To the endless questions, theoretical statements, and hypotheses about how Black poets transcribe jazz into the poetic format, this book, while providing a different approach to reading jazz poetry, attempts to answer the question, why do Black poets revert to jazz for poetic material. This book's answer is because jazz is Black History ritualized and performed, and jazz performance is storytelling.
To the endless questions, theoretical statements, and hypotheses about how Black poets transcribe jazz into the poetic format, this book, while providing a different approach to reading jazz poetry, attempts to answer the question, why do Black poets revert to jazz for poetic material. This book's answer is because jazz is Black History ritualized and performed, and jazz performance is storytelling.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Jean-Philippe Marcoux is a professor of American Literature at Université Laval in Quebec, Canada. He specializes in African American Literature, Postmodernist fiction and poetry, and in Jazz Studies.
Inhaltsangabe
Introduction: Intravernacular Dialogues, Jazz Performativity, and the Griot's Meta-linguistic Praxes Chapter 1: The Sound of Grammar: Blues and Jazz as Meta-languages of Storytelling in Langston Hughes's Ask Your Mama Chapter 2: Move On Up: Free Jazz and Rhythm and Blues Performativities as Creative Acts of Cultural Re-inscription in David Henderson's De Mayor of Harlem Chapter 3: Sister in the Struggle: Jazz Linguistics and the Feminized Quest for a Communicative 'Sound' in Sonia Sanchez's Home Coming and We A BaddDDD People Chapter 4: Birth of a Free Jazz Nation: Amiri Baraka's Jazz Historiography from Black Magic to Wise Why's Y's Coda
Introduction: Intravernacular Dialogues, Jazz Performativity, and the Griot's Meta-linguistic Praxes Chapter 1: The Sound of Grammar: Blues and Jazz as Meta-languages of Storytelling in Langston Hughes's Ask Your Mama Chapter 2: Move On Up: Free Jazz and Rhythm and Blues Performativities as Creative Acts of Cultural Re-inscription in David Henderson's De Mayor of Harlem Chapter 3: Sister in the Struggle: Jazz Linguistics and the Feminized Quest for a Communicative 'Sound' in Sonia Sanchez's Home Coming and We A BaddDDD People Chapter 4: Birth of a Free Jazz Nation: Amiri Baraka's Jazz Historiography from Black Magic to Wise Why's Y's Coda
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