Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.

Globalization discourse now presumes that the “world space” is entirely at the mercy of market norms and forms promulgated by reactionary U.S. policies. An academic but accessible set of studies, this wide range of essays by noted scholars challenges this paradigm with diverse and strong arguments. Taking on topics that range from the medieval Mediterranean to contemporary Jamaican music, from Hong Kong martial arts cinema to Taiwanese politics, writers such as David Palumbo-Liu, Meaghan Morris, James Clifford, and others use innovative cultural studies to challenge the globalization narrative with a new and trenchant tactic called “worlding.” The book posits that world literature, cultural studies, and disciplinary practices must be “worlded” into expressions from disparate critical angles of vision, multiple frameworks, and field practices as yet emerging or unidentified. This opens up a major rethinking of historical “givens” from Rob Wilson’s reinvention of “The White Surfer Dude” to Sharon Kinoshita’s “Deprovincializing the Middle Ages.” Building on the work of cultural critics like Edward Said, Gayatri Spivak, and Kenneth Burke, The Worlding Project is an important manifesto that aims to redefine the aesthetics and politics of postcolonial globalization withalternative forms and frames of global becoming.

Enth. u.a. "The polyphony of Heinrich Glarean's 'Dodecachordon'" (S. 115-176).

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