記錄 6499 編號 狀態 NC094FJU00238010 助教 查核 索書 號 學校 輔仁大學 名稱 系所 英國語文學系 名稱 舊系 所名 稱 學號 491206051 研究 生(中 吳塵軒 ) 研究 生(英 Wu Cheng-hsuan ) 論文 名稱( 呼喊與迴響,流動與整合:吉恩.圖瑪的《甘蔗》之音樂性結構 中) 論文 Call and Response, Passing and Integration: The Musical Structure of Jean Toomer's 名稱( Cane 英) 其他 題名 指導 教授( 墨樵 中) 指導 教授( Joseph C. Murphy 英) 校內 全文 開放 日期 校外 全文 開放 日期 全文 不開 放理 由 電子 全文 送交 國圖. 國圖 全文 開放 日期. 檔案 說明 電子 全文 學位 碩士 類別 畢業 學年 95 度 出版 年 語文 英文 別 關鍵 字(中 吉恩.圖瑪 非裔美籍文學 哈林區黑人文藝復興 藍調 爵士樂 《甘蔗》 ) 關鍵 字(英 Jean Toomer African American literature Harlem Renaissance blues jazz Cane ) 吉恩圖瑪在《甘蔗》一書中,以三個獨立的章節結合詩歌、短篇故事與戲劇以及 美國南方與北方二地不同的生活場景。《甘蔗》因為跳脫一般文類的格式與要求 結構完整的原則,而在哈林文藝復興中佔有特殊的地位。美國的黑人音樂傳統是 《甘蔗》裡很重要的要素,其文本結構不但融合了「藍調反覆」、「爵士即興」 和「呼喊與回應」的音樂形式,也藉由這些形式來傳達美國黑人無以名之的傷痛 以及深層的情感。本篇論文分析《甘蔗》的音樂性結構,探討吉恩圖瑪如何運用 藍調和爵士樂中的「反覆」、「即興」和「呼喊與回應」之音樂元素來呈現他的 美學觀點,並描繪美國社會裡黑人民間文化的活力與種族隔離所帶來的衝突。 本 論文共分為三章,每一章將分析音樂性結構如何建構並影響文本的內容。《甘蔗 》的第一章節的背景建立在美國南方的喬治亞州,由六個描寫六位女主角的短篇 摘要( 故事,和十首穿插在短篇故事之間的詩歌所組成。論文第一章針對文本的第一個 中) 章節,分析圖瑪如何把藍調的「反覆」與「呼喊與回應」的音樂結構帶入短篇故 事與詩歌的書寫之中,並藉此描寫美國黑人的鄉間生活。《甘蔗》的第二個章節 有五首詩歌,三篇短篇故事與三首散文詩歌,舞台由南方喬治亞州的鄉村轉換到 北方的華盛頓與芝加哥大城,而文本的音樂性結構也由藍調轉變成爵士樂。論文 的第二章探討作者如何在文本中運用「爵士即興」的音樂元素來敘述美國黑人在 北方城市生活中遭遇到的困境與挑戰。《甘蔗》的最後一個章節是單幕戲劇〈凱 布尼斯〉,場景回到南方的喬治亞州,並藉著描述一位來自美國北方的黑人主人 公凱布尼斯尋找自我認同的故事連串連前兩個章節的主題。在戲劇中,戲劇結構 結合音樂結構,描寫角色為求生存與自我實現的奮鬥過程。論文的第三章分析〈 凱布尼斯〉音樂結構如何融入戲劇結構,來呈現主角尋求自我認同的過程。 ean Toomer’s Cane is an important work in African American literature. The book has a special place in the Harlem Renaissance because its structure transcends literary categories or any unifying principle by gathering different genres—poetry, narrative and drama—and different settings of the South and the North into three separate sections. The black musical tradition is a central element of Cane as the structure of the book is woven of blues repetition, jazz improvisation and the call-and-response pattern to voice black people's unspeakable sorrows and deep emotions. In my thesis, I examine the musical structure of Cane to study how Toomer adapts the music elements of blues and jazz—repetition, improvisation, and call-and-response—as his aesthetics to depict the vitality of black folk culture and conflicts of the color line in American society. I divide 摘要( my thesis into three chapters, in which I explore how the musical structure defines and 英) enhances each section of Cane. Part 1 of Cane takes place in Georgia and contains six narrative sketches of six women and ten poems interspersed among the sketches. In Chapter One, I examine how Toomer blends the generic forms of narrative and poetry with the blues structure of repetition and the call-and-response pattern to delineate the rural experiences of black people. Part 2 has five poems, four narratives and three prose poems, and the setting moves from Georgia to Washington, D.C., and Chicago. In the progression from the rural South to the urban North, the musical transformation in Part 2 is also forcibly changed from blues to jazz. Toomer's elaboration of jazz improvisation to adumbrate the new dilemmas of black people in the middle section of Cane is discussed in Chapter Two. “Kabnis,” an one-act play, thematically relates Parts 1 and 2 through a story of a Northern black man on his journey to seek the meaning of his identity in the South. In Part 3, the drama combines musical and dramatic structures to present characters’ the striving for survival and fulfillment. In Chapter 3, I emphasize how Toomer imbues the musical structure into the dramatic form of “Kabnis” to describe the protagonist Kabnis’s search for the meaning of his African heritage. 1 Introduction 13 Chapter One "Pour O pour that parting soul in song": The Reciprocal Voice of Blues in Cane, Part 1 51 Chapter Two "Black reddish blood into the white and 論文 whitewashed wood": The Controversial Sound of Jazz in Cane, Part 2 99 Chapter Three 目次 "Been shapin words t fit my soul": The Dramatic and Musical Structures in Cane, Part 3 122 Conclusion 127 Works Cited Anderson, Paul Allen. Deep River: Music and Memory in Harlem Renaissance Thought. Durham: Duke UP, 2001. Baker, Houston A., Jr. Blues, Ideology, and African-American Literature: A Vernacular Theory. Chicago: U of Chicago P: 1984. --. “Journey Toward Black Art: Jean Toomer’s Cane.” Singers of Daybreak: Studies in Black American Literature. Washington, D.C.: Howard UP, 1983. 53-80. Boutry, Katherine. “The Female Body of Blues Writings in Jean Toomer, Toni Morrison, and Gayl Jones.” Black Orpheus: Music in African American Fiction from the Harlem Renaissance to Toni Morrison. Ed. Saadi A. Simawe. NY: Garland, 2000. 91-118. Bowen, Barbara E. “Untroubled Voice: Call and Response in Cane.” Black Literature and Literary Theory. Ed. Henry Louis Gate Jr. NY: Routledge, 1990. 187-203. Brockett, Oscar G. The Theatre: An Introduction. 2nd ed. NY: Holt, Rinehart and Winston, 1969. Brooks, Edward. “Journal, 1925.” Write Me A Few of Your Lines: A Blues Reader. Ed. Steven C. Tracy. Amherst: U of Massachusetts P, 1999. 276-8. Callahan, John F. “By de Singin’ uh de Song: The Search for Reciprocal Voice in Cane.” In the AfricanAmerican Grain: The Pursuit of Voice in Twentieth-Century Black Fiction. Urbana: Illinois UP, 1988. 62-114. Charters, Samuel. The Poetry of the Blues. NY: Avon, 1970. Chase, Patricia. “The Women in Cane.” Jean Toomer: A Cortical Evaluation. Ed. 參考 Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 389-402. Christ, Jack M. 文獻 “Jean Toomer’s ‘Bona and Paul’: The Innocence and Artifice of Words.” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 311-20. Clary, Francoise. “‘The Waters of My Heart’: Myth and Belonging in Jean Toomer’s Cane.” Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. New Brunswick: Rutgers UP, 2001. 68-83. Cone, James H. A Black Theology of Liberation. NY: Orbis Books, 1990. Davis, Y. Angela. Blues Legacies and Folk Feminism: Gertrude “Ma” Rainey Bessie Smith and Billie Holiday. NY: Pantheon, 1998. Doyle, Laura. “Swan Song for the Race Mother: Late-Romantic Narrative in Cane.” Bordering on the Body: The Racial Matrix of Modern Fiction and Culture. NY: Oxford UP, 1994. 81-109. Du Bois, W. E. B. The Souls of Black Folk. Ed. Henry Louis Gate Jr. and Terri Hume Oliver. NY: Norton, 1999. Edmunds, Susan. “The Race Question and the ‘Question of the Home’: Revisiting the Lynching Plot in Jean Toomer’s Cane.” American Literature 75.1 (2003): 141-68. Eldridge, Richard. “The Unifying Images in Part One of Jean Toomer’s Cane.” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 213-36. Ellison, Ralph. Shadow and Act. NY: Vintage, 1995. Foley Barbara. “Jean Toomer’s Washington and the Politics of Class: From ‘Blues Veins’ to Seventh-Street Rebels.” Modern Fiction Studies 42 (1996): 288-314. Ford, Karen Jackson. Split-Gut Song: Jean Toomer and the Poetics of Modernism. Tuscaloosa: The U of Alabama P, 2005. Gatewood, Willard B. Aristocrats of Color: The Black Elite 1880-1920. Bloomington: Indiana UP, 1990. Goede, William J. “Jean Toomer’s Ralph Kabnis: Portrait of the Negro Artist as a Young Man.” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 359-46. Grandjeat, Charles-Yves. “The Poetics of Passing in Jean Toomer’s Cane.” Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. New Brunswick: Rutgers UP, 2001. 57-67. Gussow, Adam. Seems Like Murder Here: Southern Violence and the Blues Tradition. Chicago: The U of Chicago P, 2002. Hollis, Burney J. “Central Conflict between Rural Thesis and Urban Antithesis in Jean Toomer’s ‘Avey.’” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D. C.: Howard UP, 1988. 277-86. Hughes, Langston. “The Negro Artist and the Racial Mountain.” The Norton Anthology of African American Literature. Ed. Nellie Y. McKay. NY: Norton, 1997. 1267-71. Hutchinson, George. “Identity in Motion: Placing Cane.” Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. New Brunswick: Rutgers UP, 2001. 38-56. Innes, Catherine L. “The Unity of Jean Toomer’s Cane.” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 153-67. Jarrett, Denis. “The Singer and the Bluesman: Formulations of Personality in the Lyrics of the Blues.” Write Me A Few of Your Lines: A Blues Reader. Ed. Steven C. Tracy. Amherst: U of Massachusetts P, 1999. 195-200. Jones, Gayl. “Blues Ballad: Jean Toomer’s ‘Karintha.’” Liberating Voices: Oral Tradition in African American Literature. Cambridge, Mass.: Harvard UP, 1991. 70-8. Jones, LeRoi. Blues People. NY: Quill, 1963. Jones, Robert B. Jean Toomer and the Prison-House of Thought: A Phenomenology of the Spirit. Amherst: The U of Massachusetts P, 1993. Karrer, Wolfgang. “Black Modernism? The Early Poetry of Jean Toomer and Claude McKay.” Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. New Brunswick: Rutgers UP, 2001. 128-41. Keil, Charles. Urban Blues. Chicago: The U of Chicago P, 1991. Kerman, Cynthia Earl and Richard Eldridge. The Lives of Jean Toomer: A Huger for Wholeness. Baton Rouge: Louisiana State UP, 1987. Kopf, George. “The Tensions in Jean Toomer’s ‘Theater.’” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 287-92. Krasner, David. “Black Salome: Exoticism, Dance, and Racial Myths.” AfricanAmerican Performance and Theater History: A Critical Reader. Ed. Harry J. Elam and David Krasner. NY: Oxford UP, 2001: 192-211. Levine, Lawrence W. Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom. Oxford: Oxford UP, 1978. Lieber, Todd. “Design and Movement in Cane.” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 179-93. McKay, Nellie Y. Jean Toomer Artist: A Study of His Literary Life and Work, 1894-1936. Chapel Hill: the U of North Carolina P, 1984. Michlin, Monica. “‘Karintha’: A Textual Study.” Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. New Brunswick: Rutgers UP, 2001. 96-108. Monson, Ingrid. “Jazz Improvisation.” The Cambridge Companion to Jazz. Ed. Mervyn Cooke and Davis Horn. Cambridge: Cambridge UP, 114-32. Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana UP, 1989. Nadell, Martha Jane. “Race and the Visual Arts in the Works of Jean Toomer and Georgia O’Keefe.” Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. New Brunswick: Rutgers UP, 2001. 162-87. Nanry, Charles. The Jazz Text. NY: Van Nostrand, 1979. Ogren, Kathy J. The Jazz Revolution: Twenties America & the Meaning of Jazz. NY: Oxford UP, 1989. Oliver, Paul. “Do the Bombashay: Dance Songs and Routines.” Write Me A Few of Your Lines: A Blues Reader. Ed. Steven C. Tracy. Amherst: U of Massachusetts P, 1999. 95-118. --. The Story of the Blues. Boston: Northeastern UP, 1998. Peckham, Joel B. “Jean Toomer’s Cane: Self as Montage and the Drive toward Integration.” American Literature 72 (2000): 275-90. Rampersad, Arnold. The Life of Langston Hughes. NY: Oxford UP, 1986. Reilly, John M. “The Search for Black Redemption: Jean Toomer’s Cane.” Cane: An Authoritative Text, Backgrounds, Criticism. Ed. Darwin T. Turner. NY: Norton, 1988. 196-207. Rice, H. William. “Two Work Songs in Cane.” Black American Literature Forum 23.3 (1989): 593-9. Rosenblatt, Roger. “Cane.” Black Fiction. Cambridge: Harvard UP, 1974. 54-64. Rusch, Frederik L., ed. A Jean Toomer Reader: Selected Unpublished Writings. NY: Oxford UP, 1993. --. “Form, Function, and Creative Tension in Cane: Jean Toomer and the Need for the AvantGarde.” Melus 17.4 (1991-1992): 15-28. Schultz, Elizabeth. “Jean Toomer’s ‘Box Seat’: The Possibility for ‘Constructive Crisises.’” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 297-310. Scruggs, Charles and Lee VanDemarr. Jean Toomer and the Terrors of American History. Philadelphia: U of Pennsylvania P, 1998. Sollors, Werner. “Jean Toomer’s Cane: Modernism and Race in Interwar America.” Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. New Brunswick: Rutgers UP: 2001. 18-37. Soto, Michel. “Jean Toomer and Liveright; or, A New Negro Gets ‘into the Swing of It.’” Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. New Brunswick: Rutgers UP: 2001. 162-87. Thomas, H. Nigel. From Folklore to Fiction: A Study of Folk Heroes and Rituals in the Black American Novel. NY: Greenwood, 1988. Titon, Jeff Todd, ed. Downhome Blues Lyrics: An Anthology from the Post-World War II Era. 2nd ed. Urbana: U of Illinosis P, 1990. Toomer, Jean. Cane. Ed. Darwin T. Turner. NY: Norton, 1988. Turner, Darwin T., ed. The Wayward and the Seeking: A Collection of Writings by Jean Toomer. Washington, D.C.: Howard UP, 1980. Waldron, Edward E. “The Search for Identity in Jean Toomer’s ‘Esther.’” Jean Toomer: A Cortical Evaluation. Ed. Therman B. O’Daniel. Washington, D.C.: Howard UP, 1988. 273-6. Ward, John. The Social and Religious Plays of Strindberg. London: The Athlone, 1980. Washington, Booker T. “The Atlanta Exposition Address.” Up from Slavery and Other Early Black Narratives. NY: Doubleday, 1998. 159-71. Williams, Sherley Anne. “The Blues Roots of contemporary Afro-American Poetry.” AfroAmerican Literature: The Reconstruction of Instruction. Ed. Dexter Fisher and Robert B. Stepto. 4th ed. NY: MLA, 1996. 72-87. 論文 133 頁數 附註 全文 點閱 次數 資料 建置 時間 轉檔 日期 全文 檔存 取記 錄 異動 M admin Y2008.M7.D3 23:18 61.59.161.35 記錄