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03718aam a2200505 i 4500 001 85E52090019E11E89C78220097128E48 003 SILO 005 20180125010234 008 161007s2017 miua b 001 0 eng 010 $a 2016046421 020 $a 0472073400 020 $a 9780472073405 020 $a 047205340X 020 $a 9780472053407 035 $a (OCoLC)960969189 040 $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d BDX $d YDX $d BTCTA $d OCLCQ $d ERASA $d LTSCA $d YDX $d OCLCO $d RES $d INU $d SILO 042 $a pcc 043 $a e-gx--- 050 00 $a ML3918.J39 $b W57 2017 $a ML3918.J39 082 00 $a 306.4/8425094309042 $2 23 100 1 $a Wipplinger, Jonathan O., $e author. 245 14 $a The jazz republic : $b music, race, and American culture in Weimar Germany / $c Jonathan O. Wipplinger. 264 1 $a Ann Arbor : $b University of Michigan Press, $c 2017. 300 $a xi, 311 pages ; $c 24 cm. 490 1 $a Social history, popular culture, and politics in Germany 504 $a Includes bibliographical references and index. 505 0 $a Jazz occupies Germany -- The aural shock of modernity -- Writing symphonies in jazz -- Syncopating the mass ornament -- Bridging the great divides -- Singing the Harlem Renaissance -- Jazz's silence. 520 8 $a The Jazz Republic" examines jazz music and the jazz artists who shaped Germany's exposure to this African American art form from 1919 through 1933. Jonathan O. Wipplinger explores the history of jazz in Germany as well as the roles that music, race (especially Blackness), and America played in German culture and follows the debate over jazz through the fourteen years of Germany's first democracy. He explores visiting jazz musicians including the African American Sam Wooding and the white American Paul Whiteman and how their performances were received by German critics and artists. He also engages with the meaning of jazz in debates over changing gender norms and jazz's status between paradigms of high and low culture. By looking at German translations of Langston Hughes's poetry, as well as Theodor W. Adorno's controversial rejection of jazz in light of racial persecution, Wipplinger examines how jazz came to be part of German cultural production more broadly in both the US and Germany, in the early 1930s. Using a wide array of sources from newspapers, modernist and popular journals, as well as items from the music press, this work intervenes in the debate over the German encounter with jazz by arguing that the music was no mere "symbol" of Weimar's modernism and modernity. Rather than reflecting intra-German and/or European debates, it suggests that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central way. 650 0 $a Jazz $x History $z Germany $x History $y 20th century. 650 0 $a Jazz $z Germany $y 1921-1930 $x History and criticism. 651 0 $a Germany $x American influences. $x American influences. 650 0 $a Music and race $z Germany. 650 7 $a Civilization $x American influences. $2 fast $0 (OCoLC)fst00862901 650 7 $a Jazz. $2 fast $0 (OCoLC)fst00982165 650 7 $a Jazz $x Social aspects. $2 fast $0 (OCoLC)fst00982185 650 7 $a Music and race. $2 fast $0 (OCoLC)fst01030486 651 7 $a Germany. $2 fast $0 (OCoLC)fst01210272 648 7 $a 1900-1999 $2 fast 655 7 $a Criticism, interpretation, etc. $2 fast $0 (OCoLC)fst01411635 655 7 $a History. $2 fast $0 (OCoLC)fst01411628 830 0 $a Social history, popular culture, and politics in Germany. 941 $a 2 952 $l PLAX964 $d 20240724073724.0 952 $l OVUX522 $d 20191210014254.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=85E52090019E11E89C78220097128E48Initiate Another SILO Locator Search