This book approaches Negritude as an experimental, text-based
poetic movement developed by diasporic authors of African descent
through the means of modernist print culture. Engaging primarily
the works of Aim? C?saire and L?on Gontran Damas, Carrie Noland
shows how the demands of modernist print culture alter the personal
voice of each author, transforming an empirical subjectivity into a
hybrid, textual entity that she names, after Theodor Adorno, an
"aesthetic subjectivity." This aesthetic subjectivity, transmitted
by the words on the page, must be actualized -- performed,
reiterated, and created anew -- by each reader, at each occasion of
reading. Lyric writing and lyric reading therefore attenuate the
link between author and phenomenalized voice. Yet the Negritude
poem insists upon its connection to lived experience even as it
emphasizes its inscriptive support. Ironically, a purely formalist
reading would have to ignore the ways in which "formal" -- and not
merely thematic -- elements point toward the poem's own conditions
of emergence. Blending archival research on the historical context
of Negritude with theories of the lyric "voice," Noland argues that
Negritude poems present a challenge to both form-based
(deconstructive) theories and identity-based theories of poetic
representation. Through close readings, she reveals that the
racialization of the author places pressure on a lyric regime of
interpretation, obliging us to reconceptualize the relation of
author to text in poetries of the first person.
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