other African poets, using LIWC-2022 and conceptual metaphor analysis. Angelou’s poems, often pessimistic, focus on societal power. Stylistically, Angelou overuses personal pronouns and does not tend to utilize impersonal pronouns. Her poetry is sentimental and emphasizes the role of the family in accordance with her understanding of the external world. Metaphors such as “Nation is a body,” “Nation is a family,” “Nation is a person,” “Social group is a fabric” and “Body is a container for emotions” are common within her oeuvre. The metaphoric understanding of “Body is a container for emotions” was most salient to understand frequently used conceptual metaphors like “Anger is the heat of fluid in a container.” However, in her book “I Know Why the Caged Bird Sings” the most detected conceptual metaphors are “Social groups are complex structures,” “Social group is a family” and “Community is a family”. Angelou’s style of writing and the psycholinguistic content of her work exerts a powerful influence over her readers. She focuses on society, family, the struggles inherent within social networks and the paths Black women chose to follow during these struggles.
Journal Article
Maya Angelou : a biography of an award-winning poet and civil rights activist
\"Read about Maya Angelou's life: her upbringing, travels, civil rights work, and her writings\"--Provided by publisher.
BOOK
Writing as an Act of Self-Embodiment: Hurston, Moody, and Angelou Combat Systemic Racial and Sexual Oppression
African-American autobiographers, Zora Neale Hurston, Anne Moody, and Maya Angelou engage a feminine quest in order to develop their self-awareness and overcome oppression. The writers present the trope of patriarchal domination by describing their father-daughter relationships, which affect their involvement with the larger society. The women describe their battle with not only the Caucasian patriarchy, which would restrict them, but also African-American men adhering to its standards as well. The women must overcome both races' stereotypical pretenses in order to be represented not only physically but also intellectually. The authors offset their fathers' negative presences by locating role models in their mothers and other women in order to establish their identities and pursue the American Dream on their own terms. Refusing a male paradigm, the writers invent their own forms and cease to be bodies without voices as they attempt to forge a society devoid of sexism and racism.
Journal Article
Maya Angelou finds her voice
How a beloved mentor helped young Maya Angelou rediscover the poetry of self-expression and power of her voice.
CHILDBOOK
