The goal of this thesis is to explore African American theatre through the lens of performativity and to show how the performative concepts of passing and entrenchment affected the writing of African American playwrights in the 1950s and 1960s. To this end, the first part of the work is focused on establishing performativity as a concept, starting with its origins in linguistics and then tracing its development. The main influences for this section are the works of Judith Butler, Nadine Ehlers, Andrew Parker and Eve Sedgewick. Butler's work on performativity is used as the main source for understanding performativity in its contemporary sense and to establish "passing" as a performative act. Ehlers' work serves to connect performativity to race and to show the use of "entrenchment" in performativity. Finally, Parker and Sedgewick's work provides a bridge between performativity and theatrical performance as they describe the "relations of spectatorship" necessary for the existence of theatre. Since performativity, in theatre or anywhere else, is based on discourse, the thesis will show the images and relations of spectatorship that defined African American theatre and performance since its inception. These include slave performance, black minstrelsy, but also the first attempts at quintessentially...

Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective. / My doctoral dissertation, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry studies the ways in which African American poets of the 1960s and 1970s, Langston Hughes, David Henderson, Sonia Sanchez, and Amiri Baraka employ jazz in order to ground their poetry in the tradition of performance. In so doing, each poet illustrates how black expressive culture, by conceptualizing through performance modes of resistance, has historically been used by people of African descent to challenge institutionalized racism and discriminatory discourses. Therefore, for the purpose of this dissertation, I focus on four poets who engage in dialogues with and about black musicology, aesthetics, and politics of the 1960s and 1970s; they assert the centrality of literary rendition for the survival and continuance of the collective cultural memory of Black Americans. In turn, I suggest that their theorization of artistry as political engagement becomes a central element in the construction of a Black Aesthetic based on performance. In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry thus proposes an original analysis of how the four poets infused jazz and political references in their poetics in order to re-educate later generations about a collective black memory.

This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.

Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective. / My doctoral dissertation, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry studies the ways in which African American poets of the 1960s and 1970s, Langston Hughes, David Henderson, Sonia Sanchez, and Amiri Baraka employ jazz in order to ground their poetry in the tradition of performance. In so doing, each poet illustrates how black expressive culture, by conceptualizing through performance modes of resistance, has historically been used by people of African descent to challenge institutionalized racism and discriminatory discourses. Therefore, for the purpose of this dissertation, I focus on four poets who engage in dialogues with and about black musicology, aesthetics, and politics of the 1960s and 1970s; they assert the centrality of literary rendition for the survival and continuance of the collective cultural memory of Black Americans. In turn, I suggest that their theorization of artistry as political engagement becomes a central element in the construction of a Black Aesthetic based on performance. In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry thus proposes an original analysis of how the four poets infused jazz and political references in their poetics in order to re-educate later generations about a collective black memory.

Werden Defizite in Bewässerungssystemen als rein technisches Problem betrachtet, führt dies zur Ausblendung sozialer und kultureller Aspekte der Ressourcenverwaltung. Als Konsequenz werden sinnvolle technische Innovationen von der Bevölkerung nicht angenommen und verbleiben letztendlich ungenutzt. Bisherige Studien über das südmarokkanische Oasengebiet im Ziz-Tal hatten überwiegend ökologische und ingenieurtechnische Ansätze verfolgt. Das Forschungsinteresse dieser Arbeit liegt stärker auf den kollektiven Handlungsmustern, Regelsystemen und spezifischen Variationen sozialer Vereinbarungen in Form von formellen und informellen Institutionen der traditionellen und der heutigen Bewässerung. Zum Verständnis der gegenwärtigen Situation werden die rechtlichen und politischen Rahmenbedingungen, der soziokulturelle Kontext sowie die naturräumlichen Voraussetzungen und Umweltveränderungen – mit besonderem Blick auf die verfügbaren Wasserressourcen in dieser ariden Region – analysiert und das institutionelle Gefüge in einer auf Methoden der qualitativen Sozialforschung basierenden Fallstudie in einem Oasendorf untersucht.

Werden Defizite in Bewässerungssystemen als rein technisches Problem betrachtet, führt dies zur Ausblendung sozialer und kultureller Aspekte der Ressourcenverwaltung. Als Konsequenz werden sinnvolle technische Innovationen von der Bevölkerung nicht angenommen und verbleiben letztendlich ungenutzt. Bisherige Studien über das südmarokkanische Oasengebiet im Ziz-Tal hatten überwiegend ökologische und ingenieurtechnische Ansätze verfolgt. Das Forschungsinteresse dieser Arbeit liegt stärker auf den kollektiven Handlungsmustern, Regelsystemen und spezifischen Variationen sozialer Vereinbarungen in Form von formellen und informellen Institutionen der traditionellen und der heutigen Bewässerung. Zum Verständnis der gegenwärtigen Situation werden die rechtlichen und politischen Rahmenbedingungen, der soziokulturelle Kontext sowie die naturräumlichen Voraussetzungen und Umweltveränderungen – mit besonderem Blick auf die verfügbaren Wasserressourcen in dieser ariden Region – analysiert und das institutionelle Gefüge in einer auf Methoden der qualitativen Sozialforschung basierenden Fallstudie in einem Oasendorf untersucht.

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In Rhythm Changes: Jazz Rhythm in the African American Novel, I demonstrate how novelists from the Harlem Renaissance to the Black Arts Movement adapted jazz rhythm into literary form. In the prologue to Invisible Man, Ralph Ellison famously defines invisibility as a state of being “never quite on the beat.” Ellison frames the novel as a kind of translation of the “invisible” rhythm the narrator hears in Louis Armstrong, a syncopated rhythm rooted in Black aesthetic and cultural forms. “Could this compulsion to put invisibility down in black and white be thus an urge to make music of invisibility?” Ellison was not alone in this project. The writers I study all exemplify what Duke Ellington calls a “tone parallel”—the concept that literary form could reproduce or “parallel” the particularities of musical form. However, these writers find literary strategies to transcend parallelism, such that the lines between medium begin to touch. Considering devices that cut across music and literature—anaphora, antiphonal dialogue, polysyndeton, parataxis—I argue that novelists, not just poets, respond formally to the rhythmic concepts they hear on the bandstand, synthesizing these innovations with a broader literary tradition. Rudolph Fisher’s novel The Conjure-Man Dies brings the complex rhythmic sensibility of Louis Armstrong to detective fiction; Ann Petry’s The Street channels the rhythmic phrasing of Ethel Waters in a “novel of social criticism”; Ellison’s epic unfinished second novel follows the paratactic rhythm of the preacher and jazz trombonist; and Amiri Baraka’s The System of Dante’s Hell projects the rhythm of Sonny Rollins and Cecil Taylor onto Charles Olson’s “Projective Verse.” By finding the literary in the musical and vice versa, these novelist-experimenters move beyond Pater’s credo that all art aspires to the condition of music.

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