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| 1 |
ID:
086640
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2009.
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| Summary/Abstract |
The mere exercise of reading the text as it really is will make the reader moral and wise in a direct way that no systemic body of dogmatic teaching can rival ...The real point of close reading is that it produces the right sort of person-a person of evident worth.
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| 2 |
ID:
164799
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| Summary/Abstract |
In the 1970s, pianist Keith Jarrett emerged as a major albeit controversial innovator in jazz. He succeeded in making completely improvised solo piano music not only critically acclaimed as afresh way of blending classical and jazz styles but also popular, particularly with young audiences. This essay examines the moment when Jarrett became an international star, the musical and social circumstances of jazz music immediately before his arrival and how he largely unconsciously exploited those circumstances to make his success possible, and what his accomplishments meant during the 1970s for jazz audiences and for American society at large.
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| 3 |
ID:
125171
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| 4 |
ID:
102116
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2011.
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| Summary/Abstract |
Nearly fifty years ago, the American Academy organized a conference and two issues of its journal Dcedalus on the topic of "The Negro American." The project engaged top intellectuals and policy-makers around the conflicts and limitations of mid-1960s liberalism in dealing with race. Specifically they grappled with the persistent question of how to integrate a forced-worker population that had been needed but that was socially undesirable once its original purpose no longer existed. Today racism has been discredited as an idea and legally sanctioned segregation belongs to the past, yet the question the conference participants explored - in essence, how to make the unwanted wanted - still remains. Recent political developments and anticipated demographic shifts, however, have recast the terms of the debate. Gerald Early, guest editor for the present volume, uses Barack Obama's election to the presidency as a pretext for returning to the central question of "The Negro American" project and, in turn, asking how white liberalism will fare in the context of a growing minority population in the United States. Placing his observations alongside those made by John Hope Franklin in 1965, Early positions his essay, and this issue overall, as a meditation on how far we have come in America to reach "the age of Obama" and at the same time how far we have to go before we can overcome "the two worlds of race."
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| 5 |
ID:
164794
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Perhaps, like Miles Davis, jazz itself is a mystique wrapped in an enigma, an essential or inescapable unknowingness that makes this music attractive for its audience. But if jazz is partly-through its challenging demands as a musical form, through the various changes through which it has sustained itself over the twentieth century and into the twenty-first, and through its aspirations to both embody and transform modernity-a music of clear and revealed intentions, it remains an art that many, even many of its devotees, do not fully understand. Even the word “jazz” itself is wrapped in mystery. How did the music come to be called this and what does this word mean? Jazz bassist Bill Crow points out that some have thought the word comes the French verb jaser, or to chatter. Others say that the word “arose from corruptions of the abbreviations of the first names of early musicians: ‘Charles’ (Chas.) or ‘James’ (Jas).” Some have thought it came from the slang word for semen or that it came from “jazzing,” a slang word for fornication.2 Anthropologist Alan Merriam notes that there are also Hausa and Arabic words that may be related to the term: jaiza, the rumbling of distant drums, and jazb, allurement or attraction.
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