02934nam 22006253u 450 991078569830332120230725030537.01-282-94789-397866129478961-4411-2289-3(CKB)2670000000067168(EBL)634573(OCoLC)699475273(SSID)ssj0000438047(PQKBManifestationID)12210455(PQKBTitleCode)TC0000438047(PQKBWorkID)10448210(PQKB)11256660(MiAaPQ)EBC634573(EXLCZ)99267000000006716820130418d2010|||| u|| |engur|n|---|||||txtccrImprovisation and the Making of American Literary Modernism[electronic resource]London Continuum International Publishing20101 online resource (210 p.)Description based upon print version of record.1-4411-1375-4 1-4411-6946-6 Contents; Acknowledgments; INTRODUCTION: WRITING IMPROVISATION INTO MODERNISM; CHAPTER 1 EZRA POUND: MUSIC, HISTORY, TIME; CHAPTER 2 LANGSTON HUGHES: "HOW TO TAKE THE IMPOSSIBLE AND MAKE IT DANCE"; CHAPTER 3 LISTENING TO GERTRUDE STEIN'S SAXOPHONE; CHAPTER 4 BANJOS, BLACKBIRDS, AND BLUE GUITARS: THE SOUNDWORLD OF WALLACE STEVENS; CONCLUSION; Notes; Bibliography; IndexImprovisation, despite its almost ubiquitous presence in many art forms, is notoriously misunderstood and mysterious. Although earlier strands of American philosophy and art emphasized what might be called improvisational practices, it was during the modernist period that improvisational practice and theory began to make a significant impact on art and culture, specifically via the African American musical forms of jazz and blues. This musical development held important consequences for the larger artistic, cultural, and political life of America as a wholeGÇöand, eventually, the world. The hiAmerican literature -- 20th century -- History and criticismAmerican poetryHistory and criticism20th centuryUnited StatesModernism (Literature)EnglishHILCCLanguages & LiteraturesHILCCAmerican LiteratureHILCCAmerican literature -- 20th century -- History and criticism.American poetryHistory and criticismModernism (Literature)EnglishLanguages & LiteraturesAmerican Literature810.9112Wallace Rob1521752AU-PeELAU-PeELAU-PeELBOOK9910785698303321Improvisation and the Making of American Literary Modernism3761122UNINA