{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/79827"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/79827","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"Resounding Blackness: The Black Transnational Aesthetic of Amiri Baraka","abstract":"Ph.D.","abstract_html":"Ph.D.","abstract_has_math":false,"creators":["Clavin, Peter; 0000-0003-0278-7671"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Young, Hershini","Transnational Studies - American Studies","Africana and American Studies"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-07-29T13:01:48Z","date_published":"2019-07-29T13:01:48Z","updated_at":"2026-07-27T19:05:19Z","subjects":["American studies","African American studies","American literature"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/79827","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Young, Hershini","Transnational Studies - American Studies","Africana and American Studies"]},{"key":"dc:creator","label":"Author","values":["Clavin, Peter; 0000-0003-0278-7671"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-07-29T13:01:48Z","2019","2019-05-14 18:48:41"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["American studies","African American studies","American literature"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/79827"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ph.D.","This dissertation explores the transnational legacy of activist, playwright, and poet Amiri Baraka. Through an examination of his writings and their performances, I theorize his embodiment of and contribution to Black transnationalism. The six chapters, respectively, examine Baraka as theorist, activist, and artist who exemplifies and amplifies concerns related to Black transnationalism. Baraka’s cultural work exhibited what can be described as a domestic Pan-Africanism that centered Black transnational concerns within the arenas of national U.S. politics and the local domestic politics of his hometown of Newark, New Jersey. To this end, he develops what I call a Black transnational aesthetic to resist the sprawling force of the corporate industrial complex of neoliberal globalization. I define this Black transnational aesthetic as a reorientation of the material as well as the political epistemology of poetic practice. Baraka’s aesthetic of Black transnational performative theory and praxis that is demonstrated in Blues People becomes personified in his poetry and performances of “Black dada nihilismus,” “It’s Nation Time,” and “Somebody Blew up America.” In these three examples, Baraka’s performance embodies and resounds a Black transnational aesthetic serving as a call and model for action. Through both his mimetic consciousness-raising writings along with his methexic method of staged group action, Baraka spearheaded a cultural arts movement that revolutionized the way blackness was received in the popular racial imaginary of the Western world. In this sense, Baraka re-imagines, performs, and redefines popular conceptions of blackness through an emphatic pedagogical performance of Black cultural resistance."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Resounding Blackness: The Black Transnational Aesthetic of Amiri Baraka"]}]}],"canonical_facts":{"dc:contributor":["Young, Hershini","Transnational Studies - American Studies","Africana and American Studies"],"dc:creator":["Clavin, Peter; 0000-0003-0278-7671"],"dc:date":["2019-07-29T13:01:48Z","2019","2019-05-14 18:48:41"],"dc:description":["Ph.D.","This dissertation explores the transnational legacy of activist, playwright, and poet Amiri Baraka. Through an examination of his writings and their performances, I theorize his embodiment of and contribution to Black transnationalism. The six chapters, respectively, examine Baraka as theorist, activist, and artist who exemplifies and amplifies concerns related to Black transnationalism. Baraka’s cultural work exhibited what can be described as a domestic Pan-Africanism that centered Black transnational concerns within the arenas of national U.S. politics and the local domestic politics of his hometown of Newark, New Jersey. To this end, he develops what I call a Black transnational aesthetic to resist the sprawling force of the corporate industrial complex of neoliberal globalization. I define this Black transnational aesthetic as a reorientation of the material as well as the political epistemology of poetic practice. Baraka’s aesthetic of Black transnational performative theory and praxis that is demonstrated in Blues People becomes personified in his poetry and performances of “Black dada nihilismus,” “It’s Nation Time,” and “Somebody Blew up America.” In these three examples, Baraka’s performance embodies and resounds a Black transnational aesthetic serving as a call and model for action. Through both his mimetic consciousness-raising writings along with his methexic method of staged group action, Baraka spearheaded a cultural arts movement that revolutionized the way blackness was received in the popular racial imaginary of the Western world. In this sense, Baraka re-imagines, performs, and redefines popular conceptions of blackness through an emphatic pedagogical performance of Black cultural resistance."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/79827"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["American studies","African American studies","American literature"],"dc:title":["Resounding Blackness: The Black Transnational Aesthetic of Amiri Baraka"],"dc:type":["Text","Dissertation"]},"updated_at":"2026-07-27T19:05:19Z"}