Franklin Rosemont, Robin D.G. Kelley:Schwarz, braun & beige: Surrealistische Schriften aus Afrika und der Diaspora von Frank
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He is the author of Race Rebels: Culture, Politics, and the Black Working Class; Yo' Mama's Disfunktional! B. Spellman The New Thing in JazzDizzy Gillespie Gertrude AbercrombiePart 8. Edi… Más…
He is the author of Race Rebels: Culture, Politics, and the Black Working Class; Yo' Mama's Disfunktional! B. Spellman The New Thing in JazzDizzy Gillespie Gertrude AbercrombiePart 8. Editors Franklin Rosemont and Robin D. G. Kelley aim to introduce readers to the black, brown, and beige surrealists of the world-to provide sketches of their overlooked lives and deeds as well as their important place in history, especially the history of surrealism. The Nile on eBay FREE SHIPPING UK WIDE Black, Brown, & Beige by Franklin Rosemont, Robin D.G. Kelley The first collection to document the extensive participation of people of African descent—including poets, painters, sculptors, theorists, critics, dancers, and playwrights—in the international surrealist movement over the past 75 years. FORMATPaperback LANGUAGEEnglish CONDITIONBrand New Publisher Description Surrealism as a movement has always resisted the efforts of critics to confine it to any static definition-surrealists themselves have always preferred to speak of it in terms of dynamics, dialectics, goals, and struggles. Accordingly, surrealist groups have always encouraged and exemplified the widest diversity-from its start the movement was emphatically opposed to racism and colonialism, and it embraced thinkers from every race and nation.Yet in the vast critical literature on surrealism, all but a few black poets have been invisible. Academic histories and anthologies typically, but very wrongly, persist in conveying surrealism as an all-white movement, like other "artistic schools" of European origin. In glaring contrast, the many publications of the international surrealist movement have regularly featured texts and reproductions of works by comrades from Martinique, Haiti, Cuba, Puerto Rico, South America, the United States, and other lands. Some of these publications are readily available to researchers; others are not, and a few fall outside academia's narrow definition of surrealism.This collection is the first to document the extensive participation of people of African descent in the international surrealist movement over the past seventy-five years. Editors Franklin Rosemont and Robin D. G. Kelley aim to introduce readers to the black, brown, and beige surrealists of the world-to provide sketches of their overlooked lives and deeds as well as their important place in history, especially the history of surrealism. Notes The first collection to document the extensive participation of people of African descentoincluding poets, painters, sculptors, theorists, critics, dancers, and playwrightsoin the international surrealist movement over the past 75 years. Author Biography Franklin Rosemont, editor of the Surrealist Revolution Series published by the University of Texas Press, was welcomed into the surrealist group in Paris in 1966 by renowned surrealist André Breton. Rosemont has contributed to many international surrealist exhibitions and journals, among them Analogon in Prague and L'Archibras in Paris. Among his books are Jacques Vaché and the Roots of Surrealism, Revolution in the Service of the Marvelous, An Open Entrance to the Shut Palace of Wrong Numbers, and Lamps Hurled at the Stunning Algebra of Ants.Robin D. G. Kelley, a distinguished scholar of African American history, is Professor of History and American Studies and Ethnicity at the University of Southern California. He is the author of Race Rebels: Culture, Politics, and the Black Working Class; Yo' Mama's Disfunktional! Fighting the Culture Wars in Urban America; Freedom Dreams: The Black Radical Imagination; To Make Our World Anew: A History of African Americans (with Earl Lewis); and, most recently, Thelonious Monk: The Life and Times of an American Original. Table of Contents List of IllustrationsAcknowledgmentsIntroduction: Invisible SurrealistsPart 1. The First Black Surrealists Martinique Etienne Léro Légitime Défense ManifestoCivilizationAnd the RampsAbandonPutSimone Yoyotte Pyjama-SpeedPierre Yoyotte Theory of the FountainAntifascist Significance of SurrealismMaurice-Sabas Quitman Paradise on EarthJules Monnerot On Certain Traits Particular to the Civilized MentalityIndispensable PoetryYva Léro Little Black DiversAimé Césaire NégreriesJamaica Claude McKay Down to the RootsCuba Juan Breá My Life Is a SundayThoughtsJuan Breá and Mary Low Notes on the Economic Causes of HumorTrinidad C.L.R. James Introduction to Red Spanish NotebookPart 2. Tropiques: Surrealism in the Caribbean Martinique Aimé Césaire PanoramaIntroduction to Black American PoetryIn the Guise of a Literary ManifestoKeeping Poetry AliveIsidore Ducasse, Comte de LautréamontSuzanne Césaire Poverty of a PoetryAimé Césaire, Suzanne Césaire et al. Voice of the OracleRené Ménil Introduction to the MarvelousThe Orientation of PoetryWhat Does Africa Mean to Us?Poetry, Jazz & FreedomLucie Thésée PreferenceGeorges Gratiant Extinct VolcanoAristide Maugée Aimé Césaire, PoetReview of ReviewsGeorgette Anderson Symbolism, Maeterlinck & the MarvelousStéphane Jean-Alexis A Note on ChanceCuba Wifredo Lam PicassoArrows in Rapid FlightAgustín Cárdenas One, Two, ThreeJacques Roumain When the Tom-Tom BeatsHaiti Clément Magloire-Saint-Aude UtterancesTalismansNot the LegendThree PoemsThe Surrealist RecordOn PoetryRené Bélance AwarenessNoiseEncounter with LifeHervé Télémaque Why Are You Performing, Jean?Dominican Republic Aída Cartagena Portalatín Moon and MarbleTrinidad John Jacob Thomas Creole ProverbsJohn La Rose Connecting LinkPuerto Rico Luis A. Maisonet Freedom of Expression for Young ChildrenPart 3. South America Brazil João Cruz e Souza Black RoseTenebrousRosário Fusco Wind in the WoodsSosígenes Costa The Golden PapyrusThe Red PeacockFernando Mendes de Almeida Phantom CarrouselJorge de Lima Howling DogsGuyana Léon-Gontran Damas For SureGood BreedingA Caribbean View on Sterling A. BrownA Single Instant of BeliefNegritude and SurrealismWilson Harris Voodoo, Trance, Poetry and DanceColombia Heriberto Cogollo The World of a NohorPart 4. Africa Egypt Long Live Degenerate Art!Georges Henein ManifestoArt and FreedomHot JazzBetween the Eagle's Nest and the Mouse-TrapPerspectivesJacques VachéThe Plain TruthA Tribute to André BretonIkbal El Alailly Portrait of the Author as a Young RabbitPost-ScriptumAnwar Kamel The Propagandists of Reaction and UsRamses Younane What Comes After the Logic of Reason?Victor Musgrave Voices in the TwilightAlbert Cossery The House of Certain DeathJoyce Mansour Floating IslandsFresh CreamForthwith to SNorth ExpressResponse to an Inquiry on Magic ArtMorocco Robert Benayoun No Rhyme for Reason!The Obscure ProtestsLetter to ChicagoThe Phoenix of AnimationToo Much Is Too MuchComic SoundsAbdellatif Laâbi Rue du RetourTunisia Farid Lariby Pome BrutAlgeria Henri Kréa Never Forever Once MoreOh YesJean-Michel Atlan The Time Has Come to Call Up a WorldBaya The Big BirdHabib Tengour Maghrebian SurrealismSenegal Cheikh Tidiane Sylla Surrealism and Black African ArtThe Spirit of Unity---For FreedomCongo Tchicaya U Tam'si Against DestinyMozambique Inácio Matsinhe Painting as a Contribution to ConsciousnessI Became a Tortoise to Resist TortureThe SnakeAngola Malangatana Valente Ngwenya Survivor among MillionsAmílcar Cabral National Liberation and CultureAntonio Domingues The Influence of Aimé Césaire in Portuguese-speaking AfricaMadagascar Jean-Joseph Rabéarivelo A Purple StarSouth Africa Dennis Brutus The Sun on This RubblePoet against ApartheidPart 5. Surrealist Beginnings in the United States, 1930s-1950s Fenton Johnson The Phantom RabbitTiredGeorge Herriman Positivilly MarvillisJean Toomer EssentialsZora Neale Hurston How the Gods BehaveRichard Wright Lawd TodayRalph Ellison The Poetry of ItBearden & the Destruction of the Accepted WorldRussell Atkins Upstood UpstaffedPart 6. The 1950s Surrealist Underground in the United States Ted Joans Ted Joans SpeaksBob Kaufman Abomunist Manifesto$$ Abomunus Craxioms $$Abomunist Election ManifestoTom Postell Gertrude Stein Rides the Torn Down El to NYCHarmonyPercy Edward Johnston Variations on a ThemePart 7. Surrealism, Black Power, Black Arts Ted Joans Proposition for a Black Power ManifestoHart Leroy Bibbs HurricaneBlack SpringJayne Cortez National SecurityMaking itSt. Clair Drake Negritude and Pan-AfricanismEdward A. Jones The Birth of Black AwarenessIshmael Reed Boxing on PaperKatherine Dunham Ballet NègreNotes on the DanceMelvin Edwards Lynch FragmentsJoseph Jarman OdawallaOliver Pitcher Jean-JacquesFrank London Brown JazzPony Poindexter Jazz Is More French Than AmericanAnthony Braxton Earth MusicThelonious Monk Three ScoreCecil Taylor The MusicianOrnette Coleman Harmolodic = Highest InstinctSun Ra Cosmic EquationThe Endless RealmBabs Gonzales I Paid My DuesA. B. Spellman The New Thing in JazzDizzy Gillespie Gertrude AbercrombiePart 8. Toward the New Millennium: The Mid-1970s through the 1990s Aimé Césaire My Joyful Acceptance of SurrealismHomage to Frantz FanonJayne Cortez There It IsWhat's UglyPoetry Music TechnologyEverything Can Be TransformedTaking the Blues Back HomeLéon DamasMainstream StatementLarry's TimeAmiri Baraka The Changing SameJames G. Spady Larry Neal Never Forgot PhillyCharlotte Carter On FilmRobin D. G. Kelley Reflections on Malcolm XNorman Calmese My Discovery of SurrealismCheikh Tidiane Sylla Time-Traveler's PotlatchTed Joans Kaufman Is a Bird Called BobCogolloPart 9. Looking Ahead: Surrealism Today and Tomorrow Aimé Césaire I Do Not Agree to Receive the MinisterRobin D. G. Kell, University of Texas Press<
