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Jim Crow's counterculture: The blues and African -Americans in the lower Mississippi Valley, 1890--1945

机译:吉姆·克罗(Jim Crow)的反文化:1890--1945年,密西西比河谷下游的布鲁斯人和非裔美国人

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摘要

The dissertation opens with a question about human oppression: How do people respond to sustained discrimination and exploitation? Here, the subject is African American southerners and their music during the age of Jim Crow (1890--1945). My main premise is that black southerners from the lower Mississippi Valley created blues music as part of their larger cultural response to white supremacy as it developed in the twentieth century. I consider the ways in which blues music was both accommodation and resistance to Jim Crow.;The bluesmen's rejection of Jim Crow took many forms as a counterculture . They avoided plantation labor and other exploitive economic relationships in the South. They emphasized the dark and mischievous aspects of Afro-American synthesized Christianity. They openly used and abused a variety of narcotics, most often alcohol, and celebrated sexuality and sexual pleasure. In living this "blues life," black musicians served as negative examples of proper conduct in the eyes of both white southerners and African Americans that preferred a more assimilationist approach to overcoming Jim Crow.;However, all black Americans did not remain bound to sharecropping in the plantation South. The Great Migration, two World Wars, the Great Depression and the New Deal all wrought major changes that reshaped the face of African-Americana. In the social crucible of the New Deal and World War II, African Americans began to express---through their music---that remaining countercultural to Jim Crow now included social assimilation into mainstream America. Blues artists during FDR's time carried out a far different rejection of Jim Crow than they had two decades before. Instead of reinforcing the exclusionary practices of segregation, black southerners began to include themselves in the collective American identity. By taking part in the war effort and experiencing patriotism on both the individual and collective level, African Americans claimed for themselves that which Jim Crow society so effectively had denied them: citizenship.
机译:本文以关于人类压迫的问题开头:人们如何应对持续的歧视和剥削?这里的主题是吉姆·克罗(Jim Crow)(1890--1945)年间的非洲裔美国南方人及其音乐。我的主要前​​提是,来自密西西比河下游地区的黑人南方人创作蓝调音乐,是他们对二十世纪白人至上主义的更大文化回应的一部分。我认为布鲁斯音乐既是对吉姆·克劳的适应又是对吉姆·克劳的抵抗。他们避免了南方的人工林劳动和其他剥削性经济关系。他们强调了非裔美国人综合基督教的黑暗和调皮的方面。他们公开使用和滥用各种麻醉品,最常见的是酒精,并庆祝性生活和性快感。在过着这种“忧郁的生活”中,黑人音乐家在白人南方人和非裔美国人的眼中充当了不良举止的榜样,他们倾向于采用一种更加同化的方式来克服吉姆·克罗。然而,所有黑人美国人都没有义务要耕种在种植园南部。大迁徙,两次世界大战,大萧条和新政都带来了重大变化,这些变化重塑了非裔美国人的面貌。在《新政》和《第二次世界大战》的社会坩埚中,非洲裔美国人开始通过他们的音乐来表达,与吉姆·克罗(Jim Crow)保持反文化的现在包括将社会同化纳入美国主流。 FDR时期的布鲁斯艺术家对吉姆·克罗的拒绝与他们二十年前的做法大不相同。黑人黑人不再加强隔离的排外做法,而是开始将自己纳入美国集体身份中。通过参与战争努力并在个人和集体层面上都经历了爱国主义,非洲裔美国人为自己声称吉姆·克劳社会如此有效地否认了他们:公民身份。

著录项

  • 作者

    Lawson, Rob Alan.;

  • 作者单位

    Vanderbilt University.;

  • 授予单位 Vanderbilt University.;
  • 学科 American history.;Black history.
  • 学位 Ph.D.
  • 年度 2003
  • 页码 307 p.
  • 总页数 307
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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