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頁籤選單縮合
| 題 名 | Black, White, and Blues: Race and the Modernist Avant-Garde in Blues: A Magazine of New Rhythms=黑人、白人與藍調:《藍調:新節奏雜誌》中的族裔與現代主義前衛 |
|---|---|
| 作 者 | 貝潞; | 書刊名 | 文山評論:文學與文化 |
| 卷 期 | 19:1 2025.12[民114.12] |
| 頁 次 | 頁87-112+112_1 |
| 專 輯 | Memory: The Captive and the Fugitive |
| 分類號 | 541.3 |
| 關鍵詞 | 現代主義; 種族挪用; 黑人文化; 小雜誌; 詩歌; 酷兒作家; Modernism; Racial appropriation; Black culture; Little magazines; Poetry; Queer writers; |
| 語 文 | 英文(English) |
| DOI | 10.30395/WSR.202512_19(1).0005 |
| 中文摘要 | 現代主義雜誌:《藍調:新節奏雜誌》(Blues: A Magazine of New Rhythms)由查爾斯・亨利・福特(Charles Henri Ford) 創辦及主編,並在 1929 年至 1930 年間共出版了十期。儘管雜 誌的標題似乎暗示著其內容將聚焦在或是受到藍調、爵士 樂、或是更廣泛的黑人文化等音樂類型的啟發,但最終在整 個刊物中,僅僅只有三篇文章提到了黑人音樂或文化。本文 分析了福特、助理編輯凱斯琳・譚克斯莉・楊(Kathleen Tankersley Young),以及維特・拜納(Witter Bynner)的三首 詩,旨在揭示現代主義文學中,酷兒白人前衛作家如何一方 面承認黑人文化的活力,與種族不平等及暴力問題的同時, 另一方面卻又將非裔美國人的邊緣化經驗挪為己用。雖然這 些酷兒白人作家在詩中所呈現的核心主題,與黑人處於邊緣 化的經驗相似,不過他們不著墨黑人的生活經歷與文化,僅 僅草率帶過,以呈現白人作家先進的思想突破。因此,我主 張《藍調》體現了黑人文化在前衛的現代主義中的運用,並 彰顯出一種文化資本,但事實上涉及了黑人文化的挪用。 |
| 英文摘要 | The modernist magazine Blues: A Magazine of New Rhythms was founded and edited by Charles Henri Ford and was published over the course of ten issues from 1929 to 1930. Although the title seems to suggest that the journal would focus on or be inspired by the musical genre of the blues, jazz, or perhaps even more broadly on black culture, only three contributions in the entire run mention black music or culture at all. This article analyzes those three poems by Ford, assistant editor Kathleen Tankersley Young, and Witter Bynner to demonstrate the way queer white avant-garde writers of modernist literature simultaneously recognized the vitality of black culture and the problem of racial inequality and violence while also appropriating the sense of marginalization of black Americans. While these queer authors share sense of marginalization with black people—a theme of each of these poems—they also reduce black life and culture to mere shorthand to show a white writer is a progressive-minded rule breaker. In this way, I argue that Blues exemplifies the use of black culture in avant-garde modernism to assert a kind of cultural capital while, in effect, appropriating black culture. |
本系統中英文摘要資訊取自各篇刊載內容。