Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Adorno, Theodor W.: 3, 24, 25, 44–45, 50–57, 60, 68, 95, 174, 202, 233–35; and Aesthetic Theory: 56–57, 64, 235; and Minima Moralia: 56, 64; and Negative Dialectics: 56, 64
aesthetic subjectivity: 3, 24, 25, 44–45, 50–56, 60, 174, 202, 234–35, 237, 250 (n. 4 and 5)
African: 1, 5, 11, 13–14, 17, 65; identity: 66, 153, 172; music, rhythm: 26, 49, 53, 58, 100, 136–37, 143, 147, 148, 156, 157; the past: 72, 98, 150–54, 211, 233
Afrique fantôme, L’ (Michel Leiris): 107
Apollinaire, Guillaume: 2, 111, 115
Aragon, Louis: 26, 107, 111, 160, 168, 170, 171, 189–96; and “Front rouge”: 190–193, 195–96, 198, 200, 203; and Paysan de Paris: 107; and “Songe d’une nuit d’été, Le”: 159
Aublet, Jean-Baptiste Christophore Fusée: 226
authentic, authenticity (see blackness) and language: 18, 238; and performance: 63–66, 69, 140; and self, identity: 52–53, 57, 80, 95–96; and voice: 54, 92, 95, 135
Bailey, Marianne Wichmann: 79
Benítez-Rojo, Antonio: 212
black internationalism: 99
Brathwaite, Kamau (History of the Voice): 145
Breton, André: 26, 34, 45, 67, 178, 189–94, 195, 217, 224; and “Légitime défense”: 194; and “Misère de la poésie: ‘L’Affaire Aragon’ devant l’opinion publique”: 191–94, 199
Brillat-Savarin, Jean Anthelme: 40, 44
Brown, Fahamisha Patricia: 136
Cahier d’un retour au pays natal (Aimé Césaire): 4, 10, 18, 23, 24, 29–42, 133, 176–203, 197–98, 202, 207, 208–10, 238–39; and the Caribbean: 29–30, 212; and Et les chiens se taisaient: 70, 72, 75–76, 79, 88–89, 92, 94, 95; initial publication: 29–44; and politics: 26, 108, 176–80, 189, 198–203, 238–40; and rare terms: 44–49, 55, 178–182, 200; and rhythm: 58–59, 143
Caribbean: 3, 8, 17, 20, 21, 212, 232, 254–55 (n. 28), 257 (n. 47); landscape: 27, 179, 215, 218–229; music (biguine, calypso) 26, 100, 102, 126, 179, 143, 156; poets: 104, 233
Césaire, Aimé, and Armes miraculeuses: 67, 70; and Cahier (see Cahier d’un retour au pays natal); and “Calendrier lagunaire”: 27, 204–13, 219–20, 227, 230, 231–32; and Creole: 18–21, 50, 213; and Damas: 32, 127, 128, 169; and Discours sur le colonialisme: 70, 71, 94; and Et les chiens se taisaient: 25, 64–95; and French language: 43–44, 238; and “Homme de culture et ses responsabilités, L’”: 83, 94; Lettre à Maurice Thorez: 71; and modernism: 53–54, 55; and moi, laminaire: 27, 207; and music: 136; and “Nègreries: Jeunesse noire et assimilation”: 66, 92; and performance: 25, 64–95; and politics: 26, 68–71, 108, 169, 177, 189, 198–203 (see Affaire Aragon); and poststructuralism: 94; and rare terms: 44–49, 55, 179–82, 206–7, 210, 212, 217–23, 227–30, 231–32; and rhythm: 49–50, 58–59, 141–143; and Saison au Congo, Une: 88; and surrealism: 50, 217 (see Affaire Aragon); and Tragédie du Roi Christophe, La: 73, 92; and written word: 1, 4, 6, 21–24, 27, 47, 51–53, 59, 68, 229
Comité de Défense de la Race Nègre (CDRN): 236, 240
Congrès International des Écrivains et Artistes Noirs (First): 68, 71, 83, 238; (Second) 83
Creole (Martiniquan Kreyol): 10, 15, 17, 19–21, 27, 44–45, 176, 179, 212, 215, 222, 231; (Guyanese): 157, 265 (n. 27)
Damas, Léon-Gontranand “Bientôt”: 117, 158; and Black-Label: 172; and “Captation”: 110; and “Cayenne 1927”: 106; and “Complainte du nègre [La]”: 106, 109; and “Clochard m’a demandé dix sous, Un”: 106, 109, 167–68, 172; and “En file indienne”: 158; and “Et caetera”: 117; and “Fragment” (“Ils sont venus ce soir”): 110, 148–51, 152, 154–56, 158–59, 172, 173, 232; and “Hoquet”: 118–24, 126, 127, 158, 162; and “Ils sont venus ce soir” (see “Fragment”); and music (jazz, biguine, calypso): 26, 115, 126–28, 136–37; and “Limbé”: 110, 151–54, 158, 164, 172, 173; and “Névralgies”: 158; and Névralgies: 172; and “Nuit blanche”: 158, 164, 166; and “Obsession”: 157; and Pigments: 2, 25, 65, 105–6, 110, 148, 156, 164, 167–68, 172, 236; and Poèmes nègres sur des airs africains: 101; and Poésie de la Négritude: Léon Damas Reads Selected Poems from Pigments, Graffiti, Black Label, and Névralgies: 157; and Poètes d’expression française d’Afrique noire, Madagascar, Réunion, Guadeloupe, Martinique, Indochine, Guyane 1900–1945: 104, 169; and politics: 26, 169–171, 175, 239; and “Position”: 152; and print culture: 1, 2, 4, 6, 25–26, 102–12, 116–28; and “Réalité”: 97, 106–111, 117, 127; and Retour de Guyane: 104; and rhythm: 25–26, 107, 118, 122–128, 136–37, 147–48, 152–69; and “Shine”: 110, 112; and “Solde”: 4, 65, 106, 109, 116, 117, 162, 165, 232; and “S.O.S.” (“Save Our Souls”): 110, 117, 148, 158, 159, 164–65; and Veillées noires: 101; and “Vent, Le”: 110
Davidson, Michael (and critical regionalism): 228
Derrida, Jacques: 94, 179
disembodied, disembodiment: 3, 6, 7, 17, 21, 76
Dunbar, Paul Laurence: 138, 146
Éloge de la créolité: 215
Fanon, Frantz: 11, 14–15, 101, 176, 178–79, 210; and Black Skin, White Masks (Peau noire, masques blancs): 14, 238; and The Wretched of the Earth: 176, 178
Foucault, Michel: 94, 220
francophone postcolonial studies: 203, 240
French Communist Party (Parti Communiste Français, or PCF): 159: 189–90
French Socialist Party (SFIO or Section française de l’Internationale Ouvrière): 159, 169–71
Glissant, Édouard: 5, 10, 20, 27, 126, 136, 176, 179, 228; and Discours antillais, Le: 20, 202 and Intention poétique, L’: 5, 251 (n. 13)
Henry-Valmore, Simonne: 94
Hughes, Langston: 11, 22, 42, 104, 110, 111, 112–17, 138, 146, 158, 168; and “Cubes”: 112–17; and The Weary Blues: 104, 111
Institut d’Ethnographie: 98, 104
Khatibi, Abdelkebir: 17, 22
Lacoue-Labarthe, Philippe: 215
Lautréamont, Comte de: 189
Léopold, Emmanuel-Flavia: 58
Littérature de la Révolution mondiale: 190
Louverture, Toussaint: 67, 70, 72
lyric “I”: 3, 7–8, 50–57, 69, 71, 95, 124, 174–75, 177, 202, 207, 237, 241, 272–73 (n. 86)
Mackey, Nathaniel: 60, 235
Martiniquan, Martinique: 15, 19, 44, 71, 109, 208, 211, 215, 218–25, 228, 231
Mayakovsky, Vladimir: 111, 190
nègre: 10, 34, 66, 98, 102, 104, 108, 109, 121, 126, 127, 144
Negritude and Black Arts Movement: 239; and French language: 9–10; and music: 116, 124–27 and neologism: 36, 39, 109; and politics: 177, 236–41; and modernism: 1–2, 6, 28, 31, 232, 235–36; and rhythm: 2, 101, 103, 143, 294 (n. 27); and subjectivity: 234
Pelorson, Georges: 32, 37
performance: 4, 25, 54, 63, 67–69, 90, 93, 96, 128, 132, 133, 140, 174
Pestre de Almeida, Lilian: 42, 59
Présence Africaine (review): 71, 100
Présence Africaine (publishing house): 67
Prévert, Jacques: 26, 105, 159, 170, 171; and “La grasse matinée”: 148, 159, 163–64, 167; and “Le temps des noyaux”: 159, 160–61, 164; and popular song: 167; and rhythm: 159–168; and “Tentative d’une description d’un dîner de têtes à Paris-France”: 159, 161–62, 167
race, racialized: 6, 8, 54, 60, 82, 98, 135, 143, 145, 241
Rancière, Jacques: 2, 4–5, 89, 130, 131, 132–135, 137, 175, 241; and Dissensus: On Politics and Aesthetics: 132, 318 (n. 32); and Malaise dans l’esthétique: 130; and Mallarmé: La politique de la sirène: 133; and Nuit des proletaires, La: 133; and Parole muette: Essai sur les contradictions de la littérature, La: 130, 132, 140, 249–50 (n. 3); and Partage du sensible, Le: 130
repetition: 131; in black culture: 168
representative regime: 133
rhythm: 25, 102, 132, 130–175; and Césaire: 49–50, 58, 187; and Damas: 25–6, 107, 118, 122–28, 130–175; and Meschonnic: 139, 144–48; and Negritude: 101, 103, 135; and Senghor: 101–102, 136–37, 139, 143–44, 157–58; and subjectivity: 144; and typography: 102–103, 232, 235 (see Damas and rhythm)
Sartre, Jean-Paul: 45, 50, 54, 56, 143–144, 189, 193, 195, 217; and “Orphée noir”:50, 143; and Qu’est-ce que la littérature?: 178–79
Saussure, Ferdinand de: 43
Schomburg Center for Research in Black Culture: 170, 239
Senghor, Léopold Sédar: 150, 177; and Anthologie de la nouvelle poésie nègre et malgache de langue française: 136, 143–44, 150, 169; and “Aux Tirailleurs Sénégalais morts pour la France”: 13; and Éthiopiques: 39, 102, 143; and French language: 12–15; and Grandes voix du sud, Les: 157; and Hostie noire: 236; and “In Memoriam”: 13; “Je suis seul”: 13; and Negritude et humanisme: 136;and “Neige sur Paris”: 13–14; and politics: 169; and “Problème culturel en A.O.F., Le”: 13, “Que m’accompagne kôras et balafong”: 4; and rhythm: 136–37, 139, 143, 157–58; and writing: 1, 4, 6
Service Martiniquais d’Action Culturelle (SERMAC): 208
Stewart, Susan: 7, 8, 131
surrealists, surrealism: 25, 30, 50, 105, 188, 191, 193–94, 196, 197, 200 (see Affaire Aragon)
Surréalisme au Service de la Révolution, Le: 190
typography: : 1–4, 105, 112, 114, 117, 128, 146, 183, 188, 198, 241, 303 (n. 24) (see rhythm)
voice: 2, 3, 5, 7, 8,, 23–24; and authenticity: 54, 92, 95, 135; and consciousness: 75, 79, 85, 90, 92–93; and history: 202 (see Kamau Brathwaite, History of the Voice); and lyric: 25, 133, 295 (n. 41); and performance: 63, 65, 69–70, 74–77, 90, 93, 146; and radio: 78; and rhythm: 147; and text: 48, 130, 147
Yeats, William Butler: 135