The drum is a wild woman: jazz and gender in African diaspora literature
"In 1957, Duke Ellington released the influential album A Drum Is a Woman. This musical allegory revealed the implicit truth about the role of women in jazz discourse-jilted by the musician and replaced by the drum. Further, the album's cover displays an image of a woman sitting atop a dru...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Jackson
University Press of Mississippi
[2022]
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| Schlagworte: | |
| Zusammenfassung: | "In 1957, Duke Ellington released the influential album A Drum Is a Woman. This musical allegory revealed the implicit truth about the role of women in jazz discourse-jilted by the musician and replaced by the drum. Further, the album's cover displays an image of a woman sitting atop a drum, depicting the way in which the drum literally obscures the female body, turning the subject into an object. This objectification of women leads to a critical reading of the role of women in jazz music: If the drum can take the place of a woman, then a woman can also take the place of a drum. The Drum Is a Wild Woman: Jazz and Gender in African Diaspora Literature challenges that image but also defines a counter-tradition within women's writing that involves the reinvention and reclamation of a modern jazz discourse. Despite their alienation from bebop, women have found jazz music empowering and have demonstrated this power in various ways. The Drum Is a Wild Woman explores the complex relationship between women and jazz music in recent African diasporic literature. The book examines how women writers from the African diaspora have challenged and revised major tropes and concerns of jazz literature since the bebop era in the mid-1940s. Black women writers create dissonant sounds that broaden our understanding of jazz literature. By underscoring the extent to which gender is already embedded in jazz discourse, author Patricia G. Lespinasse responds to and corrects narratives that tell the story of jazz through a male-centered lens. She concentrates on how the Wild Woman, the female vocalist in classic blues, used blues and jazz to push the boundaries of Black womanhood outside of the confines of respectability. In texts that refer to jazz in form or content, the Wild Woman constitutes a figure of resistance who uses language, image, and improvisation to refashion herself from object to subject. This book breaks new ground by comparing the politics of resistance alongside moments of improvisation by examining recurring literary motifs-cry-and-response, the Wild Woman, and the jazz moment-in jazz novels, short stories, and poetry, comparing works by Ann Petry, Gayl Jones, Toni Morrison, Paule Marshall, Edwidge Danticat, and Maya Angelou with pieces by Albert Murray, Ralph Ellison, James Baldwin, and Ellington. Within an interdisciplinary and transnational context, Lespinasse foregrounds the vexed negotiations around gender and jazz discourse"-- |
| Beschreibung: | viii, 145 Seiten 1 Porträt |
| ISBN: | 9781496836021 9781496836038 |
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| 505 | 8 | 0 | |t Introduction. A new beat, generations later : modern jazz and African diaspora womens' writing -- |t Reunited : (Re)Claming gender in jazz narratives from Baldwin's "Sonny's Blues" to Angelou's "Reunion" -- |t Musical signifyin(g) : a theory of cry and response in Gayl Jones's Corregidora -- |t This jazz moment : (Re)Envisioning Ralph Ellison's Invisible Man in Toni Morrison's The Bluest Eye -- |t Wild women don't have the blues : improvising women in Toni Morrison's Jazz and Ann Petry's The Street -- |t Jazz and the Caribbean : The feminist jazz lens in Edwidge Danticat's Breath, Eyes, Memory -- |t The Fisher King and the women of jazz -- |t Conclusion. Toward a womanist jazz lens : gender and jazz in poetry and dance |
| 520 | 3 | |a "In 1957, Duke Ellington released the influential album A Drum Is a Woman. This musical allegory revealed the implicit truth about the role of women in jazz discourse-jilted by the musician and replaced by the drum. Further, the album's cover displays an image of a woman sitting atop a drum, depicting the way in which the drum literally obscures the female body, turning the subject into an object. This objectification of women leads to a critical reading of the role of women in jazz music: If the drum can take the place of a woman, then a woman can also take the place of a drum. The Drum Is a Wild Woman: Jazz and Gender in African Diaspora Literature challenges that image but also defines a counter-tradition within women's writing that involves the reinvention and reclamation of a modern jazz discourse. Despite their alienation from bebop, women have found jazz music empowering and have demonstrated this power in various ways. | |
| 520 | 3 | |a The Drum Is a Wild Woman explores the complex relationship between women and jazz music in recent African diasporic literature. The book examines how women writers from the African diaspora have challenged and revised major tropes and concerns of jazz literature since the bebop era in the mid-1940s. Black women writers create dissonant sounds that broaden our understanding of jazz literature. By underscoring the extent to which gender is already embedded in jazz discourse, author Patricia G. Lespinasse responds to and corrects narratives that tell the story of jazz through a male-centered lens. She concentrates on how the Wild Woman, the female vocalist in classic blues, used blues and jazz to push the boundaries of Black womanhood outside of the confines of respectability. In texts that refer to jazz in form or content, the Wild Woman constitutes a figure of resistance who uses language, image, and improvisation to refashion herself from object to subject. | |
| 520 | 3 | |a This book breaks new ground by comparing the politics of resistance alongside moments of improvisation by examining recurring literary motifs-cry-and-response, the Wild Woman, and the jazz moment-in jazz novels, short stories, and poetry, comparing works by Ann Petry, Gayl Jones, Toni Morrison, Paule Marshall, Edwidge Danticat, and Maya Angelou with pieces by Albert Murray, Ralph Ellison, James Baldwin, and Ellington. Within an interdisciplinary and transnational context, Lespinasse foregrounds the vexed negotiations around gender and jazz discourse"-- | |
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| contents | Introduction. A new beat, generations later : modern jazz and African diaspora womens' writing -- Reunited : (Re)Claming gender in jazz narratives from Baldwin's "Sonny's Blues" to Angelou's "Reunion" -- Musical signifyin(g) : a theory of cry and response in Gayl Jones's Corregidora -- This jazz moment : (Re)Envisioning Ralph Ellison's Invisible Man in Toni Morrison's The Bluest Eye -- Wild women don't have the blues : improvising women in Toni Morrison's Jazz and Ann Petry's The Street -- Jazz and the Caribbean : The feminist jazz lens in Edwidge Danticat's Breath, Eyes, Memory -- The Fisher King and the women of jazz -- Conclusion. Toward a womanist jazz lens : gender and jazz in poetry and dance |
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In texts that refer to jazz in form or content, the Wild Woman constitutes a figure of resistance who uses language, image, and improvisation to refashion herself from object to subject. </subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">This book breaks new ground by comparing the politics of resistance alongside moments of improvisation by examining recurring literary motifs-cry-and-response, the Wild Woman, and the jazz moment-in jazz novels, short stories, and poetry, comparing works by Ann Petry, Gayl Jones, Toni Morrison, Paule Marshall, Edwidge Danticat, and Maya Angelou with pieces by Albert Murray, Ralph Ellison, James Baldwin, and Ellington. 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| id | DE-604.BV047843336 |
| illustrated | Illustrated |
| index_date | 2024-07-03T19:12:49Z |
| indexdate | 2024-07-10T09:22:52Z |
| institution | BVB |
| isbn | 9781496836021 9781496836038 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033226342 |
| oclc_num | 1312688159 |
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| owner_facet | DE-12 |
| physical | viii, 145 Seiten 1 Porträt |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | University Press of Mississippi |
| record_format | marc |
| spelling | Lespinasse, Patricia G. Verfasser (DE-588)1255296976 aut The drum is a wild woman jazz and gender in African diaspora literature Patricia G. Lespinasse Jackson University Press of Mississippi [2022] viii, 145 Seiten 1 Porträt txt rdacontent n rdamedia nc rdacarrier Introduction. A new beat, generations later : modern jazz and African diaspora womens' writing -- Reunited : (Re)Claming gender in jazz narratives from Baldwin's "Sonny's Blues" to Angelou's "Reunion" -- Musical signifyin(g) : a theory of cry and response in Gayl Jones's Corregidora -- This jazz moment : (Re)Envisioning Ralph Ellison's Invisible Man in Toni Morrison's The Bluest Eye -- Wild women don't have the blues : improvising women in Toni Morrison's Jazz and Ann Petry's The Street -- Jazz and the Caribbean : The feminist jazz lens in Edwidge Danticat's Breath, Eyes, Memory -- The Fisher King and the women of jazz -- Conclusion. Toward a womanist jazz lens : gender and jazz in poetry and dance "In 1957, Duke Ellington released the influential album A Drum Is a Woman. This musical allegory revealed the implicit truth about the role of women in jazz discourse-jilted by the musician and replaced by the drum. Further, the album's cover displays an image of a woman sitting atop a drum, depicting the way in which the drum literally obscures the female body, turning the subject into an object. This objectification of women leads to a critical reading of the role of women in jazz music: If the drum can take the place of a woman, then a woman can also take the place of a drum. The Drum Is a Wild Woman: Jazz and Gender in African Diaspora Literature challenges that image but also defines a counter-tradition within women's writing that involves the reinvention and reclamation of a modern jazz discourse. Despite their alienation from bebop, women have found jazz music empowering and have demonstrated this power in various ways. The Drum Is a Wild Woman explores the complex relationship between women and jazz music in recent African diasporic literature. The book examines how women writers from the African diaspora have challenged and revised major tropes and concerns of jazz literature since the bebop era in the mid-1940s. Black women writers create dissonant sounds that broaden our understanding of jazz literature. By underscoring the extent to which gender is already embedded in jazz discourse, author Patricia G. Lespinasse responds to and corrects narratives that tell the story of jazz through a male-centered lens. She concentrates on how the Wild Woman, the female vocalist in classic blues, used blues and jazz to push the boundaries of Black womanhood outside of the confines of respectability. In texts that refer to jazz in form or content, the Wild Woman constitutes a figure of resistance who uses language, image, and improvisation to refashion herself from object to subject. This book breaks new ground by comparing the politics of resistance alongside moments of improvisation by examining recurring literary motifs-cry-and-response, the Wild Woman, and the jazz moment-in jazz novels, short stories, and poetry, comparing works by Ann Petry, Gayl Jones, Toni Morrison, Paule Marshall, Edwidge Danticat, and Maya Angelou with pieces by Albert Murray, Ralph Ellison, James Baldwin, and Ellington. Within an interdisciplinary and transnational context, Lespinasse foregrounds the vexed negotiations around gender and jazz discourse"-- Jazz Motiv (DE-588)4237436-4 gnd rswk-swf Literatur (DE-588)4035964-5 gnd rswk-swf Schwarze Frau Motiv (DE-588)4308867-3 gnd rswk-swf Jazz in literature Jazz / History and criticism Women in music African American women authors Music and literature Wild women in literature LITERARY CRITICISM / Feminist MUSIC / Genres & Styles / Jazz Jazz Criticism, interpretation, etc Schwarze Frau Motiv (DE-588)4308867-3 s Jazz Motiv (DE-588)4237436-4 s Literatur (DE-588)4035964-5 s DE-604 Erscheint auch als Online-Ausgabe, epub 978-1-4968-3604-5 Erscheint auch als Online-Ausgabe, epub 978-1-4968-3605-2 Erscheint auch als Online-Ausgabe, pdf 978-1-4968-3606-9 Erscheint auch als Online-Ausgabe, pdf 978-1-4968-3607-6 |
| spellingShingle | Lespinasse, Patricia G. The drum is a wild woman jazz and gender in African diaspora literature Introduction. A new beat, generations later : modern jazz and African diaspora womens' writing -- Reunited : (Re)Claming gender in jazz narratives from Baldwin's "Sonny's Blues" to Angelou's "Reunion" -- Musical signifyin(g) : a theory of cry and response in Gayl Jones's Corregidora -- This jazz moment : (Re)Envisioning Ralph Ellison's Invisible Man in Toni Morrison's The Bluest Eye -- Wild women don't have the blues : improvising women in Toni Morrison's Jazz and Ann Petry's The Street -- Jazz and the Caribbean : The feminist jazz lens in Edwidge Danticat's Breath, Eyes, Memory -- The Fisher King and the women of jazz -- Conclusion. Toward a womanist jazz lens : gender and jazz in poetry and dance Jazz Motiv (DE-588)4237436-4 gnd Literatur (DE-588)4035964-5 gnd Schwarze Frau Motiv (DE-588)4308867-3 gnd |
| subject_GND | (DE-588)4237436-4 (DE-588)4035964-5 (DE-588)4308867-3 |
| title | The drum is a wild woman jazz and gender in African diaspora literature |
| title_alt | Introduction. A new beat, generations later : modern jazz and African diaspora womens' writing -- Reunited : (Re)Claming gender in jazz narratives from Baldwin's "Sonny's Blues" to Angelou's "Reunion" -- Musical signifyin(g) : a theory of cry and response in Gayl Jones's Corregidora -- This jazz moment : (Re)Envisioning Ralph Ellison's Invisible Man in Toni Morrison's The Bluest Eye -- Wild women don't have the blues : improvising women in Toni Morrison's Jazz and Ann Petry's The Street -- Jazz and the Caribbean : The feminist jazz lens in Edwidge Danticat's Breath, Eyes, Memory -- The Fisher King and the women of jazz -- Conclusion. Toward a womanist jazz lens : gender and jazz in poetry and dance |
| title_auth | The drum is a wild woman jazz and gender in African diaspora literature |
| title_exact_search | The drum is a wild woman jazz and gender in African diaspora literature |
| title_exact_search_txtP | The drum is a wild woman jazz and gender in African diaspora literature |
| title_full | The drum is a wild woman jazz and gender in African diaspora literature Patricia G. Lespinasse |
| title_fullStr | The drum is a wild woman jazz and gender in African diaspora literature Patricia G. Lespinasse |
| title_full_unstemmed | The drum is a wild woman jazz and gender in African diaspora literature Patricia G. Lespinasse |
| title_short | The drum is a wild woman |
| title_sort | the drum is a wild woman jazz and gender in african diaspora literature |
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