Musical/Textual Double Consciousness in W.E.B. Du Bois’s The Souls of Black Folk

Besides introducing groundbreaking critical concepts such as double consciousness, colour line and the veil, W.E.B. Du Bois’s The Souls of Black Folk (1903) was among the first books to attribute universal dignity to black music. It did so by devoting a whole chapter to the ‘sorrow songs’, seen a...

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Tác giả chính: Elia, Adriano
Định dạng: Bài viết
Ngôn ngữ:English
Được phát hành: Fondazione Università Ca’ Foscari 2022-12-01
Loạt:Il Tolomeo
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Truy cập trực tuyến:http://doi.org/10.30687/Tol/2499-5975/2022/01/019
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author Elia, Adriano
author_facet Elia, Adriano
author_sort Elia, Adriano
collection DOAJ
description Besides introducing groundbreaking critical concepts such as double consciousness, colour line and the veil, W.E.B. Du Bois’s The Souls of Black Folk (1903) was among the first books to attribute universal dignity to black music. It did so by devoting a whole chapter to the ‘sorrow songs’, seen as “the articulate message of the slave to the world”, as well as by opening each chapter with epigraphs composed of bars of ‘black’ spirituals juxtaposed with lines of poetry by notable ‘white’ authors – Symons, Lowell, Byron, among others – in a musical/textual version of double consciousness. Reconsidering the composite formal structure of The Souls of Black Folk and the role of the spirituals as ceaseless reminders of freedom, the paper explores the ways in which Du Bois’s speculations on black music foreshadow contemporary sonic/textual strategies.
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spelling doaj.art-44d37de412f94444950332304a9be80a2024-08-03T09:38:44ZengFondazione Università Ca’ FoscariIl Tolomeo2499-59752022-12-0124110.30687/Tol/2499-5975/2022/01/019journal_article_9740Musical/Textual Double Consciousness in W.E.B. Du Bois’s The Souls of Black FolkElia, Adriano0Università degli Studi Roma Tre, Italia Besides introducing groundbreaking critical concepts such as double consciousness, colour line and the veil, W.E.B. Du Bois’s The Souls of Black Folk (1903) was among the first books to attribute universal dignity to black music. It did so by devoting a whole chapter to the ‘sorrow songs’, seen as “the articulate message of the slave to the world”, as well as by opening each chapter with epigraphs composed of bars of ‘black’ spirituals juxtaposed with lines of poetry by notable ‘white’ authors – Symons, Lowell, Byron, among others – in a musical/textual version of double consciousness. Reconsidering the composite formal structure of The Souls of Black Folk and the role of the spirituals as ceaseless reminders of freedom, the paper explores the ways in which Du Bois’s speculations on black music foreshadow contemporary sonic/textual strategies. http://doi.org/10.30687/Tol/2499-5975/2022/01/019Double consciousness. Du Bois. Sound studies. Spirituals. The Souls of Black Folk
spellingShingle Elia, Adriano
Musical/Textual Double Consciousness in W.E.B. Du Bois’s The Souls of Black Folk
Il Tolomeo
Double consciousness. Du Bois. Sound studies. Spirituals. The Souls of Black Folk
title Musical/Textual Double Consciousness in W.E.B. Du Bois’s The Souls of Black Folk
title_full Musical/Textual Double Consciousness in W.E.B. Du Bois’s The Souls of Black Folk
title_fullStr Musical/Textual Double Consciousness in W.E.B. Du Bois’s The Souls of Black Folk
title_full_unstemmed Musical/Textual Double Consciousness in W.E.B. Du Bois’s The Souls of Black Folk
title_short Musical/Textual Double Consciousness in W.E.B. Du Bois’s The Souls of Black Folk
title_sort musical textual double consciousness in w e b du bois s the souls of black folk
topic Double consciousness. Du Bois. Sound studies. Spirituals. The Souls of Black Folk
url http://doi.org/10.30687/Tol/2499-5975/2022/01/019
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