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Carrie Noland approaches Negritude as an experimental, text-based poetic movement developed by diasporic authors of African descent through the means of modernist print culture. Engaging primarily the works of Aimé Césaire and Léon-Gontran Damas, Noland shows how the demands of print culture alter the personal voice of each author, transforming an empirical subjectivity into a hybrid, textual entity that she names, after Theodor Adorno, an "aesthetic subjectivity."This aesthetic subjectivity, transmitted by the words on the page, must be actualized-performed, reiterated, and created anew-by each reader, at each occasion of reading. Lyric writing and lyric reading therefore attenuate the link between author and phenomenalized voice. Yet the Negritude poem insists upon its connection to lived experience even as it emphasizes its printed form. Ironically, a purely formalist reading would have to ignore the ways formal-and not merely thematic-elements point toward the poem's own conditions of emergence.Blending archival research on the historical context of Negritude with theories of the lyric "voice," Noland argues that Negritude poems present a challenge to both form-based (deconstructive) theories and identity-based theories of poetic representation. Through close readings, she reveals that the racialization of the author places pressure on a lyric regime of interpretation, obliging us to reconceptualize the relation of author to text in poetries of the first person.

Poetry --- French literature (outside France) --- Thematology --- anno 1900-1999 --- French poetry --- Negritude (Literary movement) --- African diaspora in literature. --- Book industries and trade --- Literature --- Blacks in literature. --- Modernism (Aesthetics) --- History and criticism. --- Black authors --- History --- Aesthetics. --- African diaspora in literature --- Blacks in literature --- Aesthetics --- Negroes in literature --- Book trade --- Cultural industries --- Manufacturing industries --- Literary movements --- Literature, Modern --- History and criticism&delete& --- Foreign countries --- Black authors&delete& --- History and criticism --- French literature --- Black people in literature.

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Carrie Noland approaches Negritude as an experimental, text-based poetic movement developed by diasporic authors of African descent through the means of modernist print culture. Engaging primarily the works of Aimé Césaire and Léon-Gontran Damas, Noland shows how the demands of print culture alter the personal voice of each author, transforming an empirical subjectivity into a hybrid, textual entity that she names, after Theodor Adorno, an "aesthetic subjectivity." This aesthetic subjectivity, transmitted by the words on the page, must be actualized-performed, reiterated, and created anew-by each reader, at each occasion of reading. Lyric writing and lyric reading therefore attenuate the link between author and phenomenalized voice. Yet the Negritude poem insists upon its connection to lived experience even as it emphasizes its printed form. Ironically, a purely formalist reading would have to ignore the ways formal-and not merely thematic-elements point toward the poem's own conditions of emergence. Blending archival research on the historical context of Negritude with theories of the lyric "voice," Noland argues that Negritude poems present a challenge to both form-based (deconstructive) theories and identity-based theories of poetic representation. Through close readings, she reveals that the racialization of the author places pressure on a lyric regime of interpretation, obliging us to reconceptualize the relation of author to text in poetries of the first person.

French poetry --- Negritude (Literary movement) --- African diaspora in literature. --- Book industries and trade --- Literature --- Blacks in literature. --- Modernism (Aesthetics) --- Negroes in literature --- Aesthetics --- Book trade --- Cultural industries --- Manufacturing industries --- Literary movements --- Literature, Modern --- French literature --- History and criticism. --- Black authors --- History --- Aesthetics. --- History and criticism --- Blacks in literature --- Black people in literature.

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Aesthetics, Modern --- French poetry --- French poetry --- Literature and technology --- Literature and technology --- Lyric poetry --- History and criticism --- History and criticism --- History and criticism

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“Outside. Outside of society. That’s where I want to be. If you’re looking, that’s where you’ll find me.” This is what Patti Smith sang back in 1978. Where is she in 2015? With all the fame and recognition. With thirteen original albums released, her poetry regularly reprinted, her paintings and photographs on show in galleries around the world, an induction in the Rock and Roll Hall of Fame, a National Book Award for her first prose work, Just Kids. Is she still outside? Is she still the iconic, rebellious, rock’n’roll figure of her youth? Patti Smith has lived a rock’n’roll life, a life of words and sounds, of poetry and images. She has slept on doorsteps, on park benches. But perhaps she never meant to be outside. Perhaps she did not want to be a rebel. Perhaps being outside is only a price she had to pay. These are the issues addressed in this collection of essays, not from a historical or sociological angle, but through her artistry. An attempt at locating Patti Smith by assessing her trajectory, her complex, unpredictable moves. “Oh I just move in another dimension,” she sings on “Ain’t It Strange”, before inviting us to come and join her. We have tried and followed her.

Women rock musicians --- Punk rock musicians --- Music and literature --- Musiciennes rock --- Musiciens punk --- Musique et littérature --- Attitudes --- Smith, Patti. --- Poetry --- poésie --- genre --- arts plastiques --- rock --- performance --- poetry --- gender --- visual arts