The great American songbooks : musical texts, modernism, and the value of popular culture

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Hargrove, M. Opest, A. Patterson, A. Pierce, J. Richards, C. Ricks, R. Schuchard, M. Seybold, J. The Edinburgh Companion to T. Eliot and the Arts Ed. Frances Dickey and John Morgenstern. Anthony Cuda, Frances Dickey, T. Eliot, France, and the Mind of Europe Ed.

Volume 86 Issue 3 | American Literature | Duke University Press

Jayme Stayer. Gabrielle McIntire. The Poems of T. Eliot Ed. Young Eliot From St. Modernism and the Reinvention of Decadence Vincent Sherry. A Companion to Modernist Poetry Ed. Chinitz and Gail McDonald. Jewel Spears Brooker and Ronald Schuchard. Anthony Cuda and Ronald Schuchard. Eliot and Christian Tradition Ed. Benjamin G. The Work of Revision Hannah Sullivan. Austin Graham.

Eliot in Context Ed.

Book The Great American Songbooks : Musical Texts, Modernism, And The Value Of Popular Culture 2013

Jason Harding. Badenhausen, J. Brooker, M. Coyle, J. Harding, E. Holt, M. Levenson, B. Lockerd, W. Marx, A. Stillman, H. Eliot, Dante, and the Idea of Europe Ed.

Paul Douglass. The Development of T. Anglo-Catholic in Religion: T. Eliot and Christianity Barry Spurr. Annotations to T. Eliot's "Four Quartets" Ethel Grene. Eliot's Parisian Year Nancy D.


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The Cambridge Introduction to T. Eliot John Xiros Cooper. Brooker, E.

Module 02: What Is Popular Culture

Gish, G. Eliot and the Art of Collaboration Richard Badenhausen.

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Eliot: The Contemporary Reviews Ed. Jewel Spears Brooker. Eliot and the Cultural Divide David E. Yeats, T. Eliot, and the Occult Leon Surette. Eliot and Our Turning World Ed. Badenhausen, W. The Great American Songbooks shows how popular music shapes and permeates a host of modernism's hallmark texts. Austin Graham begins his study of 20th-century texts with a discussion of American popular music and literature in the 19th century.

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He posits Walt Whitman as a proto-modernist who drew on his love of opera to create the epic free-verse poetry that would heavily influence his bardic successors. One can witness this in T. Eliot, whose poem The Waste Land relies on Whitman's verse style to emphasize how 19th-century structures of feeling regarding music persist into the 20th century. From opera and standards of the Victorian musical hall, Graham moves to the blues to reveal the multifaceted ways it shaped works in the Harlem Renaissance, most notably in the verse of Langston Hughes and Jean Toomer's stream-of-consciousness masterpiece, Cane.

The second half of Songbooks advances an argument for a musical eclecticism that arose alongside rapid industrialization.


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