Předkládaná práce seznamuje čtenáře se zásadním vlivem afroamerické hudby na poezii Langstona Hughese, konkrétně na jeho sbírku básní Montage of a Dream Deferred z roku 1951. Teoretická část se zabývá vztahem tohoto spisovatele ke kulturnímu pozadí Harlemské renesance. Posléze jsou řešeny charakteristické rysy a metody Hughesovy poezie a vývoj jednotlivých afroamerických hudebních žánrů. Následné kapitoly se věnují autorům a umělcům, jejichž vliv je v Hughesových dílech výrazně patrný. Na tyto kapitoly bezprostředně navazuje výčet básnických prostředků a lingvistických znaků bluesové a jazzové poezie, který je následně využit v analytické části. Ta podrobně zkoumá osm vybraných básní ze sbírky Montage of a Dream Deferred a hledá v ní typické prvky a znaky afroamerické hudby. I nadále přetrvávající vliv Hughesovy umělecké tvorby je stručně objasněn v předposlední kapitole. Výsledky práce jsou pak shrnuty v závěrečné kapitole.
Anotace v angličtině
This thesis acquaints readers with the profound influence of African-American music on the poetry of Langston Hughes, more specifically on his poem suite Montage of a Dream Deferred from 1951. The theoretical part provides information about Hughes' cultural background that is inextricably associated with the Harlem Renaissance. Then, basic characteristics and techniques of his poetry are briefly outlined. The development of individual African-American musical forms is discussed. Authors and artists that heavily influenced Hughes are introduced. Afterwards, typical poetic devices and linguistic features of blues and jazz poetry are highlighted for use in the ensuing analysis. The following part thoroughly scrutinizes African-American music elements of eight selected poems from Montage of a Dream Deferred. Subsequently, Hughes' enduring impact is concisely elucidated. Lastly, the results are addressed in the final chapter.
Předkládaná práce seznamuje čtenáře se zásadním vlivem afroamerické hudby na poezii Langstona Hughese, konkrétně na jeho sbírku básní Montage of a Dream Deferred z roku 1951. Teoretická část se zabývá vztahem tohoto spisovatele ke kulturnímu pozadí Harlemské renesance. Posléze jsou řešeny charakteristické rysy a metody Hughesovy poezie a vývoj jednotlivých afroamerických hudebních žánrů. Následné kapitoly se věnují autorům a umělcům, jejichž vliv je v Hughesových dílech výrazně patrný. Na tyto kapitoly bezprostředně navazuje výčet básnických prostředků a lingvistických znaků bluesové a jazzové poezie, který je následně využit v analytické části. Ta podrobně zkoumá osm vybraných básní ze sbírky Montage of a Dream Deferred a hledá v ní typické prvky a znaky afroamerické hudby. I nadále přetrvávající vliv Hughesovy umělecké tvorby je stručně objasněn v předposlední kapitole. Výsledky práce jsou pak shrnuty v závěrečné kapitole.
Anotace v angličtině
This thesis acquaints readers with the profound influence of African-American music on the poetry of Langston Hughes, more specifically on his poem suite Montage of a Dream Deferred from 1951. The theoretical part provides information about Hughes' cultural background that is inextricably associated with the Harlem Renaissance. Then, basic characteristics and techniques of his poetry are briefly outlined. The development of individual African-American musical forms is discussed. Authors and artists that heavily influenced Hughes are introduced. Afterwards, typical poetic devices and linguistic features of blues and jazz poetry are highlighted for use in the ensuing analysis. The following part thoroughly scrutinizes African-American music elements of eight selected poems from Montage of a Dream Deferred. Subsequently, Hughes' enduring impact is concisely elucidated. Lastly, the results are addressed in the final chapter.
Since Harlem plays such an important role in Hughes' poetry, a short cultural history of the area should be described concentrating mainly on the wave of African-American migration to the neighborhood beginning at the turn of the 20th century. Events, themes and issues that the poet features in MONTAGE should be emphasized for use in the later analysis. The historical development of work songs, the blues, ragtime, spirituals and jazz should be briefly outlined, including the cultural events and issues that shaped these forms in the mid-19th to the mid-20th century. Basic theoretical information and examples of how these genres both influenced and were influenced by American literature in terms of form and content should be presented. Then in greater detail theories specifically concerning 20th century poetry should be outlined, specifically how academics have characterized linguistic influences of African-American music as well as rhythmic and structural patterns taken from the various musical genres. Then using the above categories and patterns, the BP writer should describe highlights of the development of the use of music in Hughes' poetry throughout his previous career. This should naturally lead up to the longest and most important part of the BP, the analysis of the use of music in the book-length suite MONTAGE OF A DREAM DEFERRED (1951) using the trends described regarding earlier Hughes poetry and especially the theoretical tools and cultural context described in the opening chapters. Of course here the influence of contemporaneous 1940s and post-war forms such as boogie-woogie and bebop should be characterized along with more traditional musical genres. Themes and motifs exemplified by the use African-American culture such as racial consciousness, Harlem as a haven and the perceived need for social change should be discussed. Finally the influence and legacy of Hughes' poetry in later works should be mentioned.
Zásady pro vypracování
Since Harlem plays such an important role in Hughes' poetry, a short cultural history of the area should be described concentrating mainly on the wave of African-American migration to the neighborhood beginning at the turn of the 20th century. Events, themes and issues that the poet features in MONTAGE should be emphasized for use in the later analysis. The historical development of work songs, the blues, ragtime, spirituals and jazz should be briefly outlined, including the cultural events and issues that shaped these forms in the mid-19th to the mid-20th century. Basic theoretical information and examples of how these genres both influenced and were influenced by American literature in terms of form and content should be presented. Then in greater detail theories specifically concerning 20th century poetry should be outlined, specifically how academics have characterized linguistic influences of African-American music as well as rhythmic and structural patterns taken from the various musical genres. Then using the above categories and patterns, the BP writer should describe highlights of the development of the use of music in Hughes' poetry throughout his previous career. This should naturally lead up to the longest and most important part of the BP, the analysis of the use of music in the book-length suite MONTAGE OF A DREAM DEFERRED (1951) using the trends described regarding earlier Hughes poetry and especially the theoretical tools and cultural context described in the opening chapters. Of course here the influence of contemporaneous 1940s and post-war forms such as boogie-woogie and bebop should be characterized along with more traditional musical genres. Themes and motifs exemplified by the use African-American culture such as racial consciousness, Harlem as a haven and the perceived need for social change should be discussed. Finally the influence and legacy of Hughes' poetry in later works should be mentioned.
Seznam doporučené literatury
Berry, Faith (1983.1992,). "Langston Hughes: Before and Beyond Harlem". In ON THE CROSS OF THE SOUTH, Citadel Press. ISBN 0-517-14769-6
Joyce, Joyce A. (2004). "A Historical Guide to Langston Hughes". In
Steven C. Tracy (Ed.), HUGHES AND TWENTIETH-CENTURY GENDERRACIAL ISSUES, p. 136. Oxford University Press. ISBN 0-19-514434-1
Mercer, Kobena (1994). WELCOME TO THE JUNGLE: NEW POSITIONS IN BLACK CULTURAL STUDIES, Routledge ISBN 0-415-90635-0
Ostrom, Hans (2002). A LANGSTON HUGHES ENCYCLOPEDIA, Westport: Greenwood Press, 2002. ISBN 0-313-30392
Rampersad, Arnold (1986). THE LIFE OF LANGSTON HUGHES, VOLUME 1: I, TOO, SING AMERICA. Oxford university Press. ISBN 0-19-514642-5
Rampersad, Arnold (1988). THE LIFE OF LANGSTON HUGHES VOLUME 2: I DREAM A WORLD. Oxford University Press. ISBN 0-19-514643-3
Schwarz, Christa A.B. (2003). LANGSTON HUGHES: A "TRUE 'PEOPLE'S POET?. Indiana University Press. ISBN 0-253-21607-9 http://guides.library.yale.edu/content.php?pid=444209&sid=3638148
Seznam doporučené literatury
Berry, Faith (1983.1992,). "Langston Hughes: Before and Beyond Harlem". In ON THE CROSS OF THE SOUTH, Citadel Press. ISBN 0-517-14769-6
Joyce, Joyce A. (2004). "A Historical Guide to Langston Hughes". In
Steven C. Tracy (Ed.), HUGHES AND TWENTIETH-CENTURY GENDERRACIAL ISSUES, p. 136. Oxford University Press. ISBN 0-19-514434-1
Mercer, Kobena (1994). WELCOME TO THE JUNGLE: NEW POSITIONS IN BLACK CULTURAL STUDIES, Routledge ISBN 0-415-90635-0
Ostrom, Hans (2002). A LANGSTON HUGHES ENCYCLOPEDIA, Westport: Greenwood Press, 2002. ISBN 0-313-30392
Rampersad, Arnold (1986). THE LIFE OF LANGSTON HUGHES, VOLUME 1: I, TOO, SING AMERICA. Oxford university Press. ISBN 0-19-514642-5
Rampersad, Arnold (1988). THE LIFE OF LANGSTON HUGHES VOLUME 2: I DREAM A WORLD. Oxford University Press. ISBN 0-19-514643-3
Schwarz, Christa A.B. (2003). LANGSTON HUGHES: A "TRUE 'PEOPLE'S POET?. Indiana University Press. ISBN 0-253-21607-9 http://guides.library.yale.edu/content.php?pid=444209&sid=3638148