STEPTOSing the Evens, Play the Odds (band)
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Robert Stepto has argued that intra-textual storytelling events particularly signify in African American fiction, which has historically called on the vitality of its oral tradition to empower the literature.(7) Stepto has identified in African American novels a "storytelling paradigm," one which suggests a "storytelling interpretive community" where readers -- in spite of the inescapable fact that they are reading -- are asked to become "hearers" whose "responsibilities of listenership.
(6) Although she has at times said that The Bluest Eye cannot be called autobiographical, she admits to Robert Stepto that in terms of setting "I was clearly pulling straight out of what autobiographical information I had." "Intimate Things in Place: A Conversation with Toni Morrison" [with Robert Stepto], in Danille Taylor-Guthrie, ed., Conversations with Toni Morrison (Jackson: Univ.
(13.) Whitehead's narrative situation here is a postmodern departure from Stepto's thesis that southern immersion protagonists seek an antidote to the alienation of those who have previously fled the folk group in individualistic ascent.
In our recent research we have carried the RIS approach one step further and following previous work by Stepto and Taylor on PDMS and polyethylene [23, 24] have used a realistic RIS network chain model to reproduce the stress-strain behavior and the development of molecular orientation with strain in PET.
Stepto, in From Behind the Veil: A .Study of Afro-American Narrative (Urbana: University of Illinois Press, 1979), first articulated this idea of defining literacies; he called literacy in traditional African-American culture "tribal literacy." Some critics have objected that his term calls up stereotypes of primitivism, and "communal literacy" has in general replaced it.
Bruce, C.R., Anderson, M.E., Fraser, S.F., Stepto, N.K., Klein, R., Hopkins, W.G., and Hawley, J.A.
More germane to the mid-19th-century literary context are articles by Berthold and Stepto.
Careful readings of his writings, particularly his influential autobiography Up From Slavery, by such critics as Houston Baker and Robert Stepto have identified a Washington who was a master at saying one thing and meaning another, using techniques of indirection to subvert white American racism even as he appeared to accommodate himself to the institutions of a racist society.(6)
As critics from Robert Stepto to Craig Werner and to Farah Griffin have shown, black patterns of movement become veins in the kinetic life of the art.
Dexter Fisher and Robert Stepto's Afro-American Literature: The Reconstruction of Instruction and Leslie Fiedler and Houston Baker's Opening up the Canon: Selected Papers from the English Institute) is a desire to put philosophical differences within the discipline behind him.