{"id":{"repo_id":"wfu","oai_identifier":"oai:wakespace.lib.wfu.edu:10339/38520"},"canonical_url":"https://search.dev.ndltd.org/etd/wfu/oai:wakespace.lib.wfu.edu:10339/38520","repository":{"repo_id":"wfu","name":"Wake Forest University","base_url":"https://wakespace.lib.wfu.edu/oai/request"},"display":{"title":"JAZZ TEMPORALITY AND NARRATIVE: A READING OF RALPH ELLISON'S INVISIBLE MAN","abstract":"This thesis explores the complex relationship between jazz, temporality, and narrative form in Ralph Ellison's <italic>Invisible Man</italic>. Although Ellison rejected the notion that he was a political writer, his novel still functions as a form of protest based on its narrative form which ultimately seeks to undermine traditional formulations of time. Specifically, Ellison's narrator, Invisible Man, controls his narrative by employing a unique temporal configuration to assert his subjectivity and to press against hegemonic structures intent on homogenizing individuals. This unique temporality borrows from traditional jazz and utilizes literary forms of swing, syncopation, and solo improvisation in an effort to protest the universalizing temporal modes of fatalism, determinism, and reversion.","abstract_html":"This thesis explores the complex relationship between jazz, temporality, and narrative form in Ralph Ellison&#x27;s &lt;italic&gt;Invisible Man&lt;/italic&gt;. Although Ellison rejected the notion that he was a political writer, his novel still functions as a form of protest based on its narrative form which ultimately seeks to undermine traditional formulations of time. Specifically, Ellison&#x27;s narrator, Invisible Man, controls his narrative by employing a unique temporal configuration to assert his subjectivity and to press against hegemonic structures intent on homogenizing individuals. This unique temporality borrows from traditional jazz and utilizes literary forms of swing, syncopation, and solo improvisation in an effort to protest the universalizing temporal modes of fatalism, determinism, and reversion.","abstract_has_math":false,"creators":["Lee, Jordan Crosby"],"institution":"Wake Forest University","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013","date_published":"2013","updated_at":"2026-07-27T22:01:33Z","subjects":["Ellison"],"languages":["en"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10339/38520","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Lee, Jordan Crosby"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2013-06-06T21:19:23Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2013-06-06T21:19:23Z"]},{"key":"dc:date.issued","label":"Date","values":["2013"]},{"key":"dc:publisher","label":"Institution","values":["Wake Forest University"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Ellison"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/10339/38520"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis explores the complex relationship between jazz, temporality, and narrative form in Ralph Ellison's <italic>Invisible Man</italic>. Although Ellison rejected the notion that he was a political writer, his novel still functions as a form of protest based on its narrative form which ultimately seeks to undermine traditional formulations of time. Specifically, Ellison's narrator, Invisible Man, controls his narrative by employing a unique temporal configuration to assert his subjectivity and to press against hegemonic structures intent on homogenizing individuals. This unique temporality borrows from traditional jazz and utilizes literary forms of swing, syncopation, and solo improvisation in an effort to protest the universalizing temporal modes of fatalism, determinism, and reversion."]},{"key":"dc:title","label":"Title","values":["JAZZ TEMPORALITY AND NARRATIVE: A READING OF RALPH ELLISON'S INVISIBLE MAN"]}]}],"canonical_facts":{"dc:creator":["Lee, Jordan Crosby"],"dc:date.accessioned":["2013-06-06T21:19:23Z"],"dc:date.available":["2013-06-06T21:19:23Z"],"dc:date.issued":["2013"],"dc:description.abstract":["This thesis explores the complex relationship between jazz, temporality, and narrative form in Ralph Ellison's <italic>Invisible Man</italic>. Although Ellison rejected the notion that he was a political writer, his novel still functions as a form of protest based on its narrative form which ultimately seeks to undermine traditional formulations of time. Specifically, Ellison's narrator, Invisible Man, controls his narrative by employing a unique temporal configuration to assert his subjectivity and to press against hegemonic structures intent on homogenizing individuals. This unique temporality borrows from traditional jazz and utilizes literary forms of swing, syncopation, and solo improvisation in an effort to protest the universalizing temporal modes of fatalism, determinism, and reversion."],"dc:identifier.uri":["http://hdl.handle.net/10339/38520"],"dc:language.iso":["en"],"dc:publisher":["Wake Forest University"],"dc:subject":["Ellison"],"dc:title":["JAZZ TEMPORALITY AND NARRATIVE: A READING OF RALPH ELLISON'S INVISIBLE MAN"],"dc:type":["Thesis"]},"updated_at":"2026-07-27T22:01:33Z"}