american political poetry in the 21st century - STIBA Malang

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Listening: Poetry and the Performed Word. Ed. Charles Bernstein. New York: Oxford UP, 1998. Dimitriadis, Greg. “Hip Hop: From Live Performance to Mediated Narrative.” Popular Music 15.2 (1996): 179–194. Dyson, Michael Eric. Reflecting Black: African-American Cultural Criticism. Minneapolis: U of Minnesota P, 1993. George, Nelson. Hip Hop America. New York: Viking Penguin, 1998. Hillburn, Robert. “Checking in with Chuck D. Los Angeles Times November 8, 1992. Calendar section 65. Keyes, Cheryl L. Rap Music and Street Consciousness. Music in American Life. Urbana: U of Illinois P, 2002. Kitwana, Bakari. “The Cotton Club: Black-Conscious Hip-Hop Deals with an Overwhelmingly White Live Audience.” The Village Voice June 24, 2005. Available at http://www.villagevoice.com/music/0526,kitwana,65332,22.html. Neate, Patrick. Where You’re at: Notes from the Frontlines of a Hip-Hop Planet. New York: Riverhead Books, 2003. Perkins, William Eric. “The Rap Attack: Introduction.” Droppin’ Science: Critical Essays on Rap Music and Hip Hop Culture. Ed. Perkins. Philadelphia, PA: Temple UP, 1996. 1–48. Potter, Russell A. Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. SUNY Series, Postmodern Culture. Albany, New York: SUNY P Albany, 1995. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, NH: Wesleyan UP, 1994. Saddik, Annette J. “Rap’s Unruly Body: The Postmodern Performance of Black Male Identity on the American Stage.” The Drama Review 47.4 (2003): 110–127. Shusterman, Richard. “The Fine Art of Rap.” New Literary History 22.3 (1991): 613–632. Smith, Christopher Holmes. “‘I Don’t Like to Dream about Getting Paid’: Representations of Social Mobility and the Emergence of the Hip-Hop Mogul.” Social Text 21.4 (2003): 69–97. Secondary Sources: Theory and Various REFERENCES 223 Agamben, Giorgio. Infancy and History: The Destruction of Experience. Trans. Liz Heron. New York: Verso, 1993. Arendt, Hannah. Between Past and Future: Eight Exercises in Political Thought. New York: Penguin, 1954. ———. The Human Condition. Chicago: U of Chicago P, 1958. ———. On Revolution. New York: Penguin, 1977. Barthes, Roland. “The Discourse of History.” Trans. Stephen Bann. Comparative Criticism 3 (1981): 7–20.
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American Political Poetry in the 21
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American Political Poetry in the 21
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To the poets of the fields, village
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Contents Preface ix Acknowledgments
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Preface When I began reading, writi
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PREFACE xi printed poetry and what
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Acknowledgments In writing this boo
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Introduction: Political Poetry in t
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INTRODUCTION 3 always will be prima
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INTRODUCTION 5 spectacle of man-cre
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INTRODUCTION 7 is always a danger w
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eceived less attention from theoris
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INTRODUCTION 11 “political” and
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INTRODUCTION 13 Though defining the
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INTRODUCTION 15 “impotent” to e
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INTRODUCTION 17 for personal as muc
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INTRODUCTION 19 chapter title doubl
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INTRODUCTION 21 for “alternative
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the extant criticism about the isol
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INTRODUCTION 25 Laureate (2001-2003
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INTRODUCTION 27 insistence on the
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INTRODUCTION 29 Alegría once comme
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INTRODUCTION 31 be seen as a counte
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INTRODUCTION 33 not want to establi
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CHAPTER 1 Embodied Agency Introduct
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EMBODIED AGENCY 37 for poetry even
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EMBODIED AGENCY 39 peach halves. Th
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EMBODIED AGENCY 41 the same event
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EMBODIED AGENCY 43 The speaker-poet
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EMBODIED AGENCY 45 themselves. Des
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EMBODIED AGENCY 47 The eighth in th
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EMBODIED AGENCY 49 In Rodríguez’
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EMBODIED AGENCY 51 stems from memor
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EMBODIED AGENCY 53 Frequently groun
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EMBODIED AGENCY 55 The rhetorical s
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EMBODIED AGENCY 57 of revolutionary
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EMBODIED AGENCY 59 entire civilizat
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people who manipulate them for viol
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EMBODIED AGENCY 63 themselves from
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EMBODIED AGENCY 65 Jesse Helms were
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EMBODIED AGENCY 67 in using “Who
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EMBODIED AGENCY 69 that speaks of
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Ramirez, / who after years of confi
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EMBODIED AGENCY 73 justice. These p
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EMBODIED AGENCY 75 the task of poet
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CHAPTER 2 Equivocal Agency Seems, m
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EQUIVOCAL AGENCY 79 events, the poe
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EQUIVOCAL AGENCY 81 reflecting but
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EQUIVOCAL AGENCY 83 trauma theory,
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EQUIVOCAL AGENCY 85 (Engelmann 46).
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EQUIVOCAL AGENCY 87 suggests an asp
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EQUIVOCAL AGENCY 89 Simic’s terse
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EQUIVOCAL AGENCY 91 what Hannah Are
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EQUIVOCAL AGENCY 93 tongues.” The
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EQUIVOCAL AGENCY 95 out, Palmer is
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atrocities she writes about. Even s
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EQUIVOCAL AGENCY 99 Vietnam War—t
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EQUIVOCAL AGENCY 101 This move is p
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EQUIVOCAL AGENCY 103 Edward J. Brun
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He continues that “he had identif
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EQUIVOCAL AGENCY 107 out, the lion
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EQUIVOCAL AGENCY 109 one that sees
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EQUIVOCAL AGENCY 111 and below). Th
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mandate or “solution” to make a
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EQUIVOCAL AGENCY 115 Simic’s poet
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CHAPTER 3 Migratory Agency Introduc
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MIGRATORY AGENCY 119 with his claim
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MIGRATORY AGENCY 121 the essences o
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MIGRATORY AGENCY 123 challenge the
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“English” poem disrupts “trad
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Poems of Migratory Agency MIGRATORY
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MIGRATORY AGENCY 129 but of nuestra
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MIGRATORY AGENCY 131 In this final
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MIGRATORY AGENCY 133 muertos. / Los
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MIGRATORY AGENCY 135 primary intere
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MIGRATORY AGENCY 137 comparing the
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There is great facetiousness in the
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MIGRATORY AGENCY 141 highlights the
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MIGRATORY AGENCY 143 that “commun
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MIGRATORY AGENCY 145 the existing l
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argues that these Modernist poets
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MIGRATORY AGENCY 149 illuminates di
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MIGRATORY AGENCY 151 sadness. I cou
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CHAPTER 4 Contestatory Urban Agency
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CONTESTATORY URBAN AGENCY 155 their
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CONTESTATORY URBAN AGENCY 157 “Th
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CONTESTATORY URBAN AGENCY 159 agenc
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CONTESTATORY URBAN AGENCY 161 When
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CONTESTATORY URBAN AGENCY 163 celeb
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CONTESTATORY URBAN AGENCY 165 with
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CONTESTATORY URBAN AGENCY 167 acqui
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CONTESTATORY URBAN AGENCY 169 the s
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CONTESTATORY URBAN AGENCY 171 can a
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Page 192 and 193: CONTESTATORY URBAN AGENCY 177 relat
Page 194 and 195: CONTESTATORY URBAN AGENCY 179 rhyth
Page 196 and 197: CONTESTATORY URBAN AGENCY 181 world
Page 198 and 199: CONTESTATORY URBAN AGENCY 183 venue
Page 200 and 201: CONTESTATORY URBAN AGENCY 185 Summa
Page 202 and 203: CONTESTATORY URBAN AGENCY 187 to ig
Page 204 and 205: Conclusion Part One In this book I
Page 206 and 207: CONCLUSION 191 from what Muriel Ruk
Page 208 and 209: CONCLUSION 193 to evidentiary justi
Page 210 and 211: CONCLUSION 195 The debate about the
Page 212 and 213: CONCLUSION 197 For example, I write
Page 214 and 215: CONCLUSION 199 a citizen-poet becau
Page 216 and 217: Notes Introduction: Political Poetr
Page 218 and 219: For background on testimonio, see B
Page 220 and 221: 16. See Ben Lee’s “ ‘Howl’
Page 222 and 223: NOTES 207 an epigraph indicate that
Page 224 and 225: NOTES 209 7. See Anne Shea’s “
Page 226 and 227: enthusiastic for, and knowledgeable
Page 228 and 229: References Primary Sources: Printed
Page 230 and 231: Villatoro, Marcos McPeek. On Tuesda
Page 232 and 233: REFERENCES 217 Folsom, Ed and Cary
Page 234 and 235: REFERENCES 219 McKenna, Teresa. Mig
Page 236 and 237: REFERENCES 221 Shetley, Vernon. Aft
Page 240 and 241: REFERENCES 225 Hansen, Miriam. Fore
Page 242 and 243: abstraction, 78-80, 87, 92-3, 101-2
Page 244 and 245: Coetzee, J.M., 198-9 Colás, Santia
Page 246 and 247: institutionalization of hip-hop, 2-
Page 248 and 249: esponsibility and poetry, 28-9, 60-
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