In The Break: The Aesthetics Of The Black Radical TraditionU of Minnesota Press, 9 apr 2003 - 332 pagina's Investigates the connections between jazz, sexual identity, and radical black politics Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplines—semiotics, deconstruction, genre theory, social history, and psychoanalysis—to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition |
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... relation to a certain musical obscurity and opens us to the problematics of everyday ritual, the stagedness of the violently (and sometimes amelioratively) quotidian, the essential drama of black life, as Zora Neale Hurston might say ...
... relation to a certain notion of subjection, to do with the essential historicity, the quintessential modernity, of black performance? Whatever runs off us, a certain offense runs through us. This is a double ambivalence that requires ...
... relation to the possibility of (a universal science of and a universal) language, is only given in the absence or supercession of, or the abstraction from, sounded speech—its essential materiality is rendered ancillary by the crossing ...
... relation to personhood that could be said to come into clearer focus against the backdrop of the ensemble of motherhood, blackness, and the bridge between slavery and freedom. Leopoldina Fortunati puts it this way: “The conflicting ...
... relation other than in relation to the individuals who, divested of all value, are thus forced to sell the only commodity they have, their labor power. Secondly, under capitalism, reproduction is separated off from production; the ...
Inhoudsopgave
The Sentimental AvantGarde | |
In the Break | |
Visible Music | |
Adrian Pipers Theatricality | |
Notes | |
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In the Break: The Aesthetics of the Black Radical Tradition Fred Moten Geen voorbeeld beschikbaar - 2003 |