黑人、白人與藍調：《藍調：新節奏雜誌》中的族裔與現代主義前衛

Black, White, and Blues: Race and the Modernist Avant-Garde in Blues: A Magazine of New Rhythms

現代主義雜誌：《藍調:新節奏雜誌》（Blues: A Magazine of New Rhythms）由查爾斯・亨利・福特（Charles Henri Ford）創辦及主編，並在1929年至1930年間共出版了十期。儘管雜誌的標題似乎暗示著其內容將聚焦在或是受到藍調、爵士樂、或是更廣泛的黑人文化等音樂類型的啟發，但最終在整個刊物中，僅僅只有三篇文章提到了黑人音樂或文化。本文分析了福特、助理編輯凱斯琳・譚克斯莉・楊（Kathleen Tankersley Young），以及維特・拜納（Witter Bynner）的三首詩，旨在揭示現代主義文學中，酷兒白人前衛作家如何一方面承認黑人文化的活力，與種族不平等及暴力問題的同時，另一方面卻又將非裔美國人的邊緣化經驗挪為己用。雖然這些酷兒白人作家在詩中所呈現的核心主題，與黑人處於邊緣化的經驗相似，不過他們不著墨黑人的生活經歷與文化，僅僅草率帶過，以呈現白人作家先進的思想突破。因此，我主張《藍調》體現了黑人文化在前衛的現代主義中的運用，並彰顯出一種文化資本，但事實上涉及了黑人文化的挪用。

The modernist magazine Blues: A Magazine of New Rhythms was founded and edited by Charles Henri Ford and was published over the course of ten issues from 1929 to 1930. Although the title seems to suggest that the journal would focus on or be inspired by the musical genre of the blues, jazz, or perhaps even more broadly on black culture, only three contributions in the entire run mention black music or culture at all. This article analyzes those three poems by Ford, assistant editor Kathleen Tankersley Young, and Witter Bynner to demonstrate the way queer white avant-garde writers of modernist literature simultaneously recognized the vitality of black culture and the problem of racial inequality and violence while also appropriating the sense of marginalization of black Americans. While these queer authors share sense of marginalization with black people—a theme of each of these poems—they also reduce black life and culture to mere shorthand to show a white writer is a progressive-minded rule breaker. In this way, I argue that Blues exemplifies the use of black culture in avant-garde modernism to assert a kind of cultural capital while, in effect, appropriating black culture.