{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/87936"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/87936","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Jean-Michel Basquiat's Language","abstract":"\"In the second chapter I consider the implications of reading race into Jean-Michel Basquiat's production; Basquiat's blackness is an issue not only in the scholarship surrounding these works, but is in the works themselves. The third chapter seeks to describe parallels between the working protocols in Basquiat's compositional methods in painting and drawing to those of jazz. The final chapter examines Basquiat's connections to the literary strategies of the \"\"Beat\"\" writers, principally Jack Kerouac and William S. Burroughs, who provided models of spontaneity and collage, and who negotiated identity in ways that Basquiat could not have found exclusively in his visual sources. Throughout this dissertation I argue that Basquiat's works are \"\"multivocal\"\" and operate on multiple levels of reference and perception; therefore, the words or images on the surfaces do not represent only one specific concept. They generate a multiplicity of ideas.\"","abstract_html":""In the second chapter I consider the implications of reading race into Jean-Michel Basquiat's production; Basquiat's blackness is an issue not only in the scholarship surrounding these works, but is in the works themselves. The third chapter seeks to describe parallels between the working protocols in Basquiat's compositional methods in painting and drawing to those of jazz. The final chapter examines Basquiat's connections to the literary strategies of the ""Beat"" writers, principally Jack Kerouac and William S. Burroughs, who provided models of spontaneity and collage, and who negotiated identity in ways that Basquiat could not have found exclusively in his visual sources. Throughout this dissertation I argue that Basquiat's works are ""multivocal"" and operate on multiple levels of reference and perception; therefore, the words or images on the surfaces do not represent only one specific concept. They generate a multiplicity of ideas."","abstract_has_math":false,"creators":["Saggese, Jordana Moore"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":null,"degree_department":null,"school":null,"contributors":["Fineberg, Jonathan"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-28T22:24:10Z","date_published":"2015-09-28T22:24:10Z","updated_at":"2026-07-22T22:26:31Z","subjects":["American Studies"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3337912"],"render_values":[{"text":"(MiAaPQ)AAI3337912","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/87936","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Fineberg, Jonathan"]},{"key":"dc:creator","label":"Author","values":["Saggese, Jordana Moore"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-28T22:24:10Z","10000-01-01","2008"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["American Studies"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/87936","(MiAaPQ)AAI3337912"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"In the second chapter I consider the implications of reading race into Jean-Michel Basquiat's production; Basquiat's blackness is an issue not only in the scholarship surrounding these works, but is in the works themselves. The third chapter seeks to describe parallels between the working protocols in Basquiat's compositional methods in painting and drawing to those of jazz. The final chapter examines Basquiat's connections to the literary strategies of the \"\"Beat\"\" writers, principally Jack Kerouac and William S. Burroughs, who provided models of spontaneity and collage, and who negotiated identity in ways that Basquiat could not have found exclusively in his visual sources. Throughout this dissertation I argue that Basquiat's works are \"\"multivocal\"\" and operate on multiple levels of reference and perception; therefore, the words or images on the surfaces do not represent only one specific concept. They generate a multiplicity of ideas.\"","Made available in DSpace on 2015-09-28T22:24:10Z (GMT). No. of bitstreams: 2 license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5) 3337912.pdf: 25433052 bytes, checksum: eaa120864513f07ea80e1078e2bb9b08 (MD5) Previous issue date: 2008","Embargo set by: Seth Robbins for item 89217 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","239 p.","Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008."]},{"key":"dc:title","label":"Title","values":["Jean-Michel Basquiat's Language"]}]}],"canonical_facts":{"dc:contributor":["Fineberg, Jonathan"],"dc:creator":["Saggese, Jordana Moore"],"dc:date":["2015-09-28T22:24:10Z","10000-01-01","2008"],"dc:description":["\"In the second chapter I consider the implications of reading race into Jean-Michel Basquiat's production; Basquiat's blackness is an issue not only in the scholarship surrounding these works, but is in the works themselves. The third chapter seeks to describe parallels between the working protocols in Basquiat's compositional methods in painting and drawing to those of jazz. The final chapter examines Basquiat's connections to the literary strategies of the \"\"Beat\"\" writers, principally Jack Kerouac and William S. Burroughs, who provided models of spontaneity and collage, and who negotiated identity in ways that Basquiat could not have found exclusively in his visual sources. Throughout this dissertation I argue that Basquiat's works are \"\"multivocal\"\" and operate on multiple levels of reference and perception; therefore, the words or images on the surfaces do not represent only one specific concept. They generate a multiplicity of ideas.\"","Made available in DSpace on 2015-09-28T22:24:10Z (GMT). No. of bitstreams: 2 license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5) 3337912.pdf: 25433052 bytes, checksum: eaa120864513f07ea80e1078e2bb9b08 (MD5) Previous issue date: 2008","Embargo set by: Seth Robbins for item 89217 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","239 p.","Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008."],"dc:identifier":["http://hdl.handle.net/2142/87936","(MiAaPQ)AAI3337912"],"dc:language":["eng"],"dc:subject":["American Studies"],"dc:title":["Jean-Michel Basquiat's Language"],"dc:type":["text"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Ph.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:26:31Z"}