The In-Between of Jazz and the Blues : Beyond Marginality in Esi Edugyan’s Half-Blood Blues
In this paper I show how in the Ghanaian-born Canadian writer Esi Edugyan’s Half-Blood Blues, the marginality of a“hitherto little-regarded corner of the black Diaspora”—the history of the so-called Rhineland Mischlingers—is put in the center of a story that concerns itself with specific memories of...
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| Publicat a: | URI:https://journals.openedition.org/babel, |
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| Format: | Article ou chapitre numérique |
| Idioma: | Anglais |
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Babel
2020
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:babel_8293 |
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openedition-oai:revues.org:babel_8293 https://doi.org/10.4000/babel.8293 urn:doi:10.4000/babel.8293 en https://journals.openedition.org/babel/8293 2020-01-17T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/d5cj https://creativecommons.org/licenses/by-nc-nd/4.0/ The In-Between of Jazz and the Blues : Beyond Marginality in Esi Edugyan’s Half-Blood Blues Babel Université de Toulon info:eu-repo/semantics/reference/issn/2263-4746 info:eu-repo/semantics/reference/issn/1277-7897 URI:https://journals.openedition.org/babel Bockting, Ineke jazz diaspora noire Seconde Guerre mondiale Rhineland Mischlinger blues liminalité marginalité ligne de fuite Black diaspora Rhineland Mischlingers liminality marginality ligne de fuite World War 2 blues jazz In this paper I show how in the Ghanaian-born Canadian writer Esi Edugyan’s Half-Blood Blues, the marginality of a“hitherto little-regarded corner of the black Diaspora”—the history of the so-called Rhineland Mischlingers—is put in the center of a story that concerns itself with specific memories of the Second World War of a Black American jazz musician. In order to do so, I focus on the different forms of liminality—or in-betweenness—that these memories present : temporal, spacial, ethnic and musical, as well as generic and finally linguistic. I show that these liminalities—at the very margin of marginality, or beyond—will reveal the horrors of war but will also create a Deleuzian ligne de fuite that allows the protagonist to come to terms with this painful period in his life as a musician and as a man. Cet article a pour objet de montrer comment, dans Half-Blood Blues de l’écrivain canadien originaire du Ghana, Esi Edugyan, la marginalité d’une « partie de la diaspora noire jusque-là peu prise au sérieux » – l’histoire d’un groupe appelé les Rhineland Mischlinger – est placée au cœur d’une histoire qui porte sur des souvenirs précis d’un musicien de jazz noir-américain de la Seconde Guerre mondiale. Pour traiter cet aspect du roman, l’analyse présente tout d’abord les diverses formes de liminalité – ou d’entre-deux – que présentent ces souvenirs, qu’elles soient temporelles, spatiales, ethniques ou musicales, mais aussi génériques ou linguistiques. Ces liminalités – aux confins des marges de la marginalité ou au-delà – révèlent les horreurs de la guerre tout en créant une ligne de fuite deleuzienne qui permet au personnage d’accepter cette période douloureuse de sa vie aussi bien en tant que musicien qu’en tant qu’homme. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
jazz diaspora noire Seconde Guerre mondiale Rhineland Mischlinger blues liminalité marginalité ligne de fuite Black diaspora Rhineland Mischlingers liminality marginality ligne de fuite World War 2 blues jazz |
| spellingShingle |
jazz diaspora noire Seconde Guerre mondiale Rhineland Mischlinger blues liminalité marginalité ligne de fuite Black diaspora Rhineland Mischlingers liminality marginality ligne de fuite World War 2 blues jazz Bockting, Ineke The In-Between of Jazz and the Blues : Beyond Marginality in Esi Edugyan’s Half-Blood Blues |
| description |
In this paper I show how in the Ghanaian-born Canadian writer Esi Edugyan’s Half-Blood Blues, the marginality of a“hitherto little-regarded corner of the black Diaspora”—the history of the so-called Rhineland Mischlingers—is put in the center of a story that concerns itself with specific memories of the Second World War of a Black American jazz musician. In order to do so, I focus on the different forms of liminality—or in-betweenness—that these memories present : temporal, spacial, ethnic and musical, as well as generic and finally linguistic. I show that these liminalities—at the very margin of marginality, or beyond—will reveal the horrors of war but will also create a Deleuzian ligne de fuite that allows the protagonist to come to terms with this painful period in his life as a musician and as a man. |
| author |
Bockting, Ineke |
| author_facet |
Bockting, Ineke |
| author_sort |
Bockting, Ineke |
| title |
The In-Between of Jazz and the Blues : Beyond Marginality in Esi Edugyan’s Half-Blood Blues |
| title_short |
The In-Between of Jazz and the Blues : Beyond Marginality in Esi Edugyan’s Half-Blood Blues |
| title_full |
The In-Between of Jazz and the Blues : Beyond Marginality in Esi Edugyan’s Half-Blood Blues |
| title_fullStr |
The In-Between of Jazz and the Blues : Beyond Marginality in Esi Edugyan’s Half-Blood Blues |
| title_full_unstemmed |
The In-Between of Jazz and the Blues : Beyond Marginality in Esi Edugyan’s Half-Blood Blues |
| title_sort |
in-between of jazz and the blues : beyond marginality in esi edugyan’s half-blood blues |
| publisher |
Babel |
| publishDate |
2020 |
| container_title |
URI:https://journals.openedition.org/babel |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/babel.8293 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/babel/8293 |
| _version_ |
1877294117336121344 |