By Carrie Noland
Carrie Noland techniques Negritude as an experimental, text-based poetic circulation constructed through diasporic authors of African descent during the technique of modernist print tradition. enticing essentially the works of Aimé Césaire and Léon-Gontran Damas, Noland indicates how the calls for of print tradition modify the non-public voice of every writer, reworking an empirical subjectivity right into a hybrid, textual entity that she names, after Theodor Adorno, an "aesthetic subjectivity."
This aesthetic subjectivity, transmitted through the phrases at the web page, needs to be actualized--performed, reiterated, and created anew--by every one reader, at each one social gathering of analyzing. Lyric writing and lyric analyzing for this reason attenuate the hyperlink among writer and phenomenalized voice. but the Negritude poem insists upon its connection to lived event whilst it emphasizes its revealed shape. paradoxically, a simply formalist examining must forget about the methods formal--and no longer basically thematic--elements aspect towards the poem's personal stipulations of emergence.
Blending archival learn at the old context of Negritude with theories of the lyric "voice," Noland argues that Negritude poems current a problem to either form-based (deconstructive) theories and identity-based theories of poetic illustration. via shut readings, she finds that the racialization of the writer locations strain on a lyric regime of interpretation, obliging us to reconceptualize the relation of writer to textual content in poetries of the 1st individual.
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Additional resources for Voices of Negritude in Modernist Print: Aesthetic Subjectivity, Diaspora, and the Lyric Regime (Modernist Latitudes)
S’est enlisée”—reemerges in the words we read on the page. The reﬂexive verb “s’enliser” resonates with the conjugated forms of the verb “to read,” “lire,” suggesting through phonic association that the voice that goes underground also emerges into legibility, into graphic form. . ) In other words, Césaire makes the disappearance of voice into an occasion for reading. Never innocent, never untainted by the conditions of its apprenticeship, writing nonetheless does not belong to the “instituteur” or the “prêtre” who ﬁrst introduces it.
A second language— even if it is that of the colonizer—can be experienced with the senses of the body, experienced even as an erotic object, a point made overtly in the works of Khatibi (and celebrated by his critics) that has not been suﬃciently noted (or celebrated) in the works of Negritude. To deny the salience of this visceral experience to the poets of Negritude is at once to exclude them from the modernist moment (when a sensual investment in the grapheme was INTRODUCTION 23 paramount) and to condemn them to playing only one role in culture, that of the griot (oral poet) or conteur (storyteller).
Césaire experienced diﬃculties ﬁnding a publisher for the Cahier but then gained a hearing from the editorial board of Volontés, a review aﬃliated with the high modernist aesthetics of Eugène Jolas, the publisher of James Joyce’s Work in Progress (Finnegans Wake). Chapter 1 explores this little-known publication history, demonstrating that while the Cahier conformed to the high modernist demand for verbal craft, the poem also advanced this craft by forcing it to accommodate a deeply traumatic empirical predicament.