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Writing a third language: A genealo...

Ryan, Jennifer Denise.

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Writing a third language: A genealogy of feminist jazz poetics.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Writing a third language: A genealogy of feminist jazz poetics./
作者:	Ryan, Jennifer Denise.
面頁冊數:	266 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1374.
Contained By:	Dissertation Abstracts International65-04A.
標題:	Literature, American. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3129337
ISBN:	0496765973

Writing a third language: A genealogy of feminist jazz poetics.
Ryan, Jennifer Denise.

Writing a third language: A genealogy of feminist jazz poetics. - 266 p.

Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1374.

Thesis (Ph.D.)--The University of Iowa, 2004.

This project focuses on the connections between formal innovation and feminist statement forged in the work of African-American women jazz poets through invocations of music. I argue that this work is written in a "third language" spurred by the exclusion of black women from white feminist practices and the predominately male culture of jazz performance. Each writer's work engages in dialogue with contemporary jazz and feminist movements in order to claim an alternate space for the creative acts of black women. My analysis is grounded in the premise that jazz poetry, a category of formally innovative and politically motivated work that features references to blues and jazz music, can be productively interpreted using a genealogical approach.

ISBN: 0496765973Subjects--Topical Terms:

1017657
Literature, American.

Writing a third language: A genealogy of feminist jazz poetics.
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500 $a Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1374.
500 $a Supervisor: Adalaide Morris.
502 $a Thesis (Ph.D.)--The University of Iowa, 2004.
520 $a This project focuses on the connections between formal innovation and feminist statement forged in the work of African-American women jazz poets through invocations of music. I argue that this work is written in a "third language" spurred by the exclusion of black women from white feminist practices and the predominately male culture of jazz performance. Each writer's work engages in dialogue with contemporary jazz and feminist movements in order to claim an alternate space for the creative acts of black women. My analysis is grounded in the premise that jazz poetry, a category of formally innovative and politically motivated work that features references to blues and jazz music, can be productively interpreted using a genealogical approach.
520 $a I argue in my first chapter that Sherley Anne Williams uses regionalist themes and blues references to highlight the restrictions historically placed upon black female bodies. Bessie Smith's appearance as a representative blueswoman in many of Williams's jazz poems suggests that Smith's public attitudes symbolized agency for black women. In my second chapter, I read Sonia Sanchez's jazz poems in the context of her affiliations with Black Arts and the Black Power movement. Sanchez explored bebop's performance techniques and social connotations in her jazz elegies; her later interest in blues' potential for feminist expression resulted in her creation of a blues haiku. I examine the formal and thematic roots of Jayne Cortez's jazz poetry in my third chapter, linking her compositional approach to the performance traditions of blues and jazz. Her scatological imagery also positions her work in the context of surrealist theory and ecofeminist criticism. My final chapter looks at Harryette Mullen's use of both the formal techniques of the Language group and African-American vernacular traditions. These elements enable her to define innovative language as a tool for feminist statement. The dissertation concludes with my assessment of the connections between these poets' political statements about society, environment, body, and language. I consider the work of East Los Angeles poet Wanda Coleman as evidence that future feminist jazz poetics contributes to global theory through references to geographies outside the American mainstream.
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