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In the Break : The Aesthetics of the Black Radical Tradition
US $24.95
ApproximatelyRM 105.21
Condition:
“One chapter has notations. Book shows moderate wear. (ro)”
Acceptable
A book with obvious wear. May have some damage to the cover but integrity still intact. The binding may be slightly damaged but integrity is still intact. Possible writing in margins, possible underlining and highlighting of text, but no missing pages or anything that would compromise the legibility or understanding of the text.
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Located in: Rochester, New York, United States
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Estimated between Thu, 4 Sep and Wed, 10 Sep to 94104
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eBay item number:126914543254
Item specifics
- Condition
- Acceptable
- Seller Notes
- “One chapter has notations. Book shows moderate wear. (ro)”
- Narrative Type
- Nonfiction
- ISBN
- 9780816641000
About this product
Product Identifiers
Publisher
University of Minnesota Press
ISBN-10
0816641005
ISBN-13
9780816641000
eBay Product ID (ePID)
2403151
Product Key Features
Book Title
In the Break : the Aesthetics of the Black Radical Tradition
Number of Pages
332 Pages
Language
English
Topic
Political Ideologies / Radicalism, American / General, Ethnic Studies / African American Studies, Genres & Styles / Jazz
Publication Year
2003
Genre
Music, Art, Political Science, Social Science
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
15.5 Oz
Item Length
8.9 in
Item Width
5.8 in
Additional Product Features
LCCN
2002-151661
Reviews
"An ambitious work, In the Break shows that the classic opposition between singularity and totality is invalidated by black thought, history, life, and culture. In the Break is a truly original and inventive work that needs to be read and heard."--Avery Gordon, author of Ghostly Matters, "Moten makes great sense of the author's complementary attractions of 'same' and 'change.'"-- Rough Pages "Fred Moten's dynamic and ambitious In the Break explores the tension between jazz's social and aesthetic dimensions as the animating force behind the music, contextualizing the avant-garde work of the 1960s within a narrative arc that encompasses the entire history of the African diaspora."-- American Quarterly "The result of Moten's work is always more than a performance, more than the aggregate of gestures that falls within the valorized space of performative writing: In the Break marks an event according to the terms with which Moten describes it--encounter, ensemble, improvisation, and the invocation of the knowledge of freedom."-- MLN "It's a work that rewards careful study and repeated consultation, and invites extension, development, debate, and sustained intellectual improvisation on its protean themes."-- Cross Cultural Poetics " In the Break mounts a poststructuralist assault upon the sovereign subject, disciplined sexuality, and gender training."-- American Literary History
Dewey Edition
21
Dewey Decimal
700/.89/96073
Synopsis
In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on OC The Burton Greene Affair, OCO exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performanceOCoculture, politics, sexuality, identity, and blackness itselfOCois improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, MotenOCOs concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, MotenOCOs wide-ranging discussion embraces a variety of disciplinesOCosemiotics, deconstruction, genre theory, social history, and psychoanalysisOCoto understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in MotenOCOs ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition. ", Investigates the connections between jazz, sexual identity, and radical black politics In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on "The Burton Greene Affair," exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance--culture, politics, sexuality, identity, and blackness itself--is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten's concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, Moten's wide-ranging discussion embraces a variety of disciplines--semiotics, deconstruction, genre theory, social history, and psychoanalysis--to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten's ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition
LC Classification Number
E185.M895 2003
Item description from the seller
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Seller feedback (96)
- p***6 (413)- Feedback left by buyer.Past 6 monthsVerified purchaseGreat
- e***m (2104)- Feedback left by buyer.Past 6 monthsVerified purchasePerfect transaction.
- r***r (8900)- Feedback left by buyer.Past 6 monthsVerified purchaseNice item