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Langston Hughes’s Poetics of the Masses and Blues Poetry
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Langston Hughes has long been identified as a blues poet mainly because he had such a creative sensibility to modernize traditional black folk art genre, Blues and to manifest the spirit of low-down black folks. Recently, however, thanks to Callaloo’s special issue on Hughes, a new approach to Hughessocialist views has been being made in an active but careful way. In this context, it seems timely to re-read Hughes as a socialist poet and examine his blues poems in terms of Paul Gilroys concept of “a topos of unsayability.” According to Gilroy, black folk music genres has been shaped transmitting the “unsayability” of racial terror they had gone through as slaves. Therefore, semiotic expressions, which has often been viewed as having no meaning, can actually become the subversive space that challenges the established authority of white symbolic language as a dominant means of human communications. By looking into how Hughes embodies such unsayability of low-down black folks in his blues poetry, I like to indicate that he transmutes his blues poems into socialist comments that not only defy white racial discrimination but also confront black intelligentsia’s social demarcation against poor, ignorant blacks.
Abstract
Langston Hughes has long been identified as a blues poet mainly because he had such a creative sensibility to modernize traditional black folk art genre, Blues and to manifest the spirit of low-down black folks. Recently, however, thanks to Callaloo’s special issue on Hughes, a new approach to Hughessocialist views has been being made in an active but careful way. In this context, it seems timely to re-read Hughes as a socialist poet and examine his blues poems in terms of Paul Gilroys concept of “a topos of unsayability.” According to Gilroy, black folk music genres has been shaped transmitting the “unsayability” of racial terror they had gone through as slaves. Therefore, semiotic expressions, which has often been viewed as having no meaning, can actually become the subversive space that challenges the established authority of white symbolic language as a dominant means of human communications. By looking into how Hughes embodies such unsayability of low-down black folks in his blues poetry, I like to indicate that he transmutes his blues poems into socialist comments that not only defy white racial discrimination but also confront black intelligentsia’s social demarcation against poor, ignorant blacks.
참고문헌 (17)
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- Chinitz, David, "Literacy and Authenticity: The Blues Poems of Langston Hughes", 19(1), pp.177~192 (1996)
- DuBois, W. E. B, "Criteria of Negro Art" (1994)
- Gates, J.,, "Langston Hughes: Critical Perspective: Past and Present" (1993)
- Gilroy, Paul, "The Black Atlantic: Modernity and Double Consciousness" (1993)
- Graham, Maryama, "The Practice of a Social Art Langston Hughes: Critical Perspective: Past and Present" (1993)
- Hughes, Langston, "The Collected Poems of Langston Hughes" (1994)
- Hughes, Langston, "The Negro Artist and the Racial Mountain" (1994)
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- Jones, Meta D, "Listening to What The Ear Demands: Langston Hughes and His Critics" (2000)
- Locke, Alain, "The New Negro" (1992)
- Lowney, John, "Langston Hughes and the??Nonsense??of Bebop", 72(2), pp.357~385 (2000)
- Moore, David C, "Colored Dispatched From The Uzbeck Border: Langston Hughes??Relevance, 1933-2002", 25(4), pp.1115~1135 (2005)
- Patterson, "Jazz, Realism, and the Modernist Lyric: The Poetry of Langston Hughes", 61(4), pp.651~682 (2000)
- Peters, Erskine, "Rhythmic Manipulation and Instrument Situation in Montage of a Dream Deferred" (1993)
- Rampersad, Arnold, "The Life of Langston Hughes" (1986)
- Vendler, "The Unweary Blues", 6, pp.37~42 (1995)