ARLT FINAL PAPER - Paper must include references from two...

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Paper must include references from two articles not read in class. All papers must be double spaced, in Times New Roman 12pt font, and properly cited following the standards of academic integrity. Students submit papers -- both the draft and the final submission -- on Blackboard for analysis by the academic integrity software. Paper length should have a word count of 1400-1600 excluding citations . DUE TUESDAY DEC 13 by 1pm on Blackboard. The final exam is a research paper that offering a comparative close-reading of one Anglophone poet/novelist and one Francophone poet. How are these two poets moved to employ ideas about option one musical culture and performance OR option two ideas about black internationalism and diaspora in their cultural critiques? Situate their ideas about the meaning and role of black poetic expression in the 20h century and beyond. How do these poems demonstrate their belief about culture and cultural practices as transformative of society? This lyrical and musical feature enhances the effect created by the various literary techniques applied in the poems to create a connection between the two and the central theme of the poem, black historical and cultural expression and identity New York – Senghor – Francophone. The poems in Senghor’s Ethiopiques (1956, Presence Africaine) are not only reflections of a return to African imagery and a time of childhood, they are also representations of different modes of expression within the African Diaspora. Each poem is written as a song, and at the beginning of each, the types of instruments to be used are specified. Two of the poems in this diverse collection, “Le Kaya-Magan” and “A New York”, incorporate very different thematic registers and musical references. "Le Kaya-Magan" is written as a “guimm” [1] for Kora and “New York” is written as a jazz piece for trumpet. The uniqueness of each musical style gestures to the diversity of modes of expression in the Black Diaspora. On the whole, Ethiopiques deals with self-definition and the establishment of a Black identity rooted in Africa. Along these lines, one of Senghor’s most common literary tropes is that of the return to childhood [2] By writing of his childhood from a uniquely African perspective, Senghor rooted himself firmly within his ancestral lineage. This systematic return to his heritage provided him with not only thematic sustenance, but also with meaning and a way in which to
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define the Negritude movement . One of the most controversial aspects of Senghor’s poetry and politics was his constant adherence to a policy of combining African culture with European innovation. The reconciliation of these two sides of not only himself, but also the whole of formerly colonized Africa, reveals itself as a principal theme in “Le Kaya-Magan.” At the end of the poem he writes, "Car je suis les deux battants de la porte, rythme binaire de l’espace, et le troisième temps. Car je suis le movement du tam-tam,
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ARLT FINAL PAPER - Paper must include references from two...

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