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	<title>Knowledge Commons | Marisa Parham | Activity</title>
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				<title>Marisa Parham&#039;s profile was updated</title>
				<link>https://mla.hcommons.org/activity/p/1794747/</link>
				<pubDate>Mon, 19 Sep 2022 15:40:07 -0400</pubDate>

				
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				<title>Marisa Parham&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1750664/</link>
				<pubDate>Fri, 03 Sep 2021 02:05:30 -0400</pubDate>

				
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				<title>Marisa Parham deposited 'Freedom, Equality, and Race’: Remembering Jeffrey B. Ferguson in the group LLC African American</title>
				<link>https://mla.hcommons.org/activity/p/1657607/</link>
				<pubDate>Sun, 14 Jul 2019 16:37:16 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay begins with my attempt to close-read a text by a recently departed colleague, Jeffrey B. Ferguson, but turns into an exploration of writing across registers, in this case the delivery of a very different version of the same paper by Ferguson, one that is far more intimate, insightful, and moving.</p>
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				<title>Marisa Parham deposited 'Freedom, Equality, and Race’: Remembering Jeffrey B. Ferguson in the group LLC 20th- and 21st-Century American</title>
				<link>https://mla.hcommons.org/activity/p/1657606/</link>
				<pubDate>Sun, 14 Jul 2019 16:32:06 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay begins with my attempt to close-read a text by a recently departed colleague, Jeffrey B. Ferguson, but turns into an exploration of writing across registers, in this case the delivery of a very different version of the same paper by Ferguson, one that is far more intimate, insightful, and moving.</p>
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				<title>Marisa Parham deposited Breadfruit, Time and Again: Glissant Reads Faulkner in the World Relation in the group LLC African American</title>
				<link>https://mla.hcommons.org/activity/p/1657605/</link>
				<pubDate>Sun, 14 Jul 2019 16:31:38 -0400</pubDate>

									<content:encoded><![CDATA[<p>Two-thirds of the way through Faulkner, Mississippi, his extended meditation on the prose oeuvre of the American writer William Faulkner, Édouard Glissant remarks on Faulkner’s famous ‘amused refusal to “correct the contradictions”’ introduced into his texts through his constant revisiting of characters across novels not necessarily set in proper&hellip;<span class="activity-read-more" id="activity-read-more-1657605"><a href="https://mla.hcommons.org/activity/p/1657605/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Breadfruit, Time and Again: Glissant Reads Faulkner in the World Relation in the group LLC 20th- and 21st-Century American</title>
				<link>https://mla.hcommons.org/activity/p/1657604/</link>
				<pubDate>Sun, 14 Jul 2019 16:26:13 -0400</pubDate>

									<content:encoded><![CDATA[<p>Two-thirds of the way through Faulkner, Mississippi, his extended meditation on the prose oeuvre of the American writer William Faulkner, Édouard Glissant remarks on Faulkner’s famous ‘amused refusal to “correct the contradictions”’ introduced into his texts through his constant revisiting of characters across novels not necessarily set in proper&hellip;<span class="activity-read-more" id="activity-read-more-1657604"><a href="https://mla.hcommons.org/activity/p/1657604/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Breadfruit, Time and Again: Glissant Reads Faulkner in the World Relation in the group CLCS Caribbean</title>
				<link>https://mla.hcommons.org/activity/p/1657603/</link>
				<pubDate>Sun, 14 Jul 2019 16:26:12 -0400</pubDate>

									<content:encoded><![CDATA[<p>Two-thirds of the way through Faulkner, Mississippi, his extended meditation on the prose oeuvre of the American writer William Faulkner, Édouard Glissant remarks on Faulkner’s famous ‘amused refusal to “correct the contradictions”’ introduced into his texts through his constant revisiting of characters across novels not necessarily set in proper&hellip;<span class="activity-read-more" id="activity-read-more-1657603"><a href="https://mla.hcommons.org/activity/p/1657603/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited 'Freedom, Equality, and Race’: Remembering Jeffrey B. Ferguson</title>
				<link>https://hcommons.org/activity/p/1657561/</link>
				<pubDate>Sat, 13 Jul 2019 16:44:53 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay begins with my attempt to close-read a text by a recently departed colleague, Jeffrey B. Ferguson, but turns into an exploration of writing across registers, in this case the delivery of a very different version of the same paper by Ferguson, one that is far more intimate, insightful, and moving.</p>
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				<title>Marisa Parham deposited Breadfruit, Time and Again: Glissant Reads Faulkner in the World Relation</title>
				<link>https://hcommons.org/activity/p/1657560/</link>
				<pubDate>Sat, 13 Jul 2019 16:32:18 -0400</pubDate>

									<content:encoded><![CDATA[<p>Two-thirds of the way through Faulkner, Mississippi, his extended meditation on the prose oeuvre of the American writer William Faulkner, Édouard Glissant remarks on Faulkner’s famous ‘amused refusal to “correct the contradictions”’ introduced into his texts through his constant revisiting of characters across novels not necessarily set in proper&hellip;<span class="activity-read-more" id="activity-read-more-1657560"><a href="https://hcommons.org/activity/p/1657560/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited 17, or, Tough, Dark, Vulnerable, Moody: James Baldwin in the group TC Memory Studies</title>
				<link>https://mla.hcommons.org/activity/p/1641728/</link>
				<pubDate>Wed, 05 Jun 2019 16:32:29 -0400</pubDate>

									<content:encoded><![CDATA[<p>In its encounter with James Baldwin across form— "Letter to my nephew," "Sonny's Blues," and archival footage of Baldwin being interviewed by the psychologist Kenneth Clark— this article offers an exploration of how Baldwin's figuration of children and his own acts of care illuminate the political possibilities of both filiation and aff&hellip;<span class="activity-read-more" id="activity-read-more-1641728"><a href="https://mla.hcommons.org/activity/p/1641728/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited 17, or, Tough, Dark, Vulnerable, Moody: James Baldwin in the group LLC African American</title>
				<link>https://mla.hcommons.org/activity/p/1641727/</link>
				<pubDate>Wed, 05 Jun 2019 16:31:57 -0400</pubDate>

									<content:encoded><![CDATA[<p>In its encounter with James Baldwin across form— "Letter to my nephew," "Sonny's Blues," and archival footage of Baldwin being interviewed by the psychologist Kenneth Clark— this article offers an exploration of how Baldwin's figuration of children and his own acts of care illuminate the political possibilities of both filiation and aff&hellip;<span class="activity-read-more" id="activity-read-more-1641727"><a href="https://mla.hcommons.org/activity/p/1641727/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Hughes, Cullen, and the In-sites of Loss in the group TM Literary and Cultural Theory</title>
				<link>https://mla.hcommons.org/activity/p/1641716/</link>
				<pubDate>Wed, 05 Jun 2019 16:27:53 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay explores how Pierre Nora's sites of memory work a specific cultural function through what Melvin Dixon refers to as "a memory that ultimately rewrites history." I look at two of the most well-known poems of the Harlem Renaissance, Langston Hughes's "The Negro Speaks of Rivers" and Countee Cullen's "Heritage," one of which reveals a&hellip;<span class="activity-read-more" id="activity-read-more-1641716"><a href="https://mla.hcommons.org/activity/p/1641716/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Hughes, Cullen, and the In-sites of Loss in the group TC Memory Studies</title>
				<link>https://mla.hcommons.org/activity/p/1641715/</link>
				<pubDate>Wed, 05 Jun 2019 16:27:07 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay explores how Pierre Nora's sites of memory work a specific cultural function through what Melvin Dixon refers to as "a memory that ultimately rewrites history." I look at two of the most well-known poems of the Harlem Renaissance, Langston Hughes's "The Negro Speaks of Rivers" and Countee Cullen's "Heritage," one of which reveals a&hellip;<span class="activity-read-more" id="activity-read-more-1641715"><a href="https://mla.hcommons.org/activity/p/1641715/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Hughes, Cullen, and the In-sites of Loss in the group LLC African American</title>
				<link>https://mla.hcommons.org/activity/p/1641714/</link>
				<pubDate>Wed, 05 Jun 2019 16:26:27 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay explores how Pierre Nora's sites of memory work a specific cultural function through what Melvin Dixon refers to as "a memory that ultimately rewrites history." I look at two of the most well-known poems of the Harlem Renaissance, Langston Hughes's "The Negro Speaks of Rivers" and Countee Cullen's "Heritage," one of which reveals a&hellip;<span class="activity-read-more" id="activity-read-more-1641714"><a href="https://mla.hcommons.org/activity/p/1641714/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited 'You Can't Flow Over This': Ursula Rucker's Acoustic Illusion in the group TC Popular Culture</title>
				<link>https://mla.hcommons.org/activity/p/1641075/</link>
				<pubDate>Tue, 28 May 2019 16:31:46 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay brings together two texts, a letter to the editor written in experimental prose by the Black avant-garde Beat poet, Bob Kaufman, and “The Unlocking,” a spoken-word poem written and performed by Ursula Rucker that appears at the end of The Roots’ critically acclaimed rap album, Do You Want More??!?. By using the aural to disrupt expec&hellip;<span class="activity-read-more" id="activity-read-more-1641075"><a href="https://mla.hcommons.org/activity/p/1641075/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited 'You Can't Flow Over This': Ursula Rucker's Acoustic Illusion in the group LLC African American</title>
				<link>https://mla.hcommons.org/activity/p/1641074/</link>
				<pubDate>Tue, 28 May 2019 16:31:11 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay brings together two texts, a letter to the editor written in experimental prose by the Black avant-garde Beat poet, Bob Kaufman, and “The Unlocking,” a spoken-word poem written and performed by Ursula Rucker that appears at the end of The Roots’ critically acclaimed rap album, Do You Want More??!?. By using the aural to disrupt expec&hellip;<span class="activity-read-more" id="activity-read-more-1641074"><a href="https://mla.hcommons.org/activity/p/1641074/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">12356fe364ab85da3a17f431082f2c7e</guid>
				<title>Marisa Parham deposited 'You Can't Flow Over This': Ursula Rucker's Acoustic Illusion in the group LLC 20th- and 21st-Century American</title>
				<link>https://mla.hcommons.org/activity/p/1641071/</link>
				<pubDate>Tue, 28 May 2019 16:25:21 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay brings together two texts, a letter to the editor written in experimental prose by the Black avant-garde Beat poet, Bob Kaufman, and “The Unlocking,” a spoken-word poem written and performed by Ursula Rucker that appears at the end of The Roots’ critically acclaimed rap album, Do You Want More??!?. By using the aural to disrupt expec&hellip;<span class="activity-read-more" id="activity-read-more-1641071"><a href="https://mla.hcommons.org/activity/p/1641071/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited 'You Can't Flow Over This': Ursula Rucker's Acoustic Illusion</title>
				<link>https://hcommons.org/activity/p/1640997/</link>
				<pubDate>Mon, 27 May 2019 16:40:26 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay brings together two texts, a letter to the editor written by the Black avant-garde Beat poet, Bob Kaufman, and “The Unlocking,” a poem written and performed by Ursula Rucker. By using the aural to disrupt expectations set up for us by the visual, each text shatters the visual, and reveals something important about the kinds of sil&hellip;<span class="activity-read-more" id="activity-read-more-1640997"><a href="https://hcommons.org/activity/p/1640997/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Ninety-Nine Problems: Assessment, Inclusion, and Other Old-New Problems in the group TC Digital Humanities</title>
				<link>https://mla.hcommons.org/activity/p/1640890/</link>
				<pubDate>Sat, 25 May 2019 16:25:31 -0400</pubDate>

									<content:encoded><![CDATA[<p>Developing less burdensome and more equitable ways to support scholarly difference is a preeminent challenge when thinking about the future of assessment and promotion in higher education. At stake in this is the very capacity of institutions to do the work of scholarly inclusion, to recognize the range of approaches well captured in the digital&hellip;<span class="activity-read-more" id="activity-read-more-1640890"><a href="https://mla.hcommons.org/activity/p/1640890/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Ninety-Nine Problems: Assessment, Inclusion, and Other Old-New Problems in the group Digital Humanists</title>
				<link>https://hcommons.org/activity/p/1640889/</link>
				<pubDate>Sat, 25 May 2019 16:25:21 -0400</pubDate>

									<content:encoded><![CDATA[<p>Developing less burdensome and more equitable ways to support scholarly difference is a preeminent challenge when thinking about the future of assessment and promotion in higher education. At stake in this is the very capacity of institutions to do the work of scholarly inclusion, to recognize the range of approaches well captured in the digital&hellip;<span class="activity-read-more" id="activity-read-more-1640889"><a href="https://hcommons.org/activity/p/1640889/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited The New Rigor Report in the group TC Digital Humanities</title>
				<link>https://mla.hcommons.org/activity/p/1640886/</link>
				<pubDate>Sat, 25 May 2019 04:07:09 -0400</pubDate>

									<content:encoded><![CDATA[<p>The growing accessibility of digital technology has been met with an increased willingness on the part of scholars to integrate new digital methods into their interpretive and presentational practices. At the same time, the academic assessment structures that support scholarly work have not always been able to keep pace, thus making the pursuit of&hellip;<span class="activity-read-more" id="activity-read-more-1640886"><a href="https://mla.hcommons.org/activity/p/1640886/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">3fa5fad52fc568288fe77f89cb76598b</guid>
				<title>Marisa Parham deposited The New Rigor Report in the group Digital Humanists</title>
				<link>https://hcommons.org/activity/p/1640885/</link>
				<pubDate>Sat, 25 May 2019 04:06:57 -0400</pubDate>

									<content:encoded><![CDATA[<p>The growing accessibility of digital technology has been met with an increased willingness on the part of scholars to integrate new digital methods into their interpretive and presentational practices. At the same time, the academic assessment structures that support scholarly work have not always been able to keep pace, thus making the pursuit of&hellip;<span class="activity-read-more" id="activity-read-more-1640885"><a href="https://hcommons.org/activity/p/1640885/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">c6737598ba81e09db1060787357862f1</guid>
				<title>Marisa Parham deposited The New Rigor Report</title>
				<link>https://mla.hcommons.org/activity/p/1640866/</link>
				<pubDate>Fri, 24 May 2019 14:58:07 -0400</pubDate>

									<content:encoded><![CDATA[<p>The growing accessibility of digital technology has been met with an increased willingness on the part of scholars to integrate new digital methods into their interpretive and presentational practices. At the same time, the academic assessment structures that support scholarly work have not always been able to keep pace, thus making the pursuit of&hellip;<span class="activity-read-more" id="activity-read-more-1640866"><a href="https://mla.hcommons.org/activity/p/1640866/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Ninety-Nine Problems: Assessment, Inclusion, and Other Old-New Problems</title>
				<link>https://hcommons.org/activity/p/1640864/</link>
				<pubDate>Fri, 24 May 2019 14:36:04 -0400</pubDate>

									<content:encoded><![CDATA[<p>Developing less burdensome and more equitable ways to support scholarly difference is a preeminent challenge when thinking about the future of assessment and promotion in higher education. At stake in this is the very capacity of institutions to do the work of scholarly inclusion, to recognize the range of approaches well captured in the digital&hellip;<span class="activity-read-more" id="activity-read-more-1640864"><a href="https://hcommons.org/activity/p/1640864/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Saying “Yes”: Textual Traumas in Octavia Butler’s Kindred in the group TM Literary and Cultural Theory</title>
				<link>https://mla.hcommons.org/activity/p/1640727/</link>
				<pubDate>Wed, 22 May 2019 16:28:16 -0400</pubDate>

									<content:encoded><![CDATA[<p>The problem of the “yes,” of affirming an historical identity that is potentially harmful to oneself, troubles some of the imaginative leaps necessary to how readers desire to identify with texts. With that in mind, this article reads Octavia Butler's 1979 novel Kindred as a story about memory, history, and embodiment as written both on and thr&hellip;<span class="activity-read-more" id="activity-read-more-1640727"><a href="https://mla.hcommons.org/activity/p/1640727/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">80a8a5677e4937edfd2c8a0d945b1edf</guid>
				<title>Marisa Parham deposited Saying “Yes”: Textual Traumas in Octavia Butler’s Kindred in the group LLC African American</title>
				<link>https://mla.hcommons.org/activity/p/1640726/</link>
				<pubDate>Wed, 22 May 2019 16:27:40 -0400</pubDate>

									<content:encoded><![CDATA[<p>The problem of the “yes,” of affirming an historical identity that is potentially harmful to oneself, troubles some of the imaginative leaps necessary to how readers desire to identify with texts. With that in mind, this article reads Octavia Butler's 1979 novel Kindred as a story about memory, history, and embodiment as written both on and thr&hellip;<span class="activity-read-more" id="activity-read-more-1640726"><a href="https://mla.hcommons.org/activity/p/1640726/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Saying “Yes”: Textual Traumas in Octavia Butler’s Kindred in the group GS Speculative Fiction</title>
				<link>https://mla.hcommons.org/activity/p/1640725/</link>
				<pubDate>Wed, 22 May 2019 16:25:21 -0400</pubDate>

									<content:encoded><![CDATA[<p>The problem of the “yes,” of affirming an historical identity that is potentially harmful to oneself, troubles some of the imaginative leaps necessary to how readers desire to identify with texts. With that in mind, this article reads Octavia Butler's 1979 novel Kindred as a story about memory, history, and embodiment as written both on and thr&hellip;<span class="activity-read-more" id="activity-read-more-1640725"><a href="https://mla.hcommons.org/activity/p/1640725/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited Saying “Yes”: Textual Traumas in Octavia Butler’s Kindred</title>
				<link>https://hcommons.org/activity/p/1640685/</link>
				<pubDate>Wed, 22 May 2019 01:42:08 -0400</pubDate>

									<content:encoded><![CDATA[<p>The problem of the “yes,” of affirming an historical identity that is potentially harmful to oneself, troubles some of the imaginative leaps necessary to how readers desire to identify with texts. With that in mind, this article reads Octavia Butler's 1979 novel Kindred as a story about memory, history, and embodiment as written both on and thr&hellip;<span class="activity-read-more" id="activity-read-more-1640685"><a href="https://hcommons.org/activity/p/1640685/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1640368/</link>
				<pubDate>Fri, 17 May 2019 00:57:41 -0400</pubDate>

				
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				<guid isPermaLink="false">f9fe7ff6d79a8104c1337cd343864041</guid>
				<title>Marisa Parham&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1640317/</link>
				<pubDate>Thu, 16 May 2019 17:24:37 -0400</pubDate>

				
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				<title>Marisa Parham deposited Hughes, Cullen, and the In-sites of Loss</title>
				<link>https://hcommons.org/activity/p/1640306/</link>
				<pubDate>Thu, 16 May 2019 15:31:03 -0400</pubDate>

									<content:encoded><![CDATA[<p>This essay explores how Pierre Nora's sites of memory work a specific cultural function through what Melvin Dixon refers to as "a memory that ultimately rewrites history." I look at two of the most well-known poems of the Harlem Renaissance, Langston Hughes's "The Negro Speaks of Rivers" and Countee Cullen's "Heritage," one of which reveals a&hellip;<span class="activity-read-more" id="activity-read-more-1640306"><a href="https://hcommons.org/activity/p/1640306/" rel="nofollow ugc">[Read more]</a></span></p>
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				<title>Marisa Parham deposited 17, or, Tough, Dark, Vulnerable, Moody: James Baldwin</title>
				<link>https://hcommons.org/activity/p/1640295/</link>
				<pubDate>Thu, 16 May 2019 13:56:45 -0400</pubDate>

									<content:encoded><![CDATA[<p>In its encounter with James Baldwin across form— "Letter to my nephew," "Sonny's Blues," and archival footage of Baldwin being interviewed by the psychologist Kenneth Clark— this article offers an exploration of how Baldwin's figuration of children and his own acts of care illuminate the political possibilities of both filiation and aff&hellip;<span class="activity-read-more" id="activity-read-more-1640295"><a href="https://hcommons.org/activity/p/1640295/" rel="nofollow ugc">[Read more]</a></span></p>
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				<guid isPermaLink="false">8007a38b5cc9f4b79d0bf1c8f5af866e</guid>
				<title>Marisa Parham&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1619245/</link>
				<pubDate>Tue, 25 Sep 2018 23:53:59 -0400</pubDate>

				
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				<guid isPermaLink="false">a3ebc6eb06e9979af3c867986b1d383f</guid>
				<title>Marisa Parham&#039;s profile was updated</title>
				<link>https://mla.hcommons.org/activity/p/1555885/</link>
				<pubDate>Tue, 20 Dec 2016 17:20:25 -0500</pubDate>

				
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