Abstract
dc:description"The ""jive dictionaries"" of the late 1930s and early 1940s provide a unique perspective on commercial jazz's last gasp. For some time, the language of Harlem and its musicians had been troped in the popular press as a counter-modern force (a move critiqued by Rudolph Fisher, Eudora Welty, and others). But Mezz Mezzrow, Cab Calloway, Slim Gaillard, and other musicians published mock-scholarly guides to their talk---guides both about jive, and themselves ""jive""---that put the emerging art, folk, and subcultural discourses surrounding jazz into unsettling play with a residual sense of the music as a form grappling, head-on, with a modern, national economy."
Degree
thesis:*- Name thesis:degree_name
- Ph.D.
- Level thesis:degree_level
- Dissertation
- Discipline thesis:degree_discipline
- English
- Grantor
- University of Illinois at Urbana-Champaign
- Year dc:date
- 2015
Author and committee
dc:creator, dc:contributor.*- Author dc:creator
-
- Jerving, Ryan Ross
- Contributors dc:contributor
-
- Berube, Michael
Subjects
dc:subject × 1Rights
- Language dc:language
- eng
Identifiers
dc:identifier.*- Identifier
- (MiAaPQ)AAI9990028
- OAI identifier oai:identifier
- oai:www.ideals.illinois.edu:2142/81515