After his musical and experimental phase in the 1920s and 1930s, Hughes turned to other forms of experimentations in his poetry like manifestos or letters. 3 Though Hughes was not the first one to use Black music in his writing, he was the first and only to make jazz the principle of his writing and to apply the blues technique to translate the same emotion and sensitivity of ordinary Black people. 2 By applying the jazz and blues techniques to his writing, Hughes originally portrayed ordinary Black life it also allowed him to revive this type of music which he considered the very expression of Black soul. 3 Leroi Jones considers blues as old as the presence of Black people in the United States (see Jones (.)ĢHughes gained his reputation as a “jazz poet” during the jazz era or Harlem Renaissance of the 1920s.2 The Harlem Renaissance was a period of interest in African-American art and culture racial pride a (.).En substituant à la langue des expressions langagières et des modulations écrites depuis la marge, une caractéristique propre à la « littérature mineure » définie par Gilles Deleuze et Félix Guattari dans Mille Plateaux (1980), Hughes parvient ainsi à mettre le familier à distance, à s’affranchir de la norme, et à imposer une forme de représentation du mineur et de la marge au sens deleuzien. En analysant le style et la technique de Hughes, nous verrons aussi comment le poète a réinterprété l’histoire et réinvesti la langue. A travers notre analyse, nous montrerons en quoi la description « socio-poétique » de Hughes traduit sa vision du rêve américain et comment il aborde la question sociale la plus brûlante de son temps à travers une écriture poétique qui se veut à la fois stimulante et accessible à tous. Les tensions entre les attentes et la réalité fournissent aussi une dynamique d’écriture propre au poète. Le thème du rêve américain et la possibilité d’avoir sa part du rêve pour la communauté noire est récurrent dans l’écriture de Hughes. Les deux recueils suivent effectivement l’évolution de la musique noire en même temps que les rêves et les attentes de la communauté noire américaine. Through his specific technique, we will see Hughes’s writing is constantly on the edge of musical and written forms an hypotext which bonds his poems to minority writing and minor literature.ĭans les recueils de poèmes Montage of a Dream Deferred (1951) et Ask your Mama: 12 Moods for Jazz (1960), Langston Hughes livre une restitution particulièrement originale de la communauté noire et de son histoire entre les années 1940 et 1960. By analyzing Hughes’s poetic technique, I will also show how the poet rebuilt African-American history and led the reader to a process of “collective fiction”, typical of “minority writing”, as defined by Gilles Deleuze and Félix Guattari in Mille Plateaux (1980). By considering the poetic description of the living conditions of African Americans, my intent is to offer an analysis of the poet’s social lens to understand his vision of the American Dream for his people and how he addressed some of the most pressing social issues of his time. The theme of the American Dream and the possibilities for the black man to reach and accomplish this dream were recurrent in Hughes’s poetry, while the tension between the realities of the black experience and the unrealized dream provided the dynamic of his writing. Both collections were, indeed, largely shaped by the impact of the transformation of black music as well as the hopes and dreams of African Americans. In his collection of poems entitled Montage of a Dream Deferred (1951) Langston Hughes observed and gave an original restitution of the historic evolution of African-American culture, a theme he reverted to again in 1961 with Ask Your Mama: 12 Moods for Jazz.
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