Download Emancipating Pragmatism: Emerson, Jazz, and Experimental by Michael Magee PDF
By Michael Magee
Emancipating Pragmatism is an intensive rereading of Emerson that posits African- American tradition, literature, and jazz because the very continuation and embodiment of pragmatic concept and democratic culture. It lines Emerson's philosophical legacy during the nineteenth and twentieth centuries to find how Emersonian idea keeps to notify problems with race, aesthetics, and poetic discourse.
Emerson's pragmatism derives from his abolitionism, Michael Magee argues, and any pragmatic proposal that aspires towards democracy can't forget about and needs to reckon with its racial roots. Magee seems to be on the ties among pragmatism and African-American tradition as they show up themselves in key texts and activities, comparable to William Carlos Williams's poetry; Ralph Ellison's discourse in Invisible guy and Juneteenth and his essays on jazz; the poetic works of Robert Creeley, Amiri Baraka, and Frank O'Hara; in addition to the "new jazz" being solid at golf equipment just like the 5 Spot in ny.
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From the Preface :
This publication illustrates a suite of song manuscripts which was once made lately to profit the basis for modern functionality Arts. the gathering was resolute via conditions instead of any means of choice. hence it indicates the numerous instructions within which track notation is now going. The manuscripts are usually not prepared in response to sorts of track, yet alphabetically in keeping with the composer's identify. No explanatory details is given.
The textual content for the ebook is the results of a procedure applying I-Ching probability operations. those made up our minds what number phrases relating to his paintings have been to be written by way of or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were particularly written for this ebook, they're preceded by means of a paragraph signal and by way of the author's identify. different feedback have been selected or written by way of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all made up our minds accidentally operations. This approach used to be on the way to decrease the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to write down approximately notation or some· factor proper to it. ) A precedent for the absence of knowledge which characterizes this e-book is the modern aquarium (no longer a dismal hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condo with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this ebook. The editors are thankful to the various composers and track publishers who've made this presentation of mid-twentieth century tune notation attainable.
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Additional resources for Emancipating Pragmatism: Emerson, Jazz, and Experimental Writing
Example text
I would go so far as to say that Dewey doesn’t particularly care whether his description of man is “true” or “real” or not. The “being” Dewey describes—with its “constituents,” its “rhythms of struggle and consummation”—is, rather, a philosophical, sociological, psychological, and aesthetic description of action as pragmatism would have it, as Dewey would want it. ”29 In using a word like “constituents,” Dewey tips his hand, signifying that his description is not only aesthetic, philosophical, and biological, but sociopolitical.
55 Thus, Ellison’s sense of black vernacular English as a collaborative improvisation that, in turn, is a crucial, often dissonant, voicing in the improvisation of the American vernacular as a whole is absent in Williams. ” Nielsen comments wryly about such gestures that “there appears to be an enormous price to pay if the black other is to accept this opportunity to achieve his primordial creativity” (81–82). Williams cannot really envision a collaboration with these black men because he does not see black speech as collaborative, which is to say, black speech, for Williams, does not arise out of speci¤c social contexts, does not mediate, and is not mediated by other forms of speech.
Williams had that same sense of the importance of the idiom that I have already located in James and Ellison. What he appreciates, what he attempts to incorporate into his own practice, as in “You bust your coat with your ¤fty sweaters,” is the challenge it poses to proper usage via what Emerson called “a spontaneity which forgets usages” (CW 3:68). It represents the storehouse of possible language in the process of radical structural change. What’s that? 54 I am reminded of another observation of Dewey’s from the essay “Americanism and Localism” that surely must have caught Williams’s eye.