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Tác giả: Tsitsi Ella JAJI
Chi tiết sản phẩm
Follow authors to get new release updates, plus improved recommendations. Tsitsi Jaji is a poet and scholar from Zimbabwe. She is the author of two books of poetry, Beating the Graves (2017) awarded honorable mention for the 2015 Sillerman Prize; and Carnaval, (2014) a chapbook in the New Generation African Poets box set. Her poems have appeared in several anthologies and in journals including Black Renaissance Noire, Prairie Schooner, Bitter Oleander, New Coin, Jalada, Illuminations, Madison Review, and the anthology women: migration: poetry (2017). She has read at the Poetry Foundation, Library of Congress, and United Nations, among others. Her poetry ranges across many aesthetic and thematic categories, but often engages with the experience of living in the new African diaspora, human rights, music, and formal experimentation. She is currently at work on a collection, Daughtering, from which she will read some new poems. In addition to her work as a poet, Jaji is an associate professor of English at Duke University. She previously taught at University of Pennsylvania and has received fellowships from the National Endowment for the Humanities, Mellon Foundation, Radcliffe Institute for Advanced Studies, and National Humanities Center. Her book, Africa in Stereo: Music, Modernism and Pan-African Solidarity (Oxford), won the African Literature Association’s First Book Prize, as well as honorable mentions from the American Comparative Literature Association and Society for Ethnomusicology. The book traces how exchanges between African American, Ghanaian, Senegalese and South African artists shaped cultural and political liberation projects. Read more about this author Read less about this author Read more about this author Read less about this author
Review"Africa in Stereo raises the bar with new insights into both the sonic and visual realms of art. Transcriptions, performance, poetry, print and new media formats elucidate how Africans on the continent and in the diaspora have been engaged in a continuous dialogue and exchange of cultural particulars throughout the twentieth century. A major contribution is the author's willingness to move beyond a particular village or ethnic group (conventional units of ethnographic analysis) and focus instead on South Africa, Senegal and Ghana, drawing from an interesting array of archival materials to highlight and tease out the forces that made the impulse towards solidarity between Africa and the diaspora possible." -- Mumbua Kioko, Volume! The French journal of popular music studies"Meticulously researched, historically and politically exigent, and adventurous in its archival reach, Africa in Stereo is a path-breaking book that pulsates to the beat of literary, visual, sonic and cultural studies. Tsitsi Jaji has built a bold new sound system for diaspora studies that challenges us to listen closely to the crosscurrents of African aesthetic technologies that forge and inform our modern world." --Daphne Brooks, author of Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910"This book is unique in its attentiveness to the intricacies, significances and pleasures of listening, notation and reading. It recasts - with great subtlety and eloquence - our understanding o fthe sonic, visual, and literary practices used by Africans in the elaboration and pursuit of pan-Africanism at home and abroad." --Bhekizizwe Peterson, author of Monarchs, Missionaries, and African Intellectuals
About the AuthorTsitsi Ella Jaji is Assistant Professor of English at the University of Pennsylvania.
Thông tin sách: AFRICA IN STEREO: Modernism, Music, And Pan-African Solidarity (Kindle, 272 trang) – Oxford University Press, 2014. Ngôn ngữ: Tiếng Anh.
Africa in Stereo analyzes how Africans have engaged with African American music and its representations in the long twentieth century (1890-2011) to offer a new cultural history attesting to pan-Africanism's ongoing and open theoretical potential. Tsitsi Jaji argues that African American popular music appealed to continental Africans as a unit of cultural prestige, a site of pleasure, and most importantly, an expressive form already encoded with strategies of creative resistance to racial hegemony. Ghana, Senegal and South Africa are considered as three distinctive sites where longstanding pan-African political and cultural affiliations gave expression to transnational black solidarity. The book shows how such transnational ties fostered what Jaji terms "stereomodernism." Attending to the specificity of various media through which music was transmitted and interpreted-poetry, novels, films, recordings, festivals, live performances and websites-stereomodernism accounts for the role of cultural practice in the emergence of solidarity, tapping music's capacity to refresh our understanding of twentieth-century black transnational ties.Giá bán
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