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TopicCFP: American Jews and Music: Assembling New Canons and Contexts

Special Issue of Studies in American Jewish Literature Guest editors: Jonathan Freedman and Laurence Roth If the first major waves of popular interest in, philanthropic funding of, and scholarship on contemporary Jewish music and songwriters in the U.S. have finally receded, they\’ve left a treasure in their wake. From Orthodox popular music and chazzanut, to […]

TopicCFP: American Jews and Music: Assembling New Canons and Contexts

Special Issue of Studies in American Jewish Literature Guest editors: Jonathan Freedman and Laurence Roth If the first major waves of popular interest in, philanthropic funding of, and scholarship on contemporary Jewish music and songwriters in the U.S. have finally receded, they\’ve left a treasure in their wake. From Orthodox popular music and chazzanut, to […]

TopicCFP: American Jews and Music: Assembling New Canons and Contexts

Special Issue of Studies in American Jewish Literature Guest editors: Jonathan Freedman and Laurence Roth If the first major waves of popular interest in, philanthropic funding of, and scholarship on contemporary Jewish music and songwriters in the U.S. have finally receded, they\’ve left a treasure in their wake. From Orthodox popular music and chazzanut, to […]

TopicCFP: American Jews and Music: Assembling New Canons and Contexts

Special Issue of Studies in American Jewish Literature Guest editors: Jonathan Freedman and Laurence Roth If the first major waves of popular interest in, philanthropic funding of, and scholarship on contemporary Jewish music and songwriters in the U.S. have finally receded, they’ve left a treasure in their wake. From Orthodox popular music and chazzanut, to […]

Deposit“Another Night, Another Story: the Frame Narrative in Toni Morrison’s Paradise and Alf Laylah wa Laylah”

This essay utilizes and applies the recurrent and pervasive taxonomic characteristics of the frame to the narrative of Toni Morrison’s Paradise (1998), the third novel in her trilogy: Beloved (1987), Jazz (1992), and Paradise. This critical approach avoids exploring the features of Paradise as a frame narrative by exclusively comparing it to another frame narrative. The frame structure in Paradise does not develop through its similarity to some construction or specific frame narrative that belongs to a certain culture or period. Determining the frame structure in Paradise by its resemblance to another frame narrative would suggest that the sample frame narrative is a hierarchical and hegemonic model. To the contrary, my analysis illustrates how Paradise emerges as an innovative frame narrative and how it adopts and adapts the taxonomic characteristics of the frame by employing inventive techniques. Concurrently, this study links Paradise to the heritage of the life-giving frame narratives and accentuates its significant reproduction of the celebrated Arabic story cycle of Alf Laylah Wa Laylah.

MemberDrew Daniel

My teaching centers upon English literature of the 16th and 17th century, especially the drama of Shakespeare, Marlowe and Jonson and the poetry of Spenser and Milton, but I also frequently teach the intersection of that literary archive with political philosophy, metaphysics, medical writing, affect theory, eco-materialism, queer theory and psychoanalysis. In a separate stream of writing and thinking, I work on musical subculture and performance. When I’m not doing those things, I also make electronic music with my partner in a group called Matmos and by myself as The Soft Pink Truth.

TopicCFP: The Performance of Pan-Africanism: From Colonial Exhibitions to FESMAN

The Performance of Pan-Africanism: from Colonial Exhibitions to Black and African Cultural Festivals   International Conference   20-22 October, 2016 Winthrop-King Institute for Contemporary French and Francophone Studies, Florida State University   Keynote speakers: Andrew Apter (UCLA), Cheryl Finley (Cornell University), Souleymane Bachir Diagne (Columbia University), June Givanni (Pan-African Cinema Archive), Kwame Kwei-Armah (Center Stage) […]