Suchergebnisse

Die Geschichte des Jazz spiegelt sich auch in der literarischen Aneignung dieser Musikrichtung nieder, die v. a. in einer Nutzung dieser Musik und Musiker als literarische Stoffe oder Motive besteht. Während in der Weimarer Republik der Jazz vom Ragtime bis Swing als Totentanz auf den Wilhelminismus oder gar die abendländische Kultur begriffen wird, erscheint er in der Nachkriegszeit als zugleich anti-faschistische und modernistische Form. Dabei entstehen Jazz-Geschichten, die nicht selten aus älteren zivilisationskritischen Philosophien oder neueren politischen Mythen gespeist werden, aber auch neue intermediale Formen. The history of jazz is also reflected in the literary appropriation of this musical movement, which comprises of the use of jazz and jazz musicians as literary themes and motifs. While in the Weimar Republic jazz (from ragtime to swing) was seen as a danse macabre celebrating the end of the Wilhelminian era or Western culture in general, in the post-war era it was seen both as an anti-fascist as well as a modernist form. For that reason, we can observe the emergence of jazz stories as derivations of critical philosophies and newer political myths as well as new intermedial forms.

Intro -- Title Page -- Copyright -- Dedication -- Contents -- Introduction -- A Shower of Golden Eighth Notes: Poems about Jazz -- Ai -- Archangel -- James Baldwin -- Le sporting-club de Monte Carlo -- Amiri Baraka -- AM/TRAK -- Adrea Bogle -- Off Minor -- Wanda Coleman -- but, ruby my dear -- Billy Collins -- Man Listening to Disc -- Jayne Cortez -- Rose Solitude -- Tapping -- Stephen Cramer -- Sonnets Ending with a Line by Miles -- Coltrane's Teeth -- Bone Music -- Mark Doty -- Almost Blue -- Rita Dove -- Canary -- Sascha Feinstein -- "Coltrane, Coltrane" -- Sonnets for Stan Gage (1945-1992) -- Blues Villanelle for Sonny Criss -- Christmas Eve -- Everything Happens to Me, 1965 -- Dana Gioia -- Meet Me at the Lighthouse -- Michael S. Harper -- Dear John, Dear Coltrane -- Langston Hughes -- Jazzonia -- The Trumpet Player -- Song for Billie Holiday -- Lynda Hull -- Lost Fugue for Chet -- Ornithology -- Hollywood Jazz -- Angela Jackson -- Billie in Silk -- David Jauss -- Black Orchid -- A.Van Jordan -- J.J. Johnson Changes Tempo -- Vapors of Sidney Bechet -- Allison Joseph -- For Dinah Washington -- Jack Kerouac -- Choruses 239-241 of Mexico City Blues -- Etheridge Knight -- For Eric Dolphy -- Jazz Drummer -- Yusef Komunyakaa -- Elegy for Thelonious -- February in Sydney -- Blue Light Lounge Sutra for the Performance Poets at Harold Park Hotel -- Testimony -- Philip Levine -- On the Corner -- William Matthews -- Mingus at the Showplace -- Mingus at the Half Note -- Mingus in Diaspora -- Mingus in Shadow -- Bmp Bmp -- Blues for John Coltrane, Dead at 41 -- Stanley Moss -- A Riff for Sidney Bechet -- Frank O'Hara -- The Day Lady Died -- Muriel Rukeyser -- Bunk Johnson Blowing -- Sonia Sanchez -- A Poem for Ella Fitzgerald -- Neil Shepard -- Joe Louis and the Duke -- The Last LP -- Betsy Sholl -- Don't Explain -- J.R. Solonche -- Coltrane on Soprano.

From Britain's Downton Abbey and Dancing on the Edge to Woody Allen's Midnight in Paris and Baz Luhrmann's The Great Gatsby, the Jazz Age's presence in recent popular culture has been striking and pervasive. This volume not only deepens the reader's knowledge of this iconic period, but also provides a better understanding of its persistent presence "in our time." Situating well-known Jazz Age writers such as Langston Hughes in new contexts while revealing the contributions of lesser-known figures such as Fannie Hurst, Looking Back at the Jazz Age brings together an international and interdisci

My research engages intersections of the racial and the sonic in the cultural criticism of poet and playwright Amiri Baraka. Focusing primarily on his music and political criticism published between 1961 and 1971, I am interested in questions of vernacular performance, as well as tensions between the verbal and the vocal that arise in his work. This project began with an interest in locating and understanding the moment in Baraka's work where he began to turn away from the poetic style of contemporaries such as Frank O'Hara and Gary Snyder, choosing instead to shift towards a style reminiscent of jazz performance. Simply put, I am hoping to determine the role sound played in how Amiri Baraka made sense of the world around him in writing. Moving through Baraka's oeuvre with an attention to sound in mind, I attempt to work through tensions of politics and aesthetics that arise in his criticism. Though constantly renewing and reorienting his prose, Baraka displays a consistent desire to determine how political histories bear on issues of aesthetics. This project attempts to reflect that interrelationship by paying attention to Amiri Baraka's political activism during and after the Newark Riots of 1967 as well as his jazz criticism published in two collections during the 1960s. By considering the implications of sonority within this aesthetic/political bifurcation, I strive to discover a comprehensive linkage that may assist in understanding the diverse and ubiquitous work Amiri Baraka produced in the 1960s and 1970s.

This article analyzes a jazz trope that appeared in literature, film, and journalism from the 1930s to the early 1960s. It shows how the distinct symbolic order and moral boundaries of these cultural fields shaped a "story of jazz" that acted as a metaphor for class, race, and urban America. The jazz trope represented a double consciousness of romantic rebellion and dangerous deviancy in which the story of jazz almost always ended in tragic consequences. The ultimate tragedy of the jazz life in the popular imagination acted to reaffirm dominant norms against a rebellious and deviant world in urban America.

Inhalt; Vorwort; Adorno, Theodor W. 11.9.1903 Frankfurt am Main - 6.8.1969 Visp, Schweiz; Kierkegaard. Konstruktion des Ästhetischen.; Literatur; Über Jazz.; Literatur; Über den Fetischcharakter in der Musik und die Regression des Hörens.; Literatur; Philosophie der neuen Musik.; Literatur; Kulturkritik und Gesellschaft.; Literatur; Minima Moralia. Reflexionen aus dem beschädigten Leben.; Literatur; Versuch über Wagner.; Literatur; Der Essay als Form.; Literatur; Theorie der Halbbildung.; Literatur; Eingriffe. Neun kritische Modelle.; Literatur

1920s, defined as Harlem Renaissance constituted an era that the blacks in the United States expressed themselves via creating unique and original works in literature and art. During this period, also known as the jazz age (or the jazz era), the black people, who came to the north during the First World War by internal migration, formed an intense population in the Harlem region of New York. African Americans have been able to express their identities through literature, art and music within the structure of wealth and consumption society in post-war America. In parallel with this, this period, which is defined as the Harlem Renaissance, has taken an important place in American Literature and has been a reference for the African American literature to have an identity in the institutional sense. Langston Hughes, one of the most distinguished representatives of this period, and his works have been selected as the primary research subject of this thesis. One of the most important reasons for including Langston Hughes in this study is that, besides being one of the first African Americans to represent American modernism, his literary identity and writings include wide range of works, not only confined with poetry or short stories, but also extended to novel and drama. This thesis aims to analyze the works of Hughes by focusing on the concept of language, identity and representation and reflect the African Americans in American society within the context of literature-culture connection. However, it would be useful to emphasize that Hughes' political identity is not only in literature or art, but is prevalent in the modern era of America as well. ; 1920'ler, Harlem Rönesansı olarak tanımlanan ve Amerika'da yaşayan siyahların edebiyat ve sanat açısından özgün eserler üreterek kendilerini ifade edebildikleri bir süreci yaratmıştır. Caz Çağı (ya da Caz Devri) olarak da anılan bu dönemde, Birinci Dünya Savaşı sırasında ve sonrasında kuzeye iç göç ile yoğun bir biçimde gelen siyahlar, özellikle New York'un Harlem bölgesinde yoğun bir nüfus oluşturmuşlardır. Siyah Amerikalılar, savaş sonrası Amerika'da yaşanan zenginlik ve tüketim toplumu yapısı içinde kendi kimliklerini edebiyat, sanat ve müzik ile ifade edebilme imkanına kavuşmuşlardır. Buna paralel olarak Harlem Rönesansı olarak tanımlanan bu dönem Amerikan Edebiyatı içinde önemli bir yer almış ve Afro-Amerikan edebiyatının kurumsal anlamda bir kimlik sahibi olmasına katkı sağlamıştır. Bu dönemin en önemli temsilcilerinden Langston Hughes ve eserleri bu tezin birincil araştırma konusu olarak seçilmiştir. Langston Hughes'ın seçilmesindeki en önemli nedenlerden bir tanesi, Amerikan modernizmini temsil eden ilk Afrikalı Amerikalılardan olmasının yanı sıra, edebi kimliğinin ve yazarlığının sadece şiir ya da kısa hikayelerle değil aynı zamanda roman ve tiyatro çalışmalarıyla geniş bir alana yayılmış olmasındandır. Bu çalışma Hughes'un eserlerini dil, kimlik ve temsil gibi kavramlar üzerinde inceleyerek, edebiyat-kültür ilişkisi bağlamında Afrikalı Amerikalıların Amerikan kültürü içindeki varlığını yansıtmayı amaçlamaktadır. Bununla birlikte Hughes'un sadece edebiyat ya da sanat ile değil, Amerika'nın modern dönemi içinde politik bir kimliğe sahip olduğunu vurgulamak yararlı olacaktır.

This paper demonstrates how the art form jazz improvisation can be applied to organizational innovative activities, focusing specifically on product innovation. In the past, the literature on product innovation focused on well-planned approaches which followed a clearly-understood structure based on a rational-functionalist paradigm. However, it is becoming increasingly evident that this model is inappropriate in today's highly competitive business environment. A balance between structure and flexibility seems to be an appropriate way to manage the contradicting demands of control and creativity faced by organizations in highly competitive environments. Jazz improvisation provides this synthesis through the concept of `minimal structures'. We characterize the minimal structures that allow jazz improvisers to merge composition and performance, and then proceed to apply this approach to new product development.

Tenors like "bring in the arts and get the creativity for free" have attracted business practitioners and researchers, and this "intersection" of business and arts has developed into a study field. Metaphorical learning from arts involves musical, also theatrical, and terpsichorean improvisation. Not surprisingly, several subfields in business – entrepreneurship, project, process, and service management – as well as other business and non-business fields – have been "jazzed". Another strengthening trend is linking different (sub)fields and fostering mutual learning. The paper seeks for novel possibilities to learn from jazz and to support further mutual learning and linking of disserted business, also non-business fields. Nowadays traditional business models and services are moving towards problem-solving and adaptation to change, implementing creativity and improvisation. Taking a fresh stock of relevant academic literature and discussion revealed the increasing importance of organizational improvisation. Jazz (music and arts) appeared to be a fruitful metaphor and source of learning. As differences appeared across the examined fields, possibilities for learning from jazz, as well as for mutual learning are not yet depleted. This paper provides insights to further learning from the jazz approach, as well as mutual learning and enrichment between the examined subfields.