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Jackson, Chuck, "Waste and Whiteness: Zora Neale Hurston and the Politics of Eugenics": [34] 639-660

Jackson, Gale, "The Way We Do: A Preliminary Investigation of the African Roots of African American Performance": [25] 11-22

Jackson, Joyce Marie, "The Changing Nature of Gospel Music: A Southern Case Study": [29] 185-200

Jackson, Richard, "The Shared Vision of Langston Hughes and Black Hispanic Writers": [15] 89-92

James, Jennifer, " 'Civil' War Wounds: William Wells Brown, Violence, and the Domestic Narrative": [39] 39-54

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--., "Sugarcane as History in Paule Marshall's 'To Da-Duh, in Memoriam' ": [34] 475-482
--., "Pauline Hopkins's Of One Blood, Africa, and the 'Darwinist Trap' ": [36] 403-415

Jarrett, Gene Andrew, "Second-Generation Realist; or, Dunbar the Naturalist": [42] 289-294

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Johnson, Maria V., " 'You Just Can't Keep a Good Woman Down': Alice Walker Sings the Blues": [30] 221-236
--, " 'The World in a Jug and the Stopper in [Her] Hand': Their Eyes as Blues Performance": [32] 401-414

Johnson, Michael, " 'Try to Refrain from that Desire': Self-Control and Violent Passion in Oscar Micheaux's African American Western": [38] 361-377

Johnson, Paul D., " 'Goodbye to Sambo': The Contribution of Black Slave Narratives to the Abolition Movement": [6] 79-84

Jones, Carolyn M., "Sula and Beloved: Images of Cain in the Novels of Toni Morrison": [27] 615-626
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Jones, Gavin, " 'The Sea Ain' Got No Back Door': The Problems of Black Consciousness in Paule Marshall's Brown Girl, Brownstones": [32] 597-606
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Jones, George Austin, "A Tribute to the Right Excellent Poet Henry Dumas": [22] 265-267

Jones, Jacquie, "The Black South in Contemporary Film": [27] 19-24

Jones, Kellie, "Personal Public Portraits: The Art of Whitfield Lovell": [19] 46-47

Jones, Kirkland C., "Bontemps and the Old South": [27] 179-185

Jones, Meta DuEwa, "Politics, Process & (Jazz) Performance: Amiri Baraka's 'It's Nation Time' ": [37] 245-252
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Jones, Norma Ramsay, "Africa, as Imaged by Cullen & Co": [8] 263-267

Jones, Rhett S., "Community and Commentators: Black Theatre and Its Critics": [14] 69-76
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--, "Orderly and Disorderly Structures: Why Church and Sports Appeal to Black Americans and Theatre Does Not": [25] 43-52

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