“죽이는 시가 필요하다”: 블랙팬서, 블랙파워, 아미리 바라카의 혁명적 시학
“We Need a Killing Poem”: Black Panther, Black Power, Amiri Baraka’s Revolutionary Poetics
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This paper aims to demonstrate the ways in which Amiri Baraka, previously known as LeRoi Jones, represents “black art” or “black aesthetics” in his poetry developed in the context of “Black Power” and Black Art Movement in the late 1960s to which the African American poet made a significant contribution. In this paper, the political voice in Baraka’s poetry then, which has been frequently denounced as blatantly didactic and unartistic by some critics, is reconsidered with regard to how the poems in his most well-known, but underestimated poetry collections, such as Black Magic (1969) and It’s Nation Time (1970), artistically express the particular political tropes of “Black Power.” Baraka’s political voice, deeply engaged with “black” cultural, musical, and linguistic components, attempts to constitute a new poetic model that combines politics and artistry while proposing and practicing the revolutionary ideas of “black art” that resist dominant “white art” or “white aesthetics.”
Abstract
This paper aims to demonstrate the ways in which Amiri Baraka, previously known as LeRoi Jones, represents “black art” or “black aesthetics” in his poetry developed in the context of “Black Power” and Black Art Movement in the late 1960s to which the African American poet made a significant contribution. In this paper, the political voice in Baraka’s poetry then, which has been frequently denounced as blatantly didactic and unartistic by some critics, is reconsidered with regard to how the poems in his most well-known, but underestimated poetry collections, such as Black Magic (1969) and It’s Nation Time (1970), artistically express the particular political tropes of “Black Power.” Baraka’s political voice, deeply engaged with “black” cultural, musical, and linguistic components, attempts to constitute a new poetic model that combines politics and artistry while proposing and practicing the revolutionary ideas of “black art” that resist dominant “white art” or “white aesthetics.”
참고문헌 (25)
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