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The founding hypothesis of the study is that creative writers translate jazz music and performance into discourse by recourse to a number of figurative domains. These translations map existential, anthropological and political spaces and situate jazz within these. The first chapter concerns the representation of jazz in the construction of alterity, focussing on the evocation of the Dionysian spirit of jazz, the parallels between jazz and Bahktin's carnival and the strategic deployment of 'blackness' in configurations. The second chapter applies the notion of 'existential integration' in tracing some of the fluid boundaries between the music, the body of the instrument and the body of the performer in representations. The final chapter looks at the contrary tendency: the representation of mystical transcendence in the course of listening to or performing jazz. Underlying each of the three chapters is a concern with the emergence and propagation of oppositional identities in jazz writing. / English Studies / M.A. (English)

That marginalized discourse communities practice differing modes of communication is a claim recently argued; critics have focused on the trope of metonymy as a means of signifying a discriminated-against group's silenced status within the mainstream society. What seems to be ignored in this discussion is how differing media--literature, music, painting--constitute texts that cut across discursive space (the site of these media) in a similar fashion. By positing the intertextuality (i.e., the similarity) of psycholinguistic metonymy and jazz phraseology, this thesis demonstrates how literary texts issuing from marginalized discourse communities can speak their subjectivities' full names. In Langston Hughes' "The Blues I'm Playing," metonymy and jazz serve as methods of analysis which show the subject-object relationship in artistic production. Jack Kerouac's On The Road constitutes a narrative subjectivity that, like jazz music, metonymically disrupts itself as silences speak from the realm of an Other. By accounting for the similarities between metonymy and jazz, this thesis asserts that more accurate readings can be derived from literature issuing from discourse communities which use jazz to signify. / Department of English

Thesis (Ph.D.)--Universität Frankfurt (Main), 2009. / Includes bibliographical references.

The founding hypothesis of the study is that creative writers translate jazz music and performance into discourse by recourse to a number of figurative domains. These translations map existential, anthropological and political spaces and situate jazz within these. The first chapter concerns the representation of jazz in the construction of alterity, focussing on the evocation of the Dionysian spirit of jazz, the parallels between jazz and Bahktin's carnival and the strategic deployment of 'blackness' in configurations. The second chapter applies the notion of 'existential integration' in tracing some of the fluid boundaries between the music, the body of the instrument and the body of the performer in representations. The final chapter looks at the contrary tendency: the representation of mystical transcendence in the course of listening to or performing jazz. Underlying each of the three chapters is a concern with the emergence and propagation of oppositional identities in jazz writing. / English Studies / M.A. (English)

Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. Maxine Montgomery, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Apr. 9, 2004). Includes bibliographical references.

Thesis (M.A.)--Acadia University, 2000. / Includes bibliographical references (leaves 120-124). Also available on the Internet via the World Wide Web.

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.