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Playing together: Improvisation in ...

Quinn, Richard Allen.

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Playing together: Improvisation in postwar American literature and culture.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Playing together: Improvisation in postwar American literature and culture./
作者:	Quinn, Richard Allen.
面頁冊數:	274 p.
附註:	Source: Dissertation Abstracts International, Volume: 61-06, Section: A, page: 2305.
Contained By:	Dissertation Abstracts International61-06A.
標題:	Literature, American. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9975837
ISBN:	9780599815087

Playing together: Improvisation in postwar American literature and culture.
Quinn, Richard Allen.

Playing together: Improvisation in postwar American literature and culture. - 274 p.

Source: Dissertation Abstracts International, Volume: 61-06, Section: A, page: 2305.

Thesis (Ph.D.)--The University of Iowa, 2000.

This dissertation explores the varied functions of improvisation in postwar American history, jazz, and poetry. Contrary to critics who equate improvisation with a culture of spontaneity, "Playing Together" defines improvisation as an informed experimentation with traditional artistic forms. It argues that bebop, free jazz, and innovative writing are improvisations on identity in which ensembles of individuals modify traditions as means of collaborative self-definition. While "Playing Together" offers critical interpretations of specific, historically grounded music and literature, it also articulates how improvisational processes provide unique ways of interpreting postwar American history. Furthermore, it locates in postwar improvisations a necessary ambiguity, the result of cross-cultural interaction and faith in a communicable extra-linguistic meaning which I call "the meaningful unsaid." Contrary to those who seek either to banish textual ambiguity or revel in its powers of dissemination, "Playing Together" invokes ambiguity as a critical, interpretive tool---a means of understanding postwar life.

ISBN: 9780599815087Subjects--Topical Terms:

1017657
Literature, American.

Playing together: Improvisation in postwar American literature and culture.
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520 $a This dissertation explores the varied functions of improvisation in postwar American history, jazz, and poetry. Contrary to critics who equate improvisation with a culture of spontaneity, "Playing Together" defines improvisation as an informed experimentation with traditional artistic forms. It argues that bebop, free jazz, and innovative writing are improvisations on identity in which ensembles of individuals modify traditions as means of collaborative self-definition. While "Playing Together" offers critical interpretations of specific, historically grounded music and literature, it also articulates how improvisational processes provide unique ways of interpreting postwar American history. Furthermore, it locates in postwar improvisations a necessary ambiguity, the result of cross-cultural interaction and faith in a communicable extra-linguistic meaning which I call "the meaningful unsaid." Contrary to those who seek either to banish textual ambiguity or revel in its powers of dissemination, "Playing Together" invokes ambiguity as a critical, interpretive tool---a means of understanding postwar life.
520 $a Divided into two sections, the dissertation begins by theorizing Beat and bebop cultures through an investigation and revision of post-Marxist thought. It continues by addressing issues of race, tradition, commercialism, writing, and sound in the works of Charlie Parker, Jack Kerouac, Allen Ginsberg, and Bob Kaufman. Section two extends the work of section one into a discussion of free jazz, Black Power, the Black Arts movement, and the civil rights movement. As with preceding chapters, the chapters in section two perform both historical and formalist readings in order to examine questions of meaning and enigma in the work of Albert Ayler, John Coltrane, Cecil Taylor, Amiri Baraka, Sonia Sanchez, and others. Finally, my coda addresses the work of Nathaniel Mackey, Lyn Hejinian, and Clark Coolidge as they rework the legacy of improvisation for the 1970s, 1980s, and 1990s. These writers find in the improvisations of their predecessors both a powerful methodology and a valuable critical tool.
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