In The Break: The Aesthetics Of The Black Radical TraditionU of Minnesota Press, 2003. 4. 9. - 332페이지 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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15 | |
and horrorstricken at the sight that I | 20 |
freedomoperate as a kind of anacrusis a | 22 |
CHAPTER 1 | 25 |
Invention Natures child fled stepdame Studys | 110 |
Had having and in quest to have extreme | 115 |
Brown to You And none of you cats | 117 |
evilsmelling freezing caves breathing highvalence poison | 121 |
evilsmelling freezing caves breathing highvalence poison | 123 |
the name of justice and freedomto the ensemble | 128 |
a new type of group improvisation emerges in which melodic | 129 |
repetition to the other And what it signs is | 134 |
and augmentative whole that Ellington constantly achieves breaks | 27 |
clearly seen in the case of that portion of the | 30 |
and carvedout names in library facades building | 31 |
Delaney Strayhorn and Artaud share some transatlantic maternal | 37 |
deep hope given to my people in the deep south | 38 |
music is not only the last resort of | 39 |
the movement of hips dedicated by that movement | 40 |
Words dont go there Is it only music | 42 |
lifted by design slurred by packaging the rhythmic | 43 |
methodological procedures that I follow are akin more closely | 44 |
task of a reconciliation of one and many via representation | 46 |
Ritual is formulaic spatiality carried out by groups of people | 48 |
and meaningful positionality might be better thought in terms of | 49 |
of Parkin and their interrelation in a discursive field grounded | 50 |
primacy of the visualspatial but these | 51 |
writing that is neither hieroglyphic nor pictographic but geometric | 52 |
singularity the paradoxical interinanimation of ritual and idiom puts | 53 |
misled by James Brown in the first placeof | 55 |
In Structure Sign and Play Derrida | 56 |
and on the other hand the mundane since | 58 |
bes core based fiber conducting impulses flattened spirals of spirit | 61 |
proceeding enclosure engulfing unending spiral | 62 |
shadow and complete illumination | 63 |
lighted when I got home and sat listening to my | 65 |
What is selfanalysis? What is the direction | 74 |
synagogue in Prague is called the OldNew? | 76 |
finally for something that is somehow both | 77 |
On the other hand in certain circles broken | 78 |
articulation attack and timbre A very literal | 79 |
when you hear music | 81 |
CHAPTER 2 | 85 |
The wide open ensembles the working friezes the | 87 |
Europe and America of outness labor | 88 |
interpretation forces itself upon us That is surely | 89 |
Here are the first lines of tragedy | 95 |
wirepreses | 96 |
Here are the first lines of tragedy | 101 |
encoded in all the possible experiences of meaning that the | 102 |
in for when he married me I knew this | 103 |
an improvisation an | 105 |
When I get to New York I will read this | 106 |
at the point of a condensation in Millsteins reading that | 107 |
before writing inscribed? what temple? undermine | 108 |
that these essential properties are in fact exemplified As | 141 |
difference throughout Barakas work of the 1960s But Barakas | 143 |
that the question of the nature of Occidental ontology cannot | 144 |
tradition to be sounded and collected within the aurality of | 146 |
on the piano bottom on his elbows he tapped | 147 |
the mark of black spirit and phenomenality is ultimately | 148 |
becomes the vehicle whose animative force allows a descent at | 149 |
here to dismiss what seems to me nothing if not | 150 |
ongoing production of a performance that offers some clues concerning | 154 |
a single happening was? What constituted the singularity that | 155 |
performance to think the performer catching her breath | 164 |
to touch the floor and there they are | 165 |
emotion demands of him within the context of a play | 168 |
CHAPTER 3 | 171 |
mouth If there is a God and revolution | 174 |
anticipation and which manufactures for the subject caught up | 176 |
coral or innumerable other things whose appearance is clearer | 183 |
Baldwin remembered as one of the most tragically absurd | 186 |
The bottom of his throat was sore his lips | 188 |
science of language The soundimage is the | 190 |
with his cutoff penis stuffed in his mouth | 193 |
reproduction All this by way of an investigation of | 198 |
Tills passion of whatever passion would redeem crucifixion | 201 |
photographic historicality as overwhelmed by that univocal intentional | 204 |
subject their naturalness to our human criticism57 | 207 |
and reconstructs his broken body emerges from love | 209 |
was scared to look at her face in the photograph | 211 |
that phonic materiality and impossible maternity that they relinquish | 212 |
reduces difference The reduction of difference and the reduction | 215 |
an emergent aesthetic of cognitive mapping on the one | 218 |
opposed not to some infinitely durative experience of the object | 239 |
be absorbed into their consciousness as an object But | 240 |
of the subjective is enacted by way | 245 |
if it produces in me a pleasure however indifferent | 246 |
Meanwhile the parergon is as problematic for Piper as | 247 |
reversal is made to stand in for the representation | 248 |
make Fried proud It is of course | 251 |
Communism to the dematerializing theoretical forces that are | 253 |
Notes | 255 |
Housework | 261 |
and thematics of blackness that takes the sequence out | 276 |
brief text that opens the possibility of a brief and | 278 |