Translating Jazz Into Poetry
Description
The study develops a new theoretical approach to the relationship between two media (jazz music and writing) and demonstrates its explanatory power with the help of a rich sampling of jazz poems. Currently, the mimetic approach to intermediality (e.g., the notion that jazz poetry imitates jazz music) still dominates the field of criticism. This book challenges that interpretive approach. It demonstrates that a mimetic view of jazz poetry hinders readers from perceiving the metaphoric ways poets rendered music in writing. Drawing on and extending recent cognitive metaphor theories (Lakoff, Johnson, Turner, Fauconnier), it promotes a conceptual metaphor model that allows readers to discover the innovative ways poets translate "melody," "dynamics," "tempo," "mood," and other musical elements into literal and figurative expressions that invite readers to imagine the music in their mind's eye (i.e., their mind's ear).
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Content
- Intro
- Acknowledgments
- Contents
- 1. Introduction
- 2. Mimesis: Intermediality and Reductive Interpretations of Jazz Poems
- 2.1 Mimesis and Intermediality: Werner Wolf's Typology of Intermedial Forms
- 2.2 Mimesis and Jazz Poetry: Three Contemporary Studies on Jazz Poetry
- 2.2.1 Sascha Feinstein's and T.J. Anderson's Restricted Interpretations of "Jazz-Informed" Poetry
- 2.2.2 David Yaffe's Worship of Jazz and Dismissal of Jazz Poetry
- 3. Metaphor: Intermedial Translation as a Metaphorical Process
- 3.1 The Domain conceptual metaphor theory: The Basic Tenets
- 3.2 text is theory: Understanding Paul Blackburn's Jazz Poem in Terms of Conceptual Metaphor Theory
- 3.3 theory is text: Understanding the Conceptual Metaphor Theory in Terms of Paul Blackburn's Jazz Poem
- 3.4 The Translation Metaphor: A Communication Model of Conceptual Metaphor
- 3.4.1 theory is theory: Understanding Lakoff's and Johnson's Conceptual Metaphor Theory in Terms of Ovid's Model of Transformation
- 3.4.2 theory is theory: Understanding Saussure's Theory of the Linguistic Sign in Terms of Ovid's Theory of Transmitting Meaning
- 3.4.3 text is theory: Understanding the Medieval Text Ovide Moralisé in Terms of Conceptual Metaphor Theory
- 3.4.4 text is text: Understanding the Medieval Text Ovide Moralisé in Terms of Blackburn's Jazz Poem
- 3.4.5 theory is theory: Understanding Iser's Reader-Response Theory in Terms of Ovid's Model of Understanding a Metaphorical Expression
- 3.4.6 theory is text: Understanding Baudelaire's Theory of Synesthesia in Terms of Blackburn's Jazz Poem
- 4. "Oh Play that Thing you Jazz Mad Fools!" Exploring the Creatively Inspired Metaphor jazz music is writing in Jazz Poetry
- 4.1 Time is space: a sequence of notes is a line
- 4.1.1 a sequence of notes is a line i: Translating Melodies into Lines
- 4.1.2 a sequence of notes is a line ii: Snake Patterns in Jazz Poetry
- 4.1.3 a sequence of notes is a line iii: Improvisation on a Theme
- 4.2 Sound is motion: Translations of fast and slow jazz in Jazz Poetry
- 4.2.1 Fast tempo of jazz is a vertical column
- 4.2.2 Slow tempo is a horizontal line
- 4.3 Tempo is rhythm
- 4.3.1 Tempo is rhythm I: Free Verse
- 4.3.2 Tempo is rhythm II: Syncopation and Typographical Techniques
- 4.3.3 Tempo is rhythm III: Literal Descriptions of Rhythms
- 4.3.4 Tempo is rhythm IV: Additional Rhythmic Features of Jazz Poems
- 4.3.5 Tempo is rhythm V: Swing
- 4.3.6 Tempo is rhythm VI: African Drum Poems
- 4.4 Hot and cool Jazz
- 4.4.1 Hot jazz: The Adjective "Hot"
- 4.4.2 Hot jazz is fire and hot jazz is sex
- 4.4.3 Hot jazz is cooking
- 4.4.4 "Hot" Poems
- 4.4.5 Cool jazz: The Adjective "Cool"
- 4.4.6 Thelonious Monk: Translating Monk's Cool Compositions
- 4.4.7 "Cool" Poems
- 4.5 "Tone-colors" are colors
- 4.5.1 Blue and Red
- 4.5.2 Black and Brown
- 4.5.3 A Palette of Colors
- 4.6 Musical key is a mood
- 4.6.1 Minor key is a sad mood
- 4.6.2 Major key is a happy mood
- 4.7 Dynamics: Forte and Piano, Crescendo and Decrescendo
- 4.7.1 Forte and Piano
- 4.7.2 Crescendo and Decrescendo
- 4.8 Acoustical pitch is a vertical scale
- 4.9 "Voices" of Instruments
- 5. Conclusion
- Works Cited
- 1. Primary Sources
- 1.1 Paintings and Photographs
- 1.2 Film
- 1.3 Sound Recordings and Lyrics
- 1.4 Poetry and Prose
- 2. Secondary Sources
- Poetry Index
- Credit Lines
- Name Index
- Subject Index
