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  <title>DSpace Collection:</title>
  <link rel="alternate" href="http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/874" />
  <subtitle />
  <id>http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/874</id>
  <updated>2026-05-03T03:53:22Z</updated>
  <dc:date>2026-05-03T03:53:22Z</dc:date>
  <entry>
    <title>JAZZ POETRY OF LANGSTON HUGHES: THE VOICING OF BLACK AMERICA</title>
    <link rel="alternate" href="http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/877" />
    <author>
      <name>Lalmawizuala, Henry</name>
    </author>
    <id>http://pucir.inflibnet.ac.in:8080/jspui/handle/123456789/877</id>
    <updated>2024-06-20T06:19:14Z</updated>
    <published>2018-04-01T00:00:00Z</published>
    <summary type="text">Title: JAZZ POETRY OF LANGSTON HUGHES: THE VOICING OF BLACK AMERICA
Authors: Lalmawizuala, Henry
Abstract: Sascha Feinstein described jazz poetry as, “… any poetry that has been&#xD;
informed by jazz music” (2) while Miriam Zolin in her essay “The Quickening Art of&#xD;
Jazz Poetry” described it as, “A poetry that doesn’t exactly mimic the sounds of jazz,&#xD;
but does incorporate rhythms, repetitions, syncopation and space so that its&#xD;
performance can evoke what jazz evokes” (2). A lot of definitions have stemmed from&#xD;
many critics, scholars, musicians and poets but from all these definitions, it is clear&#xD;
that jazz poetry should ideally contain the following: it should be inspired by the&#xD;
music jazz; it should have the same effect that jazz music has on its audience and the&#xD;
vocal performance should be interwoven to the music.</summary>
    <dc:date>2018-04-01T00:00:00Z</dc:date>
  </entry>
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