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    Rhythmic Literacy: Poetry, Reading and Public Voices in Black Atlantic Poetics

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    Genre
    Thesis/Dissertation
    Date
    2010
    Author
    Neigh, Janet Marina
    Advisor
    DuPlessis, Rachel Blau
    Committee member
    Gauch, Suzanne, 1965-
    Osman, Jena
    Neptune, Harvey R., 1970-
    Ramazani, Jahan, 1960-
    Department
    English
    Subject
    Literature, General
    Caribbean Studies
    Gender Studies
    African American Literature
    America
    Black Atlantic
    Poetry
    Postcolonial Studies
    Permanent link to this record
    http://hdl.handle.net/20.500.12613/2002
    
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    DOI
    http://dx.doi.org/10.34944/dspace/1984
    Abstract
    Rhythmic Literacy: Poetry, Reading and Public Voices in Black Atlantic Poetics" analyzes the poetry of the African American Langston Hughes and the Jamaican Louise Bennett during the 1940s. Through an examination of the unique similarities of their poetic projects, namely their engagement of performance to build their audiences, their experiments with poetic personae to represent vernacular social voices, their doubleness as national and transnational figures, their circulation of poetry in radio and print journalism and their use of poetry as pedagogy to promote reading, this dissertation establishes a new perspective on the role of poetry in decolonizing language practices. While Hughes and Bennett are often celebrated for their representation of oral language and folk culture, this project reframes these critical discussions by drawing attention to how they engage performance to foster an embodied form of reading that draws on Creole knowledge systems, which I term rhythmic literacy. Growing up in the U.S and Jamaica in the early twentieth century, Hughes and Bennett were both subjected to a similar Anglophone transatlantic schoolroom poetry tradition, which they contend with as one of their only available poetic models. I argue that memorization and recitation practices play a formative role in the development of their poetic projects. As an enactment and metaphor for the dynamics of colonial control, this form of mimicry demonstrates to them the power of embodied performance to reclaim language from dominant forces. This dissertation reveals how black Atlantic poetics refashions the institutional uses of poetry in early twentieth-century U.S and British colonial education for the purposes of decolonization.
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