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Relevant bibliographies by topics / Cane (Toomer, Jean)

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Academic literature on the topic 'Cane (Toomer, Jean)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Cane (Toomer, Jean)"

1

Licato, Amanda Mehsima. "Jean Toomer after Cane." MELUS 46, no. 1 (March 1, 2021): 173–93. http://dx.doi.org/10.1093/melus/mlab005.

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Abstract I reassess Jean Toomer’s poetics after the publication of his first novel Cane (1923). Cane’s critical reception has impacted and limited our understanding of his poetry, and of his racial identification, from the late 1920s to 1940s, when Toomer sought inspiration from the Eastern mystic, George Ivanovich Gurdjieff, and later from the Religious Society of Friends, or Quakers. Challenging the neat binary of Toomer’s lyrical and didactic strains in his later work, and spotlighting the complexity of his racial posturing, I argue that the central elements of Toomer’s poetics remained constant, particularly his attention to moral and spiritual enlightenment in order to address the pressing psychosocial and racial issues of his time.

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FAREBROTHER, RACHEL. "“Adventuring through the Pieces of a still Unorganized Mosaic”: Reading Jean Toomer's Collage Aesthetic in Cane." Journal of American Studies 40, no. 3 (November 22, 2006): 503–21. http://dx.doi.org/10.1017/s0021875806002106.

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In Cane the reader is immediately struck by Jean Toomer's bold manipulation of a collage technique; he abandons progressive plotting, instead assembling a variety of disparate forms and genres. As well as signalling the heterogeneity of the collage elements through typographical layout, he stretches and scrambles familiar forms, breaking them, splitting them open and stitching them onto other genres. In a letter to Toomer on 25 April 1922, Waldo Frank describes the effect of these broken forms: “in the reading the mind does not catch on to a uniformly moving Life that conveys it whole to the end, but rather steps from piece to piece as if adventuring through the pieces of a still unorganized mosaic.” As Frank points out, Toomer abandons linear narrative and “uniform” progression, subjecting the reader to chaotic surprises and unexpected truths revealed through the process of piecing together the meaning of seemingly random fragments.

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Gino Michael Pellegrini. "Jean Toomer and Cane: “Mixed-Blood” Impossibilities." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 64, no. 4 (2008): 1–20. http://dx.doi.org/10.1353/arq.0.0025.

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KAHAN, BENJAMIN, and MADOKA KISHI. "Sex under Necropolitics: Waldo Frank, Jean Toomer, and Black Enfleshment." Journal of American Studies 54, no. 5 (July 17, 2019): 926–50. http://dx.doi.org/10.1017/s0021875819000847.

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Though Jean Toomer's Cane (1923) is one of the best-known texts of the Harlem Renaissance, it has rarely been discussed with the text alongside which it was initially imagined: Waldo Frank's Holiday (1923). These works were inspired by a joint trip to Spartanburg, South Carolina and were conceptualized as a shared project, what the authors termed “Holiday + Cane.” This essay tracks their coproduction with particular attention to their parallax vision of lynching to theorize what we call, building on Achille Mbembe's work, “sex under necropolitics.” This dispensation does not take shape within a privatized notion of sexuality, but instead is “ungendered” and unindividuated in the ways that Hortense Spillers has described through the notion of the flesh. We take up her work to suggest that black bodily practices and corporeal intimacies are governed by a regime other than sexuality. In this essay, we map the contours of this regime and its effects on both sides of the color line. Our new cartography promises to reconfigure understandings of the sexuality of Toomer and Frank and of the Harlem Renaissance, and to clarify the relationship between (white) queer theory and queer-of-color critique.

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Yellin, Michael. "Brother Mine: The Correspondence of Jean Toomer and Waldo Frank ed. by Kathleen Pfeiffer, and: Cane: A Norton Critical Edition by Jean Toomer." African American Review 45, no. 1-2 (2012): 251–55. http://dx.doi.org/10.1353/afa.2012.0036.

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Rusch, Frederik L. "Form, Function, and Creative Tension in Cane: Jean Toomer and the Need for the Avant-Garde." MELUS 17, no. 4 (1991): 15. http://dx.doi.org/10.2307/467265.

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Grandt, Jürgen E. "The Sound of Red Dust: Jean Toomer, Marion Brown, and the Sonic Transactions of “Karintha”." Textual Cultures 13, no. 1 (April 15, 2020): 128–48. http://dx.doi.org/10.14434/textual.v13i1.30075.

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On his 1973 album Geechee Recollections, free jazzer Marion Brown tackles one of the most musical African American narratives, “Karintha” from Jean Toomer’s Cane. The velocity of sound Toomer’s text seeks to transcribe in literary form Brown trans-scribes back into music propelled by what I term Afro-kinesis. Afro-kinesis is a form of motion — a Benjaminian eddy rather than a Derridean trace — that improvises modalities of transaction with and in new-old sonic topographies, and in the process limns an aural modernity that constantly reinvents itself. This kinetic ecology of sound goes beyond acoustic transposition and instead aspires to effect a signifying exchange between the mercurial improvisation of free jazz’s “new thing” and the scripted stasis of literary text, a transaction of meaning across cultural time and physical space.

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Rehin, George. "Jean Toomer, Cane (ed. Darwin T. Turner) (New York & London: Norton, 1988, £4.95 paper). Pp. 246. ISBN 0 393 95600 8. - Robert B. Jones and Margery Toomer Latimer (eds.), The Collected Poems of Jean Toomer (Chapel Hill & London: University of North Carolina Press, 1988, $16.95 cloth, $8.95 paper). Pp. 111. ISBN 0 8078 1773 2 (cloth). - Cynthia Earl Kerman and Richard Eldridge, The Lives of Jean Toomer: A Hunger for Wholeness (Baton Rouge & London: Louisiana State University Press, 1987, £28.45). Pp. 411. ISBN 0 8071 1354 9." Journal of American Studies 24, no. 1 (April 1990): 138–39. http://dx.doi.org/10.1017/s0021875800028929.

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Webb, Jeff. "Literature and Lynching: Identity in Jean Toomer's Cane." ELH 67, no. 1 (2000): 205–28. http://dx.doi.org/10.1353/elh.2000.0010.

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Robles, Francisco E. "Jean Toomer’s Cane and the Borderlands of Encounter and Contradiction." MELUS 45, no. 1 (2020): 27–48. http://dx.doi.org/10.1093/melus/mlz064.

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Abstract This article looks at Jean Toomer’s Cane (1923) through the theoretical framework of Anzaldúa’s Borderlands/La Frontera: The New Mestiza (1987) and Eve Kosofsky Sedgwick’s Touching Feeling: Affect, Pedagogy, Performativity (2003), arguing that Cane might best be understood as a text focused on borders. In doing so, the article puts forth the claim that the ideas of “contradiction” and “beside” offer important insights into understanding the formal innovations and thematic qualities of Cane. Specifically, by focusing on the text’s use of migration as a meaningful aesthetic category, the essay unsettles recent literary historical questions about Toomer’s personal identifications, instead looking at how contradiction and paradox generate a text whose flows, moves, and shifts insist on multiplicity and movement.

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Dissertations / Theses on the topic "Cane (Toomer, Jean)"

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Davis, Claudia M. "The Objectification of Women in Cane." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1386770950.

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Cottenet, Cécile. "Histoires éditoriales : the conjure Woman de Charles W. CHesnutt (1899) et Cane de Jean Tooner (1923)." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10022.

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L'étude des histoires éditoriales de "the Conjure Woman" de Charles W. CHesnutt (1858-1932) et de "Cane" de Jean Toomer (1894-1967), retrace le trajet et la formation de ces deux écrivains afro-américains jusqu'à leur accès à la publication. Figures pionières de la littérature noire américaine, ils furent respetivement publiès par la maison "mainstream Houghton, Miflin et Co. , et l'éditeur avant-gardiste Boni et Liveright. Confrontés à un lectorat majoritairement blanc e à la complexité des relations entre éditeurs blancs et écrivains noirs dans et à quelle conditions, purent-ils accèder à la publilcation ? Quelle influence eurent leurs origines de couleur ?

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Sisson, Elaine Margaret. "Representation and Resistance: A Feminist Critique of Jean Toomer's "Cane"." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625608.

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Cheng-hsuan, Wu, and 吳塵軒. "Call and Response, Passing and Integration: The Musical Structure of Jean Toomer's Cane." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/82927321916656577709.

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碩士
輔仁大學
英國語文學系
95
ean Toomer’s Cane is an important work in African American literature. The book has a special place in the Harlem Renaissance because its structure transcends literary categories or any unifying principle by gathering different genres—poetry, narrative and drama—and different settings of the South and the North into three separate sections. The black musical tradition is a central element of Cane as the structure of the book is woven of blues repetition, jazz improvisation and the call-and-response pattern to voice black people's unspeakable sorrows and deep emotions. In my thesis, I examine the musical structure of Cane to study how Toomer adapts the music elements of blues and jazz—repetition, improvisation, and call-and-response—as his aesthetics to depict the vitality of black folk culture and conflicts of the color line in American society. I divide my thesis into three chapters, in which I explore how the musical structure defines and enhances each section of Cane. Part 1 of Cane takes place in Georgia and contains six narrative sketches of six women and ten poems interspersed among the sketches. In Chapter One, I examine how Toomer blends the generic forms of narrative and poetry with the blues structure of repetition and the call-and-response pattern to delineate the rural experiences of black people. Part 2 has five poems, four narratives and three prose poems, and the setting moves from Georgia to Washington, D.C., and Chicago. In the progression from the rural South to the urban North, the musical transformation in Part 2 is also forcibly changed from blues to jazz. Toomer's elaboration of jazz improvisation to adumbrate the new dilemmas of black people in the middle section of Cane is discussed in Chapter Two. “Kabnis,” an one-act play, thematically relates Parts 1 and 2 through a story of a Northern black man on his journey to seek the meaning of his identity in the South. In Part 3, the drama combines musical and dramatic structures to present characters’ the striving for survival and fulfillment. In Chapter 3, I emphasize how Toomer imbues the musical structure into the dramatic form of “Kabnis” to describe the protagonist Kabnis’s search for the meaning of his African heritage.

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Books on the topic "Cane (Toomer, Jean)"

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Teaching Jean Toomer's 1923 Cane. New York: Peter Lang Pub., 2004.

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Foley, Barbara. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038440.003.0009.

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This introductory chapter proposes that African American poet Jean Toomer's 1923 masterwork (Cane) cannot be understood apart from the upsurge of postwar antiracist political radicalism and its aftermath. Toomer does not enthuse about America as the site of cultural pluralism or future racial amalgamation; rather, it is victory in the class struggle against capitalism and imperialism that will put an end to racial division. The violent class struggles that signaled 1919 as a possible revolutionary conjuncture, coupled with the compensatory ideological paradigms adopted by various political actors and cultural producers as insurgency devolved into quietism, supply not just the context, but the formative matrix, from which Toomer's text emerged. The expectations and desires that were aroused and then quashed in the wake of the Great War and the Russian Revolution constitute a spectre haunting the world of Cane.

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Beeston, Alix. Black Flesh Is White Ash. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0003.

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This chapter argues that Jean Toomer’s tactics of poetic and narrative visualization of the series of black female bodies in Cane (1923) correspond to the strategic reappropriation of lynching photographs by African American political activists in the early twentieth century. Configured in line with the ontological multivalence of photography and bearing witness to the deep antinomy embedded in the photographic archive of white supremacy, Cane disassembles the ritualized scene of lynching by reframing and restaging it. Through the confluence of its ruptured, gap-ridden female figures and its ruptured, gap-ridden form, it images the contiguity between “black ash” and “white flesh”: black flesh as burned by, and for, white flesh.

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Book chapters on the topic "Cane (Toomer, Jean)"

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Hammans, Peter. "Toomer, Jean: Cane." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18789-1.

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Young, John K. "The Roots of Cane: Jean Toomer in The Double Dealer and Modernist Networks." In Race, Ethnicity and Publishing in America, 171–92. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137390523_8.

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Dow, William. "“Always Your Heart”: Class Designs in Jean Toomer’s Cane." In Narrating Class in American Fiction, 105–31. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617964_5.

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Ohnesorge, Karen. "Cane Fields, Blues Text-ure: An Improvisational Meditation on Jean Toomer’s Cane and Jean-Michel Basquiat’s Undiscovered Genius of the Mississippi Delta." In The Funk Era and Beyond, 107–24. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1007/978-0-230-61453-6_7.

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5

Taylor, Julie. "Animating Cane: Race, Affect, History and Jean Toomer." In Modernism and Affect. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693252.003.0008.

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This chapter explores the Harlem Renaissance writer Jean Toomer’s critical deployment of a racist stereotype that links African American subjectivity to extreme emotional expressiveness. In his 1923 experimental volume Cane, Toomer not only invites readers to question whether such affects “belong” to the subject, but employs these stereotypes to offer an embodied, affective history of American racism. Drawing on Sianne Ngai’s concept of racial “animatedness,” which captures the slippage from vitality and exuberance to a powerless, puppet-like state of innervated, non-intentional agitation, the chapter argues that Toomer uses affective stereotypes to diagnose the powerlessness of his subjects and to narrate a traumatic history in which persons are confused with things.

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"Chapter 5. Writing Cane." In Jean Toomer and the Terrors of American History. Philadelphia: University of Pennsylvania Press, 1998. http://dx.doi.org/10.9783/9781512806656-006.

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Keyser, Catherine. "“A Purple Fluid, Carbon-Charged”." In Artificial Color, 15–41. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190673123.003.0002.

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Jean Toomer worked as a soda jerk in high school over his grandmother’s objections and found inspiration in the soda fountain. Through it, he derived a metaphorical alternative to the one-drop rule, imagining instead essences that effervesced past the skin and colors that exceeded the monochromatic division of black and white. In Toomer’s masterpiece of experimental modernism, Cane (1923), the trope of liquid sugar provides a model for formal experimentation and fluid identities. Toomer follows this trope from cane syrup to soda pop, from copper boiling pots to Chero-Cola advertisements. In the last section of Cane, Toomer imagines a white man transformed into “a purple fluid, carbon-charged,” an image that he uses to rebuke the segregated culture of the urban North.

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"Chapter 7. Cane in the City." In Jean Toomer and the Terrors of American History. Philadelphia: University of Pennsylvania Press, 1998. http://dx.doi.org/10.9783/9781512806656-008.

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Leiter, Andrew B., and Jay Watson. "Miscegenation and Progression: The First Americans of Jean Toomer and William Faulkner." In Faulkner and the Black Literatures of the Americas. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806345.003.0005.

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This chapter analyzes aspects of miscegenation in William Faulkner’s work relative to several African American antecedents, contends that Jean Toomer’s work contributed to Faulkner’s treatment of the subject, and argues for a partial realignment of the traditional critical paradigm in Faulkner studies that approaches miscegenation through the segregation-era lens of threatened “whiteness.” Relying on an intertextual reading of Go Down, Moses with Toomer’s Cane and “Blue Meridian,” the chapter contends that we can discern Toomer’s influence on Faulkner’s portrayal of miscegenation. Most significantly, Toomer’s vision of progressive racial evolution culminating in a multi-racial, original American helps us frame Sam Fathers as Faulkner’s first American. As such, Fathers represents not only the end of both the Native American presence and the wilderness era in America, but he also serves as an originary model for an evolving mixed-race nation.

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"Jean Toomer’s Cane:." In African American Writing, 66–87. Temple University Press, 2016. http://dx.doi.org/10.2307/j.ctvrf88mb.8.

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Reports on the topic "Cane (Toomer, Jean)"

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Grail-Bingham, Travis. Conversion and Conversation: Speech and Social Change in Jean Toomer's Cane. Portland State University Library, April 2015. http://dx.doi.org/10.15760/honors.132.

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