“This number of ten essays makes a persuasive case for a black Atlantic literary renaissance and its impression on modernist reports. The chapters stretch and problem present canonical configurations of modernism in methods: by means of contemplating the centrality of black artists, writers and intellectuals as key actors and center presences within the improvement of a modernist avant-garde; and by means of interrogating ‘blackness’ as a classy and political type at serious moments through the 20th century. this is often the 1st book-length booklet to discover the time period ‘Afromodernisms’ and the 1st research to deal with jointly the cognate fields of modernism and the black Atlantic.”
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Additional resources for Afromodernisms: Paris, Harlem, Haiti and the Avant-garde
Madder Love: Queer males and the Precincts of Surrealism (Hulls Cove, ME: insurgent Satori Press, 2008), p. ix. fifty one. Ibid. p. ix. fifty two. Elizabeth Ezra, The Colonial subconscious: Race and tradition in Interwar France (Ithaca, manhattan: Cornell collage Press, 2000), p. seventy six. fifty three. Daniel Scott, ‘Dreaming the opposite: Breton, Césaire, and the Problematics of Influence’, Romance Quarterly, 42:1 (1995), p. 29. See Amanda Stansell, ‘Surrealist Racial Politics on the Borders of “Reason”: Whiteness, Primitivism and Négritude’, in Raymond Spiteri and Donald LaCoss (eds), Surrealism, Politics and tradition (Aldershot: Ashgate, 2003), p. 118. The para-Surrealist staff surrounding files has acquired major severe realization concerning race and ethnography, notwithstanding. See James Clifford, The challenge of tradition (Cambridge, MA: Harvard collage Press, 1988); Petrine Archer-Straw, Negrophilia: Avant-Garde Paris and Black tradition within the Nineteen Twenties (New York: Thames and Hudson, 2000); Ian Walker, ‘Phantom Africa: images among Surrealism and Ethnography’, Cahiers-d’études Africaines, 37 (1997), pp. 635–55. fifty four. Stansell, ‘Surrealist Racial Politics’, p. 112. fifty five. Jean Cocteau, quoted in ‘Opinions sur l’Art nègre’, motion (April 1920), p. 24. See Grossman, guy Ray, African paintings, and the Modernist Lens, p. ninety four. fifty six. David Hopkins, Dada and Surrealism: a really brief creation (New York: Oxford collage Press, 2004), p. 132. fifty seven. Ibid. p. 133. fifty eight. ‘Surrealist Ethnography’ used to be a time period coined through James Clifford in a 1981 debatable essay titled ‘On Ethnographic Surrealism’, within which he argued that during the Nineteen Thirties in Paris, Surrealism and ethnography have been heavily certain jointly. See James Clifford, ‘On Ethnographic Surrealism’, Comparative experiences in Society and historical past, 23:4 (1981), pp. 539–64. at the troublesome argumentation of Clifford’s ethnographic surrealism see Julia Kelly, ‘Discipline and Indiscipline: The Ethnographies of Documents’, Papers of Surrealism: the Use-Value of records, 7 (2007), pp. 1–20. fifty nine. Denis Hollier, ‘Surrealism and its Discontents’, Papers of Surrealism: The Use-Value of files, 7 (2007), p. 2. 60. Quoted in Michel Leiris, ‘Benga (Féral)’, records, four (1930), p. 235. sixty one. Ibid. p. 235. sixty two. Hollier, ‘Surrealism and its Discontents’, p. 2. SWEENEY 9780748646401 PRINT. indd ninety seven 15/01/2013 13:52 98 James Smalls sixty three. Matthew F. Jordan, Le Jazz: Jazz and French Cultural identification (Urbana: collage of Illinois Press, 2010), p. 133. See additionally Kelly, ‘Discipline and Indiscipline’, pp. 1–20; nameless, ‘Spectacles nègres à New York’, files, five (1929), p. 285 (a be aware ads American Negro musicals – King Vidor’s movie Hallelujah and the musical sizzling Chocolates); Michel Leiris, ‘L’Île magique’, files, 6 (1929), p. 334 (review of Seabrook’s The Magic Island); Michel Leiris, ‘Exposition Kalifala Sidibé (Galerie Georges Bernheim)’, records, 6 (1929), p. 343 (review of Parisian exhibition of works via the Bambara painter Kalifala Sidibé); Michel Leiris, ‘Disques Nouveaux’, records, 1 (1930), p. forty eight (commentary on lately issued files via Duke Ellington the place he characterized jazz as a kind of tune apt to urge a collective nation of trance); Leiris, ‘Benga (Féral)’; Michel Leiris, ‘Opportunity, mai 1930’, records, 6 (1930), p.