ACROSS BORDERS AND BARLINES: CHICANA/O LITERATURE, JAZZ IMPROVISATION, AND CONTRAPUNTAL【翻译】

Leal, Jonathan J., Across Borders and Barlines: Chicana/o Literature, Jazz
Improvisation, and Contrapuntal Solidarity. Master of Arts (English), May 2014, 91 pp.,
bibliography, 46 titles.
In this study, I examine Chicana/o writings and Black and Brown musical traditions as
they entwine in urban centers and inform local visions of inclusion and models of social change.
By analyzing literature and music from South Texas, Southern California, and Northeastern
Michigan, I detail how the social particularities of each zone inform Chicana/o cultural
productions rooted in the promise of empowerment and the possibility of cross-cultural
solidarity. I assert that highlighting localized variations on these themes amplifies contrapuntal
solidarities specific to each region, the relationship between different, locally conceived
conceptions of Chicana/o identity, and the interplay between Brown and Black aesthetic
practices in urban centers near national borders. Through literary critical and ethnomusicological
frameworks, I engage the rhetorical patterns that link poetry, jazz improvisation, essays, musical
playlists, and corridos to illumine a web of discourses helping to establish the idiosyncratic yet
complimentary cultural mores that shape localized social imaginaries in the United States.

for sharing his
passion for Chicana/o literature, pushing me to new heights, and supporting my efforts on all
fronts; Prof. Masood Raja, for his encyclopedic knowledge, his pursuit of a more just world, and
his belief in my visions of disciplinary border crossing; and Prof. Walton Muyumba, for
inspiring my writing with improvisation, my criticism with counterpoint, and my dreams with a
backbeat. Too, I would like to thank Prof. Jacqueline Vanhoutte for reminding me that a wellcrafted
sentence has a melody, and that the promise of hearing it is worth relentless revision; and
Prof. Robert Upchurch for nurturing my interest in the relationship between song, stanza, and
sense early on in my graduate career.
In the College of Music, I am indebted to Prof. Cathy Ragland for sharing her musical
knowledge, experience, and sharp intellect with me and drafts of my work; and to my dear
mentor and friend Paul Rennick for appreciating my love of the written word and supporting my
journeys between the stage and the page.
Ultimately, to my mother and father, Susan Diane Leal and Roel Daniel Leal, thank you
for continuing to be the wisest people I have ever met, and for offering your love and support for
my educational goals. It is to you that I dedicate this work.

TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ........................................................................................................... iii
CHAPTER I. INTRODUCTION ................................................................................................... 1
CHAPTER II. RE-IMAGINING AZTLÁN: JAZZ IMPROVISATION AND CHICANA/O
ACTIVISM IN THE WRITINGS OF RAÚL R. SALINAS .......................................................... 6
Resisting Borders and Barlines: Salinas as Political Activist ............................................. 7
Transcending Borders and Barlines: Salinas as Jazz Artist .............................................. 14
Behind Bars and Barlines: Salinas as Jazz Critic.............................................................. 22
Free of Borders and Barlines: Aztlán as Jazz Improvisation ............................................ 25
CHAPTER III. RE-MIXING AZTLÁN: SONIC HISTORIES, ASSOCIATIVE POETICS,
AND COMMUNITY BUILDING IN THE WRITINGS OF ALURISTA AND RAFA
SAAVEDRA ................................................................................................................................. 29
Reading Music, Writing Aztlán ........................................................................................ 30
Sampling Sentences, Scratching Borders ......................................................................... 35
Associative Poetics and the Literary DJ ........................................................................... 41
Alurista, Saavedra, and the San Diego-Tijuana Cultural Imaginary ................................ 44
CHAPTER IV. RE-MAPPING AZTLÁN: LOCAL STRUGGLES AND GLOBAL
RESONANCE IN THE WORKS OF TRINIDAD SANCHEZ, JR. AND SIXTO RODRIGUEZ
....................................................................................................................................................... 46
Socio-Historical Context: Mexicans and Mexican Americans in Michigan .................... 48
Trinidad Sanchez Jr.’s Why Am I So Brown?: Chicana/o Identity, Musical
Empowerment, and Black-Brown Solidarity .................................................................... 49
Sixto Rodriguez’s Cold Fact and Coming From Reality: Corrido Echoes and Social
Justice in Detroit, Michigan .............................................................................................. 56
Local Struggles and Global Resonance: Resistance Melodies in the Global South ......... 62
CHAPTER V. CANCIONES DE CUATLICUE: SONIC SPACES, MESTIZA RHETORICS,
AND UTOPIC IMAGININGS IN THE MUSIC OF LILA DOWNS .......................................... 67
Strategies for Enacting Social Change: Mestiza Consciousness and the Audiotopia ....... 68
Strategies in Action: The Music of Lila Downs ............................................................... 75
Strategies Writ Large: Globalization, Political Visibility, and Transcultural Citizenship 83
CHAPTER VI. AFTERWORD ................................................................................................... 86
BIBLIOGRAPHY ......................................................................................................................... 88

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