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Writing Jazz: Race, Nationalism, and Modern Culture in the 1920s
Nicholas M. Evans
Limited preview - 2015
aesthetic African Americans Amanthis ambivalent Amory AngloSaxon Ardita Arnold Arnoldian articulate artistic associated Bederman binary black culture black music blackface Bois Bois’s cabaret Camel’s Back Chapter civilization composers Dalyrimple desire discourse dominant dynamic embodied emphasizes ethnic European excolored expression Fitzgerald folk music Gatsby George Gershwin Gershwin Gilroy Gilroy’s Harlem Harlem Night Harlem Renaissance Herderian hierarchies homosexual Hughes Hughes’s Hutchinson hybrid identity immigrants Jakie Jakie’s jazz criticism jazz’s Jazzonia Jewish Jews Jim’s Johnson Langston Lincoln Center Looking for Langston male man’s manliness Marsalis masculinity Mason middleclass miscegenation modern modernist Moore musicians narrator national culture Negro neurasthenia nineteenthcentury novel paradoxically Paul Whiteman people’s performance Perry poem’s poems political popular primitive primitivism promoted race racial crossdressing racial/cultural ragtime Rampersad Raphaelson represents Seldes Seldes’s sense sexual social songs speaker spirituals status story story’s suggests supposedly tradition urban Vechten Weary Blues workingclass writing Yankee Young Zangwill