When Your Way Gets Dark: A Rhetoric of the BluesParlor Press LLC, 2005 - 176 էջ Description In When Your Way Gets Dark: A Rhetoric of the Blues, Jeffrey Carroll presents a cluster of rhetorical and literary theories that illuminate the blues' place in our social, political, and cultural traditions. Drawing from his 35 years of blues encounters, Carroll also analyzes performers and nine historic blues performances-including the blues of Charlie Patton, Skip James, Memphis Minnie, Muddy Waters, B.B. King, Jimi Hendrix, Eric Clapton, and others-as well as their own accounts of performances, to understand, paraphrasing Dylan Thomas, the force through which the blue fuse drives the music. When Your Way Gets Dark uncovers the rhetorical positions of the most significant writing and writers on the blues-Samuel Charters, Paul Oliver, Robert Palmer, William Ferris, David Evans, LeRoi Jones, Ralph Ellison, Larry Neal, Albert Murray-and seeks to find rhetorics there that may resolve or exacerbate the question of race, the blues, and audience. In When Your Way Gets Dark, Carroll also shows how teachers and students can-by reinventing its contexts, sound, and effects-recover the rhetorical power of the blues. What Others Have Said When Your Way Gets Dark presents a sustained look at how African-American art and performance has extended and shaped the American aesthetic and cultural landscape. Carroll shows that the blues are a legitimate art-form for sustained study, academic and otherwise; in so doing, he stretches our conceptions of what constitutes a text . . . and how we can explore text as performance in terms of theory, interpretation, and pedagogy-without reducing the blues to being only a literary object. . . . Carroll writes about the blues with grace, style, and insight. -Thomas Rickert, Purdue University About the Author Jeffrey Carroll is Professor of English and Director of the Graduate Program in English at the University of Hawai'i at Manoa, where he teaches courses on the blues, rhetoric and composition, and the American novel. He is the author of two textbooks, Dialogs: Reading and Writing in the Disciplines and The Active Reader (with Anne Ruggles Gere), as well as a novel, Climbing to the Sun. |
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| 3 | |
Reading for the Blues | 36 |
Cooking with the Blues | 71 |
Nine Performances of the Blues | 73 |
Skip James | 80 |
Memphis Minnie | 87 |
Little Walter | 94 |
Jimi Hendrix | 102 |
JB Lenoir | 109 |
BB King | 116 |
Muddy Waters | 123 |
Eric Clapton | 130 |
Teaching by the Blues | 137 |
Works Cited | 167 |
Index | 173 |
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aesthetic African African-American African-American culture American argue argument artist authentic B.B. King Bakhtin band beauty Bessie Smith blues audience blues critic blues lyric blues performance blues singer bluesman Buddy Guy Calt canon carnival Charlie Patton Charters Charters's Chicago Clapton classroom clown comic context Country Blues create dance dialogical discourse discussed effect Ellison Eric Clapton ethos Evans example experience expression feeling figure guitar harp hear Hendrix heteroglossia hybrid J.B. Lenoir jazz Keil kind language Lenoir linguistic listener literary Little Walter living look mance meaning Memphis Minnie Minnie's Mississippi move Muddy Waters Murray musicians numbers Oliver Otis Rush play poetry political postcolonial reading recordings response rhetoric rhetorician rhythm ritual Robert Johnson sense singing Skip James social Son House song soul sound speak speaker speech suggests teacher tion tradition trope truth understanding vocal voice Waters's white audiences words
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Էջ 81 - Darkling I listen; and for many a time I have been half in love with easeful Death, Call'd him soft names in many a mused rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad In such an ecstasy! Still wouldst thou sing, and I have ears in vain To thy high requiem become a sod.
Էջ 54 - As a living, socio-ideological concrete thing, as heteroglot opinion, language, for the individual consciousness, lies on the borderline between oneself and the other. The word in language is half someone else's. It becomes "one's own...
Էջ 74 - Mimicry is thus the sign of a double articulation; a complex strategy of reform, regulation, and discipline, which "appropriates" the Other as it visualizes power. Mimicry is also the sign of the inappropriate, however, a difference or recalcitrance which coheres the dominant strategic function of colonial power, intensifies surveillance, and poses an immanent threat to both "normalized" knowledges and disciplinary powers.
Էջ 106 - Identification is affirmed with earnestness precisely because there is division. Identification is compensatory to division. If men were not apart from one another, there would be no need for the rhetorician to proclaim their unity.
Էջ 81 - Orientalism depends for its strategy on this flexible positional superiority, which puts the Westerner in a whole series of possible relationships with the Orient without ever losing him the relative upper hand.
Էջ 36 - The blues speak to us simultaneously of the tragic and comic aspects of the human condition and they express a profound sense of life shared by many Negro Americans precisely because their lives have combined these modes. This has been the heritage of a people who for hundreds of years could not celebrate birth or dignify death and whose need to live despite the dehumanizing pressures of slavery developed an endless capacity for laughter at their painful experience.
Էջ 63 - But what I see is the millions of people, of whom I am just one, made orphans: no motherland, no fatherland, no gods, no mounds of earth for holy ground, no excess of love which might lead to the things that an excess of love sometimes brings, and worst and most painful of all, no tongue.
Էջ 63 - ... (For isn't it odd that the only language I have in which to speak of this crime is the language of the criminal who committed the crime?
Էջ 54 - The word in language is half someone else's. It becomes "one's own" only when the speaker populates it with his own intention, his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention. Prior to this moment of appropriation, the word does not exist in a neutral and impersonal language (it is not, after all, out of a dictionary that the speaker gets his words)), but rather it exists in other people's mouths, in other people's contexts, serving other people's...
Էջ 68 - It proposes that any coherent understanding of what language is and how language performs, that any coherent account of the capacity of human speech to communicate meaning and feeling is, in the final analysis, underwritten by the assumption of God's presence.