[PDF] Le blues et le jazz au service de la révolution?: les positions des

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*Q*'-5#./#'(%S*/%*8-2$%8%"(*5-882"#'(%*.8).#"*.*;.;")*%"*#87-&(."5%*.2?*a%2?*+%*"-81&%*]-#&'*<2#*5&-a.#%" (*$-#&*7-#" +&%*9*/:F--"*2"%*&)$-/2(#- "*8-"+#./%K*G%*7 /2'S*5%&(.#"'*]-#&'*&.+#5.2?*'%"(.#%"(*7-2&*/.*7&%8#J&%*=-#'*<2%*/%*8-2$%8%"(*5-882"#'(%S*9*/:#"$%&'%*+%'*'-5#./#'(%'*.8).#"'S*.//.#(*`(&%*%"*8%'2&%*+:.55-&+%&*2"%*7/.5%*5%"(&./%*9*/.*<2%'(#-"*&.5#./%K*j/*=.2(*+-"5*5-"' #+)&%&*/% *8-2$%8%"(*5-882"# '(%*.8).#"*5 -88%*)(."(*2"*.5(%2&*#87-&(."(*+."'* /.*$#%*7-/#(#<2%*%(*52/(2 &%//%*+%'*L=&->.8).#"'K*0%*W.&(#*5-882"#'(%*.8).#"*7J'%&.*'2&*5%//%>5#*+J'*'.*=-&8.(#-"*%"*ABABK**W.&.//J/%8%"(S*/:%"(&%>+%2?>;2%&&%'*.*5-""2*'-"*/-(*+:.$."(>;.&+%'*.&(#'(#<2%'*9*(& .$%&'*/:n55#+%"(S*"-(-"'*%"(&%*.2(&%'*/%*+.+.E'8%*%(*/%*'2&&)./#'8%*%"*P2&-7%*+%*/:n2%'(*%(*/%*5-"'(&25(#$#'8%*'-$#)(#<2%K*,.#'S*.2?*+#&%'*+%*5%&(.#"'*-1'%&$.(%2&'S*+-"(*/:F#'(-&#%"*P*[-1'1.U8S*+%*(-2(%'*/%'*=-&8%'*+:%?7&%''#-"*.&(#'(#<2%*'%*+)$%/-77."(*9*5%((%*)7-<2%S*5%*'-"(*/%*5#")8.*% (*/%*3.4 4*$%"."(*+%'*g(.( '>!"#'*<2#*'2'5#(J&%"( */%*7/2'*+:#"()&`(*%(*+:.+8#&.(#-"*.2?*a%2?*+%'*)/#(%'*#"( %//%5(2%//%'*%(*.&(#'(# <2%'K*w2# *7/2'*%'(S*7-2&*5#(%&*[-1'1.U8S*-"*&%8.&<2%*<2%*b*+."'*/%*'#//.;%*+%*/.*;2%&&%*8-"+#./%*%(*+%*/.*&)$-/2(#-"*+:n5(-1&%S*%(*7/2'*%"5-&%*+."'*/:J&%*+%*/:."(#=.'5#'8%*+%'*."")%'*ABQN*%(*ABCNS*5:%'(*/.*;.25F%S*'-2$%"(*/.*;.25F%*&)$-/2(#-"".#&%S*<2#*.((#&.*/:.$."(>;.&+%K*cQ*\%((%*.((#&."5%*%"$%&'*/.*;.25F%*&)$-/2(#-"".#&%*":.*7.'*)()*)(&.";J&%*9*/.*7&.(#<2%*/#(()&.#&%*"-#&%*.8).#"%*%"*7/%#"%*)12//#(#-"*+2&."(*/%*E'$7#")K#('%,,'(&#K*t*5%*'23%(S*+."'*'-"*/#$&%*b*/#8)/#.$0Q)A7=)-#24P)!2$%&'(F!"#$%&'()G$%4%(.)'(=)90" "+(%,")>#48##()4?#)G'$ ,*cCS*/%*'7)5#./#'(%* %"*/#(()&.(2&%*.=&->.8).#"%S*k#//#.8*ZK*,.?U%//S*. *5F%&5F)*9*&%"+&%*5-87 (%*+%'*/ #%"'*********************************************************3 Eric J. HOBSBAWM, L'Âge des extrêmes. Histoire du court XXe siècle, 1914-1991, Éditions Complexe, France, 1999, p. 249 4*William J. MAXWELL, New Negro, Old Left. African-American Writing and Communism Between the Wars, Columbia University Press, New York, 1999, 255 pages

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*R*0:F#'(-#&%*7&-7-')%*#5#*(&-2$%*'%'*-&#;#"%'*+."'*/%'*"-81&%2'%'*5-"'#+)&.(#-"'*(F)-&#<2%'*h*"-"*7.'*'%2/%8%"(*F#'(-&#<2%'*h*)8#'%'*9*/:);.&+*+%*/.*82'#<2%*"-#&%*.8).#"%*%(S*+%*=.f-"*7/2'*;)")&./%S*+%*/.*52/(2&%*7-72/.#&%KR*]-'*&)=/%?#-"'*-"(*;&."+%8%"(*)()*"-2&&#%'*+:.1-&+*%(*.$."(*(-2(*7.&*/%'*/#$&%'*b*-#)6#+67#)=+)<7+#,*cu)+%*0%o-#*Z-"%'*%(*b*5$##)S'BB)>7'&H)308#$*cX*+%*WF#/#77%*\.&/%'*%(*Z%.">0-2#'*\-8-//#K*0.*/%5(2& %*+%*5%'*+%2?*/# $&%'*"-2'*.*7-2'')*9*5-"'#+)&%&*/:F#'(-#&%*+2*1/2%'*%(*'.*=-&8%*2/()&#%2&%*8.#'*7.&.//J/%S*/%*3.44S*5-88%*)(."(*#"+#'7%"'.1/ %*9*/.*5-87&)F%"'#-"*+%'*7&-1/J8%'*&.5#.2? *.2?*g (.('>!"#'S*+%72#'*/:)8."5#7.(#-"*32'<2:9*/.*/2((%*+%'*+&-#('*5#$#<2%'S*%(*+%*/.*5-"'(&25(#-"*+%*/:#+%"(#()*+%'*]-#&'*+."'*/:L8)&#<2%*1/."5F%K*,%"(#-""-"'*<2%*b*-#)6#+67#)=+)<7+#,*cS*721/#)*%"*ABRQ*.2*8-8%"(*8`8%*-|*/.*/2((%*7-2&*/%'*+&-#('*5#$#<2%'*.((%#;".#(*'-"*7.&-?a'8%S*.#"'#*<2%*b*5$##)S'BB)>7'&H)308#$*cS*721/#)*%?.5(%8%"(*+#?*."'*7/2'*(.&+*./-&'*<2%*7%&'#'(.#%"(*<2%/<2%'*&%/%"('*+%*/.*/2((%*&)$-/2(#-"".#&%*'-5#./#'(%*8%")%*7.&*/%'*_/.5T*W."(F%&'S*-"(*(-2'*/%'*+%2?*.+-7()*2"*7-#"(*+%*$2%*'#8#/.#&%*9*/:);.&+*+%*/.*82'#<2%*"-#&%*.8).#"%*%"*5%*<2#*.*(&.#(*9*'.*'#;"#=#5.(#-"*'-5#->F#'(-&#<2%K*G%*=.#(S*/:2"%*+%'*7&#"5#7./%'*(FJ'%'*+)=%"+2%*7.&*0%o-#*Z-"%'*%(*&%7&#'%*7.&*WF#/#77%*\.&/%'*%(*Z%.">0-2#'*\-8-//#*%'(*<2%*/.*82'#<2%*"-#&%*&%/.(%*2"%*'#(2.(#-"*5-"=/#5(2%//%*7&-7&%*9*(-2(%'*/%'*)(.7%'*+%*/:F#'(-#&%*.=&->.8).#"%*%(*9*(-2'*/%'*"#$%.2?i *2"%*'#(2.(#-"*+."'*/.<2%/ /%*'%*5-"=& -"(%"(*2"%*&)'#'(."5%*9*/.*'- 28#''#-"*5-87/J(%*+%'*]-#&'*.2*8-"+%*1/."5*@&%=2'*+:.55%7(%&*/%*&.5#'8%S*/:#"32'(#5%S*/:#");./#()D*%(*/%*+)'#&*+%*':#"();& %&*.2*'a' (J8%*52/(2&%/*+-8#"."(*@7.&(#5#7.(#-"*.2*&`$%*.8).#"S*9*********************************************************6 Par culture populaire, il faut entendre ici une culture qui demeure ancrée dans les aspirations et les espoirs locaux, les tragédies locales et les évènements locaux, qui ne sont que des représentations des expériences et des pratiques quotidiennes de gens ordinaires. Voir aussi : " [P]opular cultur always has its base in the experiences, the pleasures, the memories, the traditions of the people. » Stuart HALL, " What is this "black" in black popular culture? (Rethinking Race) », Social Justice, Vol. 20, No. 1-2, (Spring-Summer 1993), p. 107 7 LeRoi JONES, Le peuple du blues, Éditions Gallimard, folio, Paris, 1963, 333 pages 8 Philippe CARLES et Jean-Louis COMOLLI, Free Jazz Black Power, Éditions Gallimard, folio, Paris, 1971, 438 pages*

*u*/:!"#$%&'()8';)02)7%2#DK*W-2&*%?7/#<2%&*/:%?#'(%"5%*+%*5%((%*+2./#()*9*8`8%*/.*7&-+25(#-"*82'#5./%*"-#&%*.8).#"% S*#/'*%'(#8%"(*<2%* /%*1/2%'*.*&)2''#*9*7&)'%&$%&*2 "%*8)8-#&%*5-//%5(#$%*+2*7.'')*+-2/-2&%2?*+%*/:%'5/.$.;%S*(-2(*%"*()8-#;"."(*+%*8."#J&%*7/2'*-2*8-#"'*+#&%5(%*+:2"%*%?7)&#%"5%*'7)5#=#<2%8%"(*.=&->.8).#"%*.2*=#/*+2*(%87'S*./-&'*<2%*/%*3.44*%'(*+%$%"2*8. /;&)*(-2(*2"%*82'#<2% *7.&(.;)%*7.&*(-2 '*/%'*L8).#"' S*2"%*82'#<2% *.8).#"%S*5-"(&.#&%8%"(*.2?*.2(&%'*82'#<2%'*%(F"#<2%'*+%*/:)7-<2%*%?#'(."(*.2?*g(.('>!"#'i*'2&(-2(*9*7.&(#&*+2*8-8%"(*-|*/.*'-5#)()*.8).#"%*(&-2$%*+."'*/.*82'#<2%*"-#&%S*%(*(-2(*7.&(#52/#J&%8%"(*+."'*/%*3.44S*'-"*#"()&`(*h*5-88%&5#./S*+#'(&.5(#=*%(*#+)-/-;#<2%K*L#"'#S*5%((%*#+)%*+%*+2./#()*7%&8."%"(%*.2*5y2&*+2*5F.";%8%"(*7&-=-"+*<2%*5-""2&%"(*/%'*]-#&'*+."'*/%2&'*&.77-&('*.$%5*/:L8)&#<2%S*%"*7.''."(*+:%'5/.$%*9*5#(-a%"S*7./7.1/%*9*(&.$%&'*/%2&*82'#<2%*h*/% *1/2%'*&% 7&)'%"(."(*/%*5.& .5(J&%*+#'(#"5(*+%'*]-#&'*.8).#"'*% (*/%*3.44 *5-"'(#(2."(*/.*=-&8%*+ :%?7&%''#$#()*" -#&%*/.*7/2'*'2'5%7(#1/%*+%*':#"();&%&*.2*' a'(J8%*52/(2&%/*+-8#"."(*h*#87/#<2%*")5%''.#&%8%"(*/%'*=-"+%8%"('*8`8%'*+%'*3%2?*+%*7-2$-#&*%(*+%*5-"'%" (%8%"(*.2?<2%/'*/.*52/(2&%*7-72/.#& %*':.+-""%*%"*)(."(*'a'()8. (#<2%8%"(* 5-"=&-"()%*9*/:F);)8-"#%*52/(2&%//%B*+%*/.*5/.''%*+-8#"."(%K****L2>+%/9*+%*/.*(FJ'%*+)=%"+2%*7.&*Z-"%'S*\.&/%'*%(*\-8-//#S*#/*=.2(*+-"5*$-#&*/.*82'#<2%*"-#&%*.8).#"%*5-88%*2"*(%&&%.2*=%&(#/%*9*/.*5-"(%'(.(#-"K*\:%'(*/.*&.#'-"*7-2&*/.<2%//%*5%'*+%2?*/#$&%'*-"(*)()*'#*")5%''.#&%*9*/:)/.1-&.(#-"*+%*"-(&%*7&-1/)8.(#<2%*5.&S*/-&'<2:-"*.55%7(%*/%*5.&.5(J&%*5-"(%'(.(.#&%*+%*/.*82'#<2%*.=&->.8).#"%*@-2*8`8%*+%*/.*52/(2&%*7-72/.#&%DS*#/*"%*"-2'*%'(*7/2'*7%&8#'*+%*/.*&%/);2%&*9*2"*7F)"-8J"%*'((%8%"(*52/(2&%/K*L2(&%8%"(*+#(S*********************************************************9 Lorsqu'on dit " hégémonie culturelle », il ne faut pas l'entendre comme une question de domination pure, mais bien comme un changement de configurations et de dispositions du pouvoir culturel. Voir Stuart HALL, Op. cit. p. 106

*X*+%72#'*/.*721/#5.(#-"*+2*/#$&%*>7+#,)3#067#*+%*0%o-#*Z-"%'S*#/*%'(*7&.(#<2%8%"(*#87-''#1/%*+:."./a'%&*/.*82'#<2%*"-#&%*5-88%*2"*7F)"-8J"%*72&%8%"(*%'(F)(#<2%S*2"*.&(*.2(-"-8%i*#/*=.2(*/.*8%((&%*%"*&%/.(#-"*.$%5*(-2(*5%*<2#*7-2&&.#(*/.*+)(%&8#"%&*v*/:F#'(-#&%S*/:-&;."#'.(#-"*'-5#./%S*/:)5-"-8#%*%(*/%*7 -/#(#<2%K*\-88%*/%*8%"(#-""%"(*W F#/#77%*\ .&/%'*%( *Z%.">0-2#'*\-8-//#*v*b*}/~.*82'#<2%S*1 /2%'*%(*3.44S*%'(*/%*8-+% *+:%?7&%''#-"*7&# $#/);#)* +%'*]-#&'*.8).#"'i*7.&*/9S*%//%*-5527%*%"*7%&8."%"5%*2"%*7/.5%*+."'*/%2&*5F.87'*'-5#./S*%//%*(#%"(*2"*&z/%S*%"*&%(&.#(*-2*%"*.$."(*+."'*/%2&'*/2((%'*7-/#(#<2%'K*cAN*\:%'(*.2''#*%"*5%*'%"'S*<2%*/:-"*7%2(*$./#+%&*+%2?*7&#"5#7%'*=-"+.8%"(.2?*&%/%$)'*7.&*\.&/%'*%(*\-8-//#S*'-#(*v*/%*3.44*5-88%*=-&8%*+:%?7&%''# -"*.&(#'(#<2%*+."'*/.<2%//%* '%*&%5-"".#''%"(*/.*8.3-&#( )*+%'*]-# &'*.8).#"'*@7/2'*<2%*+."'*/%2&*/#(()&.(2&%*-2*+."'*/%2&*7-)'#%Di*%(S*/:#")/25(.1#/#()*+%*/.*7-/#(#'.(#-"*+%'*]-#&'S*'-2'*/.*7&%''#-"*+%'*5-"+#(#-"'*+%*$#%*%"*L8)&#<2%*%(*+%*/:#+)-/-;#%*+-8#"."(%*<2#S*=-&;%*2"%*5-"'5#%"5%*+%*5/.''%*%"*8`8%*(%87'*<2%S*%(*7.&S*2"%*5-"'5#%"5%*+%*&.5%S*8`8%*5F%4*/%'*82'#5#%"'*"-#&'*+-"(*/.*7&.(#<2%*%'(F)(#<2%*7-2$.#(*7.&.I(&%*/.*7/2'*)(&.";J&%*.2*8#/#(."(#'8%KAA*W.&*5-"')<2%"(S*/%*5.&.5(J&%*&.''%81/%2&*%(*7-72/.#&%*+2*3.44*7-2&&.#(*.$-#&*&)2''#*9*.((#&%&*/%'*8#/#%2?*5-882"#'(%'*+."'*/%2&'*%==-&('*+%*7&-7.;%&*/:#+)./*+%*/.*/2((%*+%*5/.''%'K**W.&*.#//%2&' S*#/*#87-&(%*+%*7&)5#'%&*<2%*/ :)(2+%*+ %'*&%/.(#-"'*%"(&%*/% *8-2$%8%"( *5-882"#'(%*%(*/%'*]-#&'*.8).#"'*+."'*/:%"(&%>+%2?>;2%&&%'*+:2"*7-#"(*+%*$2%*52/(2&%/*%'(*2"%*7&)-5527.(#-"* 7/2(z(*&)5%"(%*5F%4*/%' *F#'(-& #%"'*%(*.2(&%' *5F%&5F%2&'*+ %'*'5#%"5%'*********************************************************10 Philippe CARLES et Jean-Louis COMOLLI, Op. cit. p. 127 11 Ibid., p. 65 et 67*

*B*'-5#./%'*+)'#&%2?*+%*'5&2(%&*9*/.*/-27%*/:F#'(-#&%*+%'*8-2$%8%"('*'-5#.2?*.2?*g(.('>!"#'KAM*P"*=.#(S*/.*7/27.&(*+%'*&%5F%&5F%'*<2#*%?.8#"%"(*/%*8-2$%8%"(*5-882"#'(%*.8).#"*'-2'*/:.";/%*+%*/.*52/(2&%*"%*"-2'*'-"(*.77.&2%'*<2:9*7.&(#&*+%'*."")%'*ABXN*%(*'2&(-2(*+%'*."")%'*ABBNS*.2*8-8%"(*8`8%*-|*/:-"*+)5#+.*+%*+#'7-'%&*+2*'-2$%"#&*+%*/.*;2%&&%*=&-#+%*%(*+2*5-882"#'8%*'-$#)(#<2%*'2&*/%'*(.1/%((%'*7-2''#)&%2'%'*+:2"%*)7-<2%*&)$-/2%K*_#%"*%"(%"+2S*5%/.*"%*$%2(*7.'*+#&%*<2:-"*"%*':#"()&%''.*7.'*9*/:F#'(-#&%*+%'*&%/.(#-"'*%"(&%*/%*8-2$%8%"(*5-882"#'(%*.8).#"*%(*/%'*]-#&'*.$."(*/%'*."")%'*ABBNS*8.#'*<2%*/%'*)(2+%'*<2#*7&)5)+J&%"(* -"(*7/2(z(* 5F%&5F)*9*5-87&%"+&%*5- 88%"(*/ %*8-2$%8%"(*5-882"#'(%*.8).#"*.*)8%&;)i*+."'*<2%//%*8%'2&%S*5-88%"(*%(*7-2&<2-#*#/*.*'2*.((#&)*/%'*'a87.(F#%'*+%'*]-#&'*.8).#"'i*5-88%"(*':-&;."#'.#(*/.*'(&25(2&%*#"(%&"%*+2*W.&(#i*9*<2%/*7-#"(*#/*)(.#(*'-28#'*.2*+# 5(.(*+%*,-'5-2i* <2%/'*&.77-&('*+%* 7-2$-#&*%?#'(.#%"(* 9*/:#"()&#%2&*+2*8-2$%8%"(i*'%'*=-&5%'S*'%'*=.#1/%''%'S*'%'*5-"(&.+#5(#-"'*%(*/%'*(%"+."5%'*#+)-/-;#<2%'*<2#*;2#+J&%"(*/.*/#;"%*+2*W.&(#K*j/*.77.&.I(*(-2(*+%*8`8%*")5%''.#&%*+%*=.#&%*8%"(#-"*#5#*+%*<2%/<2%'*%?%87/%'*+:)(2+%'*&)./#')%'*.$."(*ABBN*.=#"*+:.$-#&*2"%*$2%*+:%"'%81/%*+%*/:)(.(*+%'*&%5F%&5F%'*&%/#)%'*.2*'23%(*5F-#'#K***P"*ABOAS*/%*'-5#-/-;2%*k#/'-"*o%5-&+*721/#.#(*b*L?#)/#.$0)'(=)4?#)90""+(%,4)3'$4;*cAQ*72#'S*%"*ABRCS*b*K'&#)'(=)K'=%&'7%,")T)L?#)/!!93)'(=)4?#)90""+(%,4)3'$4;)%()90(27%&4*cACS*+%2?*/#$&%'*<2#*+)7%#;"%"(*/%'*.5 (#$#()'*5-882 "#'(%'*9*(&.$%&'*/%2&'*+a".8#< 2%'*+%*8."#72/.(#-"S*+%*+)'#//2'#-"*%(*+%*(&.I (&#'%i*2" *7-#"(*+%*$2%*/.&;%8%"(*+#5()*7.&*********************************************************12 William G. ROY, Red, Whites, and Blues. Social Movements, Folk Music, and Race in the United States, Princeton University Press, New Jersey, 2010, p. 4 13 Wilson RECORD, The Negro and the Communist Party, University of North Carolina Press, Chapel Hill, 1951, 356 pages 14 Wilson RECORD, Race and Radicalism : The NAACP and the Communist Party in Conflict, Cornell University Press, Ithaca, New York, 1964, 237 pages*

*AN*/:.(8-'7FJ&%*+%*/.*;2%&&%*=&-#+%*.2?*g(.('>!"#'K*_.')'*'((%8%"(*'2&*+%'*.&(#5/%'*&)+#;)'*7.&*+%'*/%.+%&'*5-882"#'(%'*%(*+%'*&%7&)'%"(."('*-==#5#%/'*+:-&;."#'.(#-"'*"-#&%'S*/%'*/#$&%'*+%*o%5-&+*7 &)'%"(%"(*/% *W.&(#*5- 882"#'(%*.8).#"*5 -88%*/:.&8%*+:2"%*5-"'7#&.(#- "*#"(%&".(#-"./%K*W-2&*o%5-&+S*/%*5-882"#'8%*.8).#"*':.$)&.#(*2"%*(%"+."5%*)(&.";J&%*.2*8-2$%8%"(*"-#&S*'%*'%&$."(*+%*/.*/2((%*+%'*]-#&'*.8).#"'*<2:9*+%'*=#"'*%?7."'#-""#'(%'*+2*5-882"#' 8%*9*(&.$%&'*/%*8-"+%K*\:%'(*%"*5%*'%"'*<2 %*/:F#'(-&#%"* ,.&T *].#'-"*8%"(#-"".#(*+."'*'-"*/#$&%*b*90""+(%,4,)%()E'$7#")R+$%(.)4?#)R#6$#,,%0(*c)v*b*j"*o%5-&+:'*."./a'#'S*1/.5T'*#"$-/$%+*U#(F*(F%*W.&(a*U%&%*%#(F%&*".#$%*#+%./#'('*+%5%#$%+*1a*(F%*W.&(a:'*&%(F-S*-&*5a"#5./*'%&$."('*-=*e-$#%(*7-U%&S*'#"5%*(F%*8-$%8%"(*(F%a*U%&%*7.&(*-=*F.+*"-*#"+#;%"-2'*&--('K*cAO***\%((%*5&#(#<2%*7-2&&.#(*.2''#*`(&%*+#&#;)%*9*/:%"+&-#(*+:[.&-/+*\&2'%*%(*+%*'-"*/#$&%*b*L?#)9$%,%,)02)4?#)/#.$0)@(4#77#&4+'7*cAR*721/#)*%"*ABRuK*n"*7%2(*%"*%==%(*&%7&-5F%&*9*\&2'%*+:.$-#&*2(#/#')*/:F#'(-#&%*+%*/:#87/#5.(#-"*+%'*5-882"#'(%'*.8).#"'*+."'*/.*/2((%*+%'*]-#&'*7-2&*8%((&%*+%*/:.$."(*'%'*7-'#(#-"'*".(#-"./#'(%'*+."'*/%*5-"(%?(%*%?7/-'#=*+%*/.*/2((%*7-2&*/%'*+&-#('*5#$#<2%'S*%"*+ )"-"f."(*/%*7.(%&"./#'8%*#"(% //%5(2%/* 1/."5*7&.(#<2)*7.&*/%'*&)$-/2(#-"".#&%'*+2*W.&(#S*%"*8-"(&."(*+2*+-#;(*/.*&%'7-"'.1#/#()*+%'*5-882"#'(%'*32#='*.8).#"'*+."'*/:%==.5%8%"(*+%*/:.77%/*9*/:.2(-+)(%&8#".(#-"*+%'*]-#&'*.8).#"'*h*5%*<2#*.2&.#(*+2*8`8%*5-27S*'%/-"*/:.2(%2&S*8#"#8#')*/%*7-(%"(#%/*&)$-/2(#-"".#&%*"-#&*h*%(*%"*&).==#&8."(*/.*")5%''#()*7-2&*/%' *L=&->.8).#"'*+%*':-&;."#'%&* +%*=.f-"* .2(-"-8%S*#"+)7%"+.88%"(*+2*&%'(%*+%*/.*;.25F%*&.+ #5./%*%(* +%*7-2&'2#$&%*+%' *'(&.();# %'*".(#-"./#'(%'*-&#%"()%'*'2&*/.*7%&8."%"5%*+%'*/2((%'*+2*7-2$-#&*"-#&*.2?*g(.('>!"#'K*********************************************************15 Mark NAISON, Communists in Harlem During the Depression, University of Illinois Press, Chicago, 1983, p. xv 16 Harold CRUSE, The Crisis of the Negro Intellectual, New York Review Books, New York, 1967, 594 pages

*AA*t*7.&(#&*+%'*."")%'*ABuNS*+%'*5F%&5F%2&'*#''2'*+%*/.*;)")&.(#-"*+%'*+&-#('*5#$#<2%'*-"(*5-88%"5)*9*&%8%((&%*%"* <2%'(# -"*/:#+)%*&%f2%*'%/-"*/ .<2%//%*/ :%";.;%8%"(*+%'*5-882"#'(%'*.8).#"'*+."'*/.*/ 2((%*+%'*]-#&'*"%*&%/%$.#(*<2 %*+%*/.*8."#72/. (#-"*7-/#(#<2%K*\%* =.#'."(S*2"%*')& #%*+:)(2+%'*&)$#'#-""#' (%'*$#' ."(*9*& %(&.5% &*/%'*&.5#"%'*+2*8#/#(."(#'8%*"-#&*+."'*/%'*."")%'*ABQN*%(*ABCN*.*7%&8#'*+%*+)=#%&*/%*7-#"(*+%*$2%*+-8#"."(*.$."5)S*%"(&%*.2(&%'S*7.&*o%5-&+K*t*5%(*%==%(S*,.&T*].#'-"*8%"(#-""%*+."'*'-"*#"(&-+25(#-"*/.*5-"((#-"*#87-&(."(%*+%'*/#$&%'*+%*G."*\.&(%&*@'2&*/:.==.#&%*+%*e5-(('1-&-DS*+%*\F.&/%'*,.&(#"*@'2&*/%*5.'*+:L";%/-*[%&"+-"D*%(*+%*]%//*W.#"(%&*@'2&*/%*8#/#(."(#'8%*+2*5-882"#'(%*"-#&*[-'%.*[2+' -"*9*_#& 8#";F.8D K*j/'*-"(*+ )8-"(&)*9*<2% /*7-#"(*/%'*5-882"#'(%'*.8).#"'S*%"*7/2'*+:.$-#&*7.&( #5#7)*.5( #$%8%"(*9*(&.$%&'*/%*7.a'*9*/: .2;8%"( .(#-"*'21'(."(#%//%*+%*/.*5-"(%'(.(#-"*"-#&%S*-"(*.#+)*9 *=.f-""%&* 5F%4*/%'*]-#&'*2"%*"-2$%// %*5-"'5#%"5%*+2*7-2$-#&*+2*7&-/)(.&#.(*-&;."#')*%(*=-&5)*/%'*/#1)&.2?*%(*/%'*&.+#5.2?*1/."5'*9*8%((&%*+%*7/2'*%"*7/2'*/:.55%"(*'2&*/%'*<2%'(#-"'*%"(-2&."(*/%'*+&-#('*5#$#<2%'KAu***q-2(%=-#'S*/%'*5F%&5F%2&'*<2#*5-88%"5J&%"(*9*':#"()&%''%&*.2?*/#%"'*<2:-"(*%"(&%(%"2'*/.*5-882".2()*.&(#'(#<2%*%(*#"(%//%5(2%//%*"-#&%*%(*/%*8-2$%8%"(*5-882"#'(%*.8).#"*'-"(*+%8%2&)'*7&#'-""#%&'*+:2"*&)5#(*".&&.(#=*&%=/)(."(*/:#+)-/-;#%*+2*".(#-"./#'8%*"-#&K*t*5%(*%==%(S*/%*'7)5#./#'(%*%"*/#(()&.(2&%*.=&->.8).#"%*V.&a*PK*[-/5-81*&%8.&<2.#(*v**b*\&#(#5'*-=*L=."*L8%."*52/(2&./*.&('*=&%<2%"(/a*7-&(&.a%+*(F%*.==#/#.(#-"*1%(U%%"*b*UF#(%*5-882"#'('*c*."+*1/.5T*#"(%//%5(2./'*.'*.*T#"+*-=*&%%".5(8%"(*-=*(F%* 5-/-"#4%&>5-/-"#4%+*%"5-2"(%&*UF%&%* 1/.5T*5&%.(#$%* U-&T%&'*U%&%* %?7%5(%+*(-*'218#(*(-*.*&.5#'(*.;%"+.K*}p~*qF%*;%"%./-;a*-=*(F%*&%.+#";S*UF#5F*********************************************************17 Mark NAISON, Op. cit, p. xvi

*AM*.''28%'*(F.(*1/.5T'*U%&%*%?7%5(%+*(-*.+-7(*."*#"=%&#-&*'(.(2'*#"*5-882"#'8*#'*(&.5%.1/%*(-*F#'(-&#."'*."+*5&#(#5'*#"*(F%*ABRN:'*."+*ABuN:'K*cAX**G%72#'*/%'*."")%'*ABBNS*+%'*'7)5#./#'(%'*+%*/.*o%".#''."5%*"-#&%*%(*+%*/.*;&."+%*+)7&%''#-"S*+%'*>7'&H)!47'(4%&),4+=%#,S*+%*/:F#'(-#&%*+2*&.+#5./#'8%*%(*+2*8.&?#'8%*.2?*g(.('>!"#'*%(*+%'*8?%4#(#,,),4+=%#,S*"-2'*-"(*=-2&"#*/.*721/#5.(#-"*+%*7/2'#%2&'*)(2+%'*$#'."(*9*&%"$%&'%&*/.*(%"+."5%*9*(-23-2&'*8%((&%*+%*/:.$."(*/%*7.&.+#;8%*&070(%,'4#+$)M)&070(%,:*+."'*/.*/%5(2&%*+%*/:F#'(-#&%*52/(2&%//%*%(*#"(%//%5(2%//%*"-# &%*%(*+2*8-2 $%8%"(*5-882 "#'(%*.8).#"K*0%'*&)$#'#-"'*+%*_.&1.&.*H-/%aS*k#//#.8*ZK*,.?U%//S*Z.8%'*LK*,#//%&S*_#//*,2//%"*%(*eF%&&a*0#"T-"*-"(*'2*&%8%(( &%*%"*5. 2'%*/%'*7-#"('*+%*$2%*7 &)5)+%"(' *5-"5%&"."(*/%'*. ==#/#.(#-"'* +%'*&.+#5.2?*"-#&'*%(*1/."5'*%(*-"(*5-"=&-"()*/%'*"-(#-"'*7&)+-8#"."(%'*+%*/.*b*/#;"%*+%*5-2/%2&*c*+."'*/:%"(&%>+%2?>;2%&&%'KAB*0%2&*5-"((#-"*%'(*+:.2(."(*7/2'*#87-&(."(%*%"*5%*<2:%//%*.*7%&8#'*+%*&%"$%&'% &*/.*')7. &.(#-"*'a'()8.(#<2%*%"(&%*/.*o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ary E. HOLCOMB, " New Negroes, Black Communists, and the New Pluralism », American Quartely, Vol. 53, No. 2 (Jun. 2001), p. 367 19 Ibid., p. 368*

*AQ*+)5%""#%*ABQNS*8.&<2)%*7.&*/.*;&."+%*+)7&%''#-"S*.2&.#(*$2*+%'*8#//#%&'*+%*]-#&'*'2#$&%*7#%2'%8%"(*/%*8-2$%8%"(*5-882"#'(%K*0%'*)(2+%'*7/2'*&)5%"(%'*9*5%(*%==%(*-"(*7.&(#5#7)*9*2"%*=:6:$%0=%,'4%0(*+% *5%((%*$# '#-"*5/.''#<2%S*% "*+)8-"(&."(*+:.1-&+* <2%*/%'*=&-"(#J& %'*F#'(-&#<2%'*+%*/.* o%".#''. "5%*"-#&%*-"(*&.a-"")*32'<2:.2*+)1 2(*+%*/.*e%5-"+%*V2%&&%*8-"+#./%S*8.#'*.2''#*<2%*/%*8-2$%8%"(*5-882"#'(%*.*'2'5#()*2"*.((&.#(*7.&(#52/#%&*7-2&*/%'*]-#&'*+J'*/%*+)12 (*+%'*."")% '*ABMN*%( *<2%*5%(*.((&.#(* #87.5(.*5-"'#+)&.1/%8%"(*/.*7&-+25(#-"*.&(#'(#<2%*"-#&%KMN**W-2&*5/-&%*/:)(.(*+%*/.*<2%'(#-"S*#/*%'(*#87-''#1/%*+%*7.''%&*'-2'*'#/%"5%*/:.77-&(*+%*(&-#'*-2$&.;%'*7/2'*'7)5#=#<2%8%" (*/#)'*9*/.*7& -1/)8.(#<2%*+%*5%*8)8-#&%*<2#*-"(*7.&(#52/#J&%8%"(*&%(%"2*"-(&%*.((%"(#-"S*'-#(*v*UV*;)10(.)@ ,)*;)G#'60(VVMA*+%*o-11#%*0#%1%&8."i*L?#)9+74+$ '7)5$0(4MM*+%*,#5F.%/*G%""#";i*%(*!2$%&'()!"#$%&'()507H,0 (.)'(=)!"#$%&'()9+74+$'7)307%4%&,WX*+%*_&25%*,K*\-"=-&(FK**W&-=%''%2&%*'7)5#./#')%*%"*F#'(-#&% *.8).#"%*&)5%"(%*9*/.*e-2(F%&"*j/ /#"-#'*!"#$%&'#(aS*o-11#%*0#%1%&8."*.*5- "'.5&)*'%'*&%5F%&5F%'S*%"(&%*.2(&%'S*9* /:)(2+ %*+%'*8-2$%8%"('*'-5#.2?*%(*+%*/.*82'#<2%K*W&#"5#7./%8%"(*.?)*'2&*/%'*5F."(%2&'*=-/T*+%'*."")%'*ABQN>ABONS*8%81&%'*-2*'a87.(F#'."('*+2*\W!eLS*%(*/%2&'*(%"(.(#$%'*+:b*.;#(>7&-7*c*9*(&.$%&'*/%2&'*3#067#V,)10(.,S*/%*/#$& %*l*;)10 (.)@,)*;)G#'60(m*@A BXBD*':-2$&%*'2&*2"%*+#'52' '#-"*#"()&%''."(%S*9*'.$-#&*5-88%"(*%(*+."'*<2%//%*8%'2&%*/.*52/(2&%*=.#(*7.&(#%*+%*/.*'-/2(#-"*********************************************************20 Gary E. HOLCOMB, Op. cit. p. 371 21 Robbie LIEBERMAN, ''My Song Is My Weapon''. People's Songs, American Communism, and the Politics of Culture, 1930-50, University of Illinois Press, Urbana and Chicago, 1989, 201 pages 22 Michael DENNING, The Cultural Front. The Laboring of American Culture in the Twentieth Century, Verso, London - New York, 1997, 580 pages 23 Bruce M. CONFORTH, African American Folksong and American Cultural Politics. The Lawrence Gellert Story, The Scarecrow Press, Inc., Lanham, 2013, 265 pages

*AC*+."'*/.*/2((%* 5-"(&%*/: F);)8-"#%*%(*/:.55 %''#-"*.2*5F.";%8%"(* '-5#./K*L2>+%/9*+%*/.*(F)8.(#<2%*+%*/:F)&#(.;%*7-/#(#<2%*%(*52/(2&%/*+2*5-882"#'8%*.8).#"S*5%*<2#*#87-&(%*+."'*/:."./a'%*+%*0#%1%&8."S*5%*'-"(*/%'*<2%'(#-"'*%"(-2&."(*/%*&z/%*3-2)*7.&*/.*52/(2&%*%(*'.*5.7.5#()*9*8-+%/%&*/.*$#%*+%'*;%"'*%(*/%2&'*7%&5%7(#-"'*+2*8-"+%KMC*L#"'#S*%"*5F%&5F."(*9*)$./2%&*/%*+%;&)*+:#87.5( *+%*/.*5 2/(2&%*'2&*/.*5-"' 5#%"5%*+%*/.*5/.''%*-2$ &#J&%*%( *9*5-87&%"+&%*/%'*-1'(.5/%'*%"5-2 &2'*/-&'<2: 2"*8-2$%8%"(*7-72/.#&%*'-2F.#(% */#$&%&*2"*8%''.;%*7-/#(#<2%*./( %&".(#=S*d:*;)10 (.)@,)*;)G#'60(::*&%"'%#;"%*'2&*/%'*%==-&('*+:.8)."#'.(#-"*+2*\W!eL*+2&."(*/.*7)&#-+%*+2*H&-" (*7-72/. #&%K*\%'*%==-&( 'S*'%/-"*/:.2(%2&%S*':%?7%"(*7.&=.#(%8%"(*9*(&.$%&'*/%*5F-#?*5./52/)*+%*=.#&%*+%*/.*82'#<2%*=-/T*h*5.();-&#%*+."'*/.<2%//%*/:.2(%2&%*#"5/2(*/.*82'#<2%*"-#&%*h*/%*7&#"5#7./*$)F#52/%*=.5#/#(."(*/:.8)."#'.(#-"*+2*\W!eL*%(*/.*+#==2'#-"*+%*/:#+)./*5-882"#'(%K*e."'*(-81%&*+."'*2"%*$#'#-"*&-8."(#<2%*+2* 5-882"#'8%*.8).#"S*0#%1%&8."*+& %''%*2"*7-&(& .#(*+%'*&)./#'.(#-"'*%(*+%'*)5F%5'*52/(2&%/'*%(*7-/#(#<2%'*+2*\W!eL*<2#*"-2'*7%&8%(*+%*8#%2?*'.#'#&*/.*&%/.(#-"*)7#"%2'%*%"(&%*/.*5-"'5#%"5%*7-/#(#<2%*%(*/.*7&-+25(#-"*.&(#'(#<2%K*0:.81#$./%"5%*+%'*5-"5/2'#-"'*+%*d:*;)10(.)@,)*;)G#'60(::*<2."(*.2*=-'')*%"(&%*/%*8-8%"(*+%*7&-+25(#-"*.&(#'(#<2%*%(*/.*&)5%7(#-"*h*5:%'(>9>+#&%*/:#"5.7.5# ()*9*5-87&%"+&%*+."'*/%2&*(-(./#()*/%' *8)5."#'8%'*7%&8%((."(*.2?*5-"'(&25(#-"'*5-"(&%>F);)8-"#<2%'*+:.==%5(%&*2/(#8%8%"(*/.*5-"'5#%"5%*+%*/.*5/.''%*-2$&#J&%*h*.*-2$%&(*/.*$-#%*9*2"%*&%/%5(2&%*7/2'*7-2'')%*+%*/.*7)&#-+%*+2*H&-"(*W-72/.#&%*52/(2&%/K**\:%'(*+."'*5%((%*8`8%*/#;")%*<2%*/:F#'(-&#%"*,#5F.%/*G%""#";*721/#%*%"*ABBR*L?#)9+74+$'7)5$0(4S*2"*-2$&.;%*5-/-''./*+-"(*/:#87.5(*1-2'52/%&.*9*'-"*(-2&*"-(&%*5-87&)F%"'#-"*+%*********************************************************24 Robbie LIEBERMAN, Op. cit. p. xxi

*AO*/:F)&#(.;%*52/(2&%/*+2*H&-"(*W-7 2/.#&%K*W.&*+%*"-81&%2?*%?%87/%'* +%*&)./#'.(#-"'*.&(#'(#<2%'S*L?#)9+74+ $'7)5$0(4*&)7-"+*.2?* +-2(%'*<2%*5%&(.#"'* F#'(-&#%"'*7-2&&.#%"(*)8%((&%*<2."(*9*/.*7%&(#"%"5%*+:."./a'%&*/.*52/(2&%*+%*/.*$#%#//%*;.25F%*./-&'*<2%S*8`8%*9*'-"*.7-;)%S*%//%*"%*5-"'(#(2.#(*<2:2"*8-2$%8%"(*52/(2&%/*%81&a-"".#&%S*%87#)()%*7.&*+%'*'(&25(2&%'*1%.25-27*7/2'*$.'(%' *%(*1%.25-27*7/2'*5-"'%&$. (%'*'a81-/#'. "(*/.*$#%*%"*L8)&#<2%K*W-2&*G%""#";S*8. /;&)*'-"*5.&.5 (J&%*%81&a-"".#&%*%(*/:#".5 FJ$%8%"(*+%*'%'*+%''%#"'S*/%*H&-"(*W-72/.#&%*&%7&)'%"(%*/:2"#<2%*8-8%"(*+2&."(*/%<2%/*/.*;.25F%*-&;."#')%*.*&)2''#*9*+)$%/-77%&*2"%*52/(2&%*+%*8.''%*%==%5(#$%S*7&-+2#(%*7.&*/.*5/.''%*-2$&#J&%*7-2&*%//%>8`8%*%(*#" +21#(.1/% 8%"(*7-72/.#&%*.27&J'*+%*8#//#-"'*+:L8).#"'K MO*0:.2(%2&*7&)'%"(%*.2''#*/%*H&-"(*W-72/.#&%*"-"*7.'*'#87/%8%"(*5-88%*2"*8-2$%8%"(*7-/#(#<2%*%";%"+&)*7.&*/.*;.25F%*-&;."#')%K*j/*/%*$-#(*);./%8%"(*5-88%*2"*8-8%"(*8.&<2."(*%(*+2&.1/%*+."'*/.*&%'(&25 (2&.(#-"*+%*/:# +%"(#()* .8).#"%S*7-2&*(-2(%'*/%'*5-25F%'*+%*/.*7-72/.(#-"*<2#*.$.#%"(*)()*32'<2%>/9*%?5/2%'*-2*8.&;#"./#')%'S*7&#"5#7./%8%"(*5%//%'*#''2%'*+%*/.*5/.''%*-2$&#J&%*"-2$%//%8%"(*#88#;&)%*+:P2&-7%*+%*/:P'(*%(*+2*e2+S*+:L'#%S*+:L8)&#<2%*/.(#"%*%(*+2*e2+* &2&./*+% '*g(.('>!"#'KMR*G:.2(&%*7.&(S*G%""#";*5-"'.5&% *+% 2?*#87-'."('*5F.7#(&%'*9*/.*82'#<2%*+2*H&-" (*W-72 /.#&%K*j/ *%'(*%''%"(#%/*+%*'-2/#;"%&*#5#*<2 %S*5-"(&.#&%8%"(*9*0#%1%&8."*<2#*=.#(*8%"(#- "*+2* 5-2&."(*=-/T*5-88%*7&#"5#7./ *-2(#/*+%*7&-7.;."+%*5-882"#'(%S*G%""#";*"%*5-"'#+J&%*7.'*/.*82'#<2%*=-/T*5-88%*)(."(*/.*=-&8%*5%"(&./%*+%*/.*82'#<2%*+2*H&-"(*W-72/.#&%K*W-2&*/2#S*5%*'-"(*/%'*=-&8%'*%87&2"()%'*9*q#"*W."*L//%a*%(* /%*3.44*<2#*&% 7&)'%"(%" (*/%*8#%2 ?*/.*82'#<2%*+2* H&-"(*%"*&. #'-"*+%*/%2&*.55%''#1#/#()*%(*+%*/%2&*7-72/.&#()*#"5-"(% '(.1/%'*.2* '%#"*+%*/.*5/.' '%*-2$&#J&% KMu*W-2&*********************************************************25 Michael DENNING, Op. cit. p. xvii et xx 26 Ibid., p. 239*27 Ibid., 284

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*Au*7&-7-'%*2"%*&))$./2.(#-"*+%*/:2(#/#'.(#-"*%(*+%*/.*+)=#"#(#-"*+2*(%&8%*b*6$04#,4*c*<2#*'%/-"*/2#*%'(*(&-7*'-2$%"(*;./$.2+)*7.&*/%'*.5.+)8#5#%"'*9*+%'*=#"'*7-/#(#<2%'*%(*#+)-/-;#<2%'KMX*G."'*/%*5F.7#(&%*<2:#/*5-"'.5&%*9*/.*721/#5.(#-"*+%*/#.$0)10(.,)02)3$04#,4S*\-"=-&(F*'-2(#%"(*<2%*/:2(#/#'.(#-"*%(*/:#"(%&7&)(.(#-"*=.#(%'*7.&*/%'*5-882"#'(%'*.8).#"'*+2*(%&8%*b*6$04#,4*c*7-2&*+)'#;"%&*/%'*5F."'-"'*.=&->.8).#"%'*.2&.#%"(*5-"()*9*=.#&%*)5F-2%&*%"*7.&(#%*/%2&'*(%"(.(#$%'*+:.;#(>7&-7*.$%5*/.*82'#<2%*"-#&%K*W-2&*/2#S*-"*"%*+-#(*7.'*5-87&%"+&%*/%*(%&8%*b*6$04#,4*c*5-88%* 'a"-"a8%*+%*b *&)$-/2(#-"".#&%*c*-2*%"5-&%* +:*b*)$%#/*+:2"*8-2$%8%"(*-&;."#')*c*8.#'*1#%"*5-88%*'a"-"a8%*+%*b*&%3%(*+%'*5-"+#(#-"'*+%*$#%*%(*+%*/:%?7)&#%"5%*7&-7&%8%"(*"-#&%*.8).#"%*c*%(*b*+)'#&*+%*'2&$#%*+%*/.*5-882".2()*"-#&%*+."'*/:L8)&#<2%*1 /."5F%*cKMB*P" *'-88%S*5%( (%*&))$./2.(#- "*7.&.I(*"-"*");/#;%.1/%*5.&S*)(&-#(%8%"(*/#)%*9*/.*7&-1/)8.(#<2%*+%*5%*8)8-#&%S*%//%*7%&8%(*+%*&%'(%&*5&#(#<2%*9*/:);.&+*+%'*+#'5-2&'*7-/#(#<2%'*+%*/.*;.25F%*&)$-/2(#-"".#&%*.8).#"%*'2&*/.*7&.(#<2%*%'(F)(#<2%*+%*/.*82'#<2%*"-#&%K**************************************************************28 Cette réévaluation de l'utilisation du terme " protest » faite par Conforth rejoint la position novatrice de Lawrence W. Levine dans Black Culture and Black Consciousness : " To state that black song constituted a form of black protest and resistance does not mean that it necessarily led to or even called for any tangible and specific actions, but rather that it served as mechanism by which Negroes could be relatively candid in a society that rarely accorded them that previleg e [...] and, in the face of the san ctions of white m ajority, co uld assert their own individuality, aspirations, and sense of being. » Si Black Culture and Black Consciousness paraît en 1977, il est intéressant de souligner que cette position prise par Levine quant à l'utilisation du terme " protest » a étrangement été occultée par la plupa rt de ses contempor ains jusqu 'à aujourd' hui. Voir : La wrence W. LEVINE, Black Culture a nd Black Consciousness : Afro-American Thought from Slavery to Freedom, Oxford University Press, New York, 1977, p. 239-240 29 Bruce M. CONFORTH, Op. cit. p. 131*

*AX*BCM!A6-)3D(E(F'D!73)!)'K6N3)!3(!73!,E!I-(O'7','PF3!!*\%*8)8-#&% *+%*8.I(&#'%*':.772 #%*'2&*2"*$ .'(%*5-& 72'*5-"'(#(2)*+%*8- "-;&.7F#%'*F#'(-&#<2%'S*/#(()&.#&%'S*'-5#-/-;#<2%'*%(*%(F"-82'#5-/-;#<2%'S*+%*&)5#('*1#-;&.7F#<2%'*%(*.2(-1#-;&.7F#<2%'*%(*+:.&(#5/%'*'5#%"(#=#<2%'* .a."(*2"*&.77-&(* +#&%5(*.$%5*/%*5-"(%?(%*7-/#(#<2%*%(*52/(2&%/*+%'*&%/.(#-"'*%"(&%*/%'*]-#&'*.8).#"'*%(*/%*8-2$%8%"(*5-882"#'(%*.2?*g(.('>!"#'*+2&."(* /:%"(&%>+%2?>;2%&&%'K*\%((%*&%5F%&5F%*& %7-'%*.2''#*'2&*/%'* +%2?*7&#"5#7.2?*-&;."%'*+2*\W!eLS*'-#( */%*R'%7;)G0$H#$)%(*/%*/#8)*',,#,S*'2&* /:)+#(-&#./*+2*7&%8#%&*"28)&-*+2*8.;.4#"%*L?#)G0$H#$)*+,%&%'(*@ABQMDS*3-2&"./*)7F)8J&%*+2*G0$H#$,)*+,%&)-#'.+#*@. ==#/#)*.2*\W!eLDS*.#"'#*<2% *'2&*/.*7 21/#5.(#-"*+2*&%52%# /*/#.$0)10(.,)02)3$04#,4)@ABQRDS*(-2'*2(#/#')'*5-88%*'-2&5%'*7&%8#J&%'K***0%*3-2&"./*+:.5(2./#()*R'%7;)G0$H#$)7.&.I(*7-2&*/.*7&%8#J&%*=-#'*%"*3."$#%&*ABMC*%(*'%&.*721/#)*9*]%U*^-&TS*'2&*2"%*1.'%*<2-(#+#%""%S*32'<2:%"*ABOR*7.&*/%*\W!eLK*L2*7/2'*=-&(*+%*'.*7-72/.&#()S*/.*5#&52/.(#-"*+2*3-2&"./*.((%#"+&.*/%'*QO*NNN*5-7#%'KQN*e#*'%'*7-'#(#-"'*&%=/J(%"(*+%*8."#J&%*;)")&./%*/%*7-#"(*+%*$2%*+2*W.&(#*5-882"#'(%S*/%*R'%7;)G0$H#$*5F%&5F%&.*(-2(*+%*8`8%*9*&%7&)'%"(%&*2"%*;.88%*7/2'*/.&;%*+%'*-7#"#-"'*+%*/.*;.25F%*.8).#"%S*'2&(-2(*+2&."(*/.*7)&#-+%*+2*H&-"(*W-72/.#&%K*\-88%*"-2'*/:.$-"'*8%"(#-"")*7/2'*(z(S*/%*3-2&"./*.*.55-&+)*2"%*7/.5%*7.&(#52/#J&%*.2?*.&(#'(%'*"-#&'*+."'*'.*7.;%*52/(2&%//%i*/.*7&)'%"5%*+%'*)5&#$.#"'*0.";'(-"*[2;F%'S*\/.2+%*,5x.a*%(*o#5F.&+*k&#;F(*%"*'-"(*<2%/<2%'*%?%87/%'K*q-2(%=-#'S*%"*5-2$&."(* /.* 7)&#-+%*+%*ABMC* 9*ABCNS */ %'*&%5F%&5F%'*":-"(*7.'*7%&8#'* +%*(&-2$%&*+%'*.&(#5/%'*'#;"#=#5.(#='*%"*/#%"*.$%5*/.*7&-1/)8.(#<2%*+%*5%*8)8-#&%K*\%7%"+."(S*********************************************************30 http://www.marxists.org/glossary/periodicals/archive/

*AB*5%&(.#"'*.&(#5/%'*5-"5%&"."( */.*b*<2%'(#-"*"-#&%*c*%(* /%'*'(&.();#%'* +:-&;."#'.(#-"*+2* 7&-/)(.&#.(*"-#&*-"(*&%(%"2*"-(&%*.((%"(#-"K***0%*8.;.4#" %*52/(2&%/*/#8)*',,#,*.*7-2&*'.*7.&(*;&."+%8%"(*5-"()*9*% "F#&*"-'*&%5F%&5F%'*%(*9*&)7-"+&%*9*/.*7&-1/)8.(#<2%*+%*+)7.&(K*H-"+)*%"*ABMR*%(*721/#)*'2&*2"%*1.'%*8%"'2%//%*3 2'<2:%"*ABCXS*/%*/#8)*',,#,*'%*$-2/.#(*.2*+)7.&(*;)")&.(%2&*+:2"%*&%".#''."5%*.&(#'(#<2%*%(*/#(( )&.#&%*.2?*g(.('>!"#'S*(-2(*%"*.==#5 F."(*-2$ %&(%8%"(*'%'*'a87.(F#%'*%"$%&'*/%'*/2((%'*-2$&#J&%'*#"(%&".(#-"./%'S*'."'*7-2&*.2(."(*%"(&%(%"#&*+%*/#%"'*.$%5*2"*7.&(#* 7-/#(# <2%*<2%/5-"<2%K*n&S* +J'*'.*".#''."5%S*/%*/#8)*',,#,*%' (*5-87-')*8.3-&#(.#&%8%"(*+%*5-//.1-&.(%2&'*.==#5F."(*-2$%&(%8%"(*/%2&'*.//);%."5%'*%"$%&'*/:!"#-"*'-$#)(#<2%*%(*/%*\W!eLS*+-"(*,.2%*_%5T%&S*,.?*P.'(8."S*Z-'%7F*H&%%8."S*[2;-*V%//%&(S*L&(2&-*V#-$.""#((# S*,#5F.%/*V-/+S*k#//#.8*V&-77%&S*_-.&+ 8."*o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l est à noter qu'ils sont tous d'anciens collaborateurs des journaux marxistes The Masses (1911-1917) et The Liberator (1918-1924) et qu'ils souhaitaient poursuivre leurs efforts de propagande révolutionnaire en contribuant au New Masses. Voir : Virginia HAGELSTEIN MARQUARDT, " New Masses and John Reed Club Artists, 1926-1936 : Evolution, Subject Matter and Style », Journal of Decorative and Propaganda Arts, Vol. 12, 1989, p. 58

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*MC*LCL!83)!'6FPFD3)!73!,E!P6ED73!IFP6E(F'D!*)L?#)4%"#)%,)&0"%(.)'(=)%4)80(V4)<#)70(.Q)Y0+V77).#4)+6),0"#)"0$(%(.Q)'(=);0+V77)2%(=)"#).0(#Q)10)4$#'4)"#)$%.?4)'(=)N077;)"#)'70(.Q)@2);0+)8'(4)4?%,)(%..#$)40),%(.)4?#)07=)?0"#),0(.PQM)!L$."(*/%*+)5/%" 5F%8%"(*+% */.*W&%8#J&%*V2%&&%*8-"+#./%S*/%'*]-#& '*.8).#"'*$#$%" (*%''%"(#%//%8%"(*+."'*/%'*&);#-"'*&2&./%'*%(*+ ."'*/%*e2+*+%' *g(.('>!"#'K*G:.7&J'*2"* &%5%"'%8%"(*+%*ABANS*-"*&%(&-2$%*(&-#'*"-#&'*'2&*<2.(&%*+."'*/%'*4-"%'*.;-/%'*%(*"%2=*"-#&'*'2&*+#?*+."'*/%'*g(.('*+2*e2+KQQ*P"(&%*ABAO*%(*ABQNS*7/2'#%2&'*=.5(%2&'*-"(*7-2'')*7&J'*+%*AKM*8#//#-"'*+%*]-#&'*9*<2#((%&*$%&'*/%*]-&+K**o.77%/-"'S*<2:.2*+)12(*+2*%*'#J5/%S*/%'*g(.('*+2*e2+*5-"".#''%"(*2"*&%(.&+*)5-"-8#<2%*"-(-#&%*'2&*/%*& %'(%*+2*7.a'S*8./ ;&)*/%*=.#(*<2:#/ '*'-#%"(* %"(&)'*+."'*2" *7&-5%''2'*+:#"+2'(&#./#'.(#-"K*,`8%*'#*/:%'5/.$.;%*.$.#(*)()*.1-/#S*/%'*]-#&'*'-2==&.#%"(*7/2'*<2%*(-2'*/%'*.2(&%'*+%*5%*&%(.&+K*j/*=.2(*+#&%*<2:.7&J'*/.*;2%&&%*5#$#/%S*/%'*7&-7&#)(.#&%'*+%'*7/."(.(#-"'*"%*'%*'-"(*7.'*$2'*7&#$)'*+2*7-2$-#&*<2.'#*.&#'(-5&.(#<2%*+-"(*#/'*.$.#%"(*3-2#*+%72#'*/%*sjj%*'#J5/%S*72# '<2:#/'*+)(%".#%"(*2"%* 7-'#(#-"*#87-&(."(%*+."'*/.*&)-&; ."#'.(#-"*+%*/.*8.#">+:y2$&%*"-#&%K*G%*"-2$%.2?*8-a%"'*+:%?7/-#(.(#-"*'%*'-"(*#"'(.//)'S*/%'*=-"+%8%"('*)5-"-8#<2%'*+:2"*'a'(J8%*+%*5.'(%*&.5#./%*+."'*/%*e2+*'%*'-"(*(&."'=-&8)'K*L2*(&.$.#/*=-&5)*%(*;&.(2 #(*':%'(*'21'(#(2)*2"*' a'(J8%*+%*8)(.a.;%*' -2'*/%<2%/*/%'*;&."+'*7&-7&# )(.#&%'*=-"5#%&'*/-2.#%"(*9*5&)+#(*/%2&'*/-7#"'*+%*(%&&%*%(*+%'*-2(#/'*.;-/%'*")5%''.#&%'*.2?*]-#&'*********************************************************32 Paroles chantées par des Noirs du Mississippi en 1915. Cette chanson évoque la migration vers le Nord comme moyen de pressions pour l'acquisition de meilleures conditions de vie. Lawrence W. LEVINE, Black Culture and Black Consciousness. Afro-American Folk Thought from Slavery to Freedom, Oxford University Press, New York, 1977, p. 266 33 August MEIER & Elliot M. RUDWICK, From Plantation to Ghetto. An Interpretive History of American Negroes, Hill and Wang, New York, 1966, p. 189

*MO*%(*/%'*8%".f.#%"(*+:%?7&-7&#.(#-"*/-&'<2:#/'*":)(.#%"(*7.'*%"*8%'2&%*+%*7.a%&*/%2&'*+%((%'KQC*q-23-2&'*%"+%(()'*%"$%&'*/%'*;&."+'*7&-7&#)(.#&%'S*/%'*]-#&'*'-"(*+%8%2&)'*+."'*2"*)(.(*+%*7&)5.&#()*%(*+%*+)7%"+."5%*%?(&`8%*9*/%2&*);.&+K*P"*7/2'*+%*/:-77&%''#-"*)5-"-8#<2%S*/.*5-882".2()*.=&->.8).#"%*+2(*=.#&%*=.5%*9*/.*8-"()%*%"*72#''."5%*+2*&.5#'8%*1/."5K*0.*$#-/%"5%*%(*/:#"(#8#+.(#-"S*7&-+2#(%'*"-(.88%"(*7.&*+%'*8-2$%8%"('*%?(&)8#'(%'S*5-88%*/%*x2*x/2?*x/."S*%(*/%'*/a"5F.;%'*'a'()8.(#<2%'S*-"(*)()*+:.2(&%'*8-a%"'*8#'*%"*.77/#5.(#-"*7-2&*&).==#&8%&*/.*'27&)8.(#%*1/."5F%*%(*'277%&*+2*8`8%*5-27*/%'*+&-#('*5#$#<2%'S*/%'*+&-#('*7-/#(#<2%'*%(*/.*+#;"#()*F28.#"%*+%'*]-#&'K*W-2&*5-2&-""%&*5%((%*&).==#&8.(#-"S*/:.&&`(*+%*/.*\-2&*'27&`8%*37#,,;)Z1)5#$.+,0(*@AXBRDS*<2#*.*8#'*%"*7/.5%*/%*'a'(J8%*+%*');&);.(#-"S*%'(*$%"2*7&-();%&*/%'*&%/.(#-"'*&.5#./%'*&)7&%''#$%'S*7%&8%((."(*.2?*g(.('*+%*"#%&*/%*+&-#(*+%*$-(%*+%'*]-#&'S*+%*"%*7.'*%"<2`(%&*'2&*/%'*.5(%'*(%&&-&#'(%'*5-88#'*9*/:%"+&-#(*+%*5%2?>5#*%(*'2&(-2(*+%*/%'*')7.&%&*+%*(-2(%*$#%*'-5#./%*.$%5*/%'*_/."5'*+."'*/%'*%"+&-#('*721/#5'KQO**0:.$J"%8%"(*+%*/.*W&%8#J&%*V2%&&%* 8-"+#./%*. *7&-=-"+ )8%"(*8-+#=#)*/:)5-"-8#%*% (*/.*+)8-;&.7F#%*.2?*g(.('>!"#'K*0:#88#;&.(#-"*8.''#$%*+%*(&.$.#//%2&'*%(*+%*(&.$.#//%2'%'*%"*7&-$%"."5%*+:P2&-7%S*<2#*.$.#(*7 %&8#'*+2&."(*/.*'%5-"+%*8-#(#)*+2*j%* '#J5/%*%(*.2*(-2&"."(*+2*%*'#J5/%*+%*F#''%&*/%'*g(.('>!"#'*.2*'-88%(*+%'*72#''."5%'*#"+2'(&#%//%'S*':%'(*$2%*&./%"(#% *.1&27(%8%"(*/-&'<2%*/%*5-" =/#(*8-"+#./*)5/.(.K*G%*=.#(S*%" (&%*ABAC*%(*ABAO*'%2/%8%"(S*/:#88#;&.(#-"*.2?*g(.('>!"#'*%'(*7.'')%*+%*AKM*8#//#-"'*+%*"-2$%.2?*.&&#$."('*9*QNN*NNNKQR*j")$#(.1/%8%"(S*/%'*%87/-a%2&'*+%'*;&."+%'*$#//%'*#"+2'(&#%//%'*'%*'-"(*#"<2#)()'*+%*/:#88%"'%*(&-2*+%*8.#">+:y2$&%*9*5-81/%&K*0.*5-"'5(#-"*+%*ABAu*%(*/:%"&z/%8%"(*+%*********************************************************34 Carter A. WILSON, Racism, from Slavery to Advanced Capitalism, California, Sage Publications, 1996, p. 86 35 Ibid., p. 105 et 117 36 Eric ARNESEN, Op. cit. p. 7

*MR*8#//#-"'*+%*(&.$.#//%2&' *.8) .#"'*.2*'%#"*+%*/:.&8)%S*.*.;;&.$) */%*8."<2%*+%*8.#">+:y2$&%*%(*/%'*%87/-a%2&'*#"+2'(&#%/'*-"(*+Ä*'%*(-2&"%&*$%&'*2"%*=-&5%*+%*(&.$.#/*<2#*":.$.#(*7.'*)()*%"5-&%*(-(./%8%"(*%?7/-#()*h*/%'*=%88%'S*/%'*L=&->.8).#"'*%(*+:.2(&%'*8#"-&#()'*$#'#1/%'*h*7-2&*&)7-"+&%*.+)<2.(%8%"(*.2?*1%'-#"'*5&#."('*+:2"%*)5-"-8#%*#"+2'(&#%//%*%"*7/%#"%*%?7."'#-"K*0: -7(#-"*+%*=2#&*$%&'*/%*]-&+*'%81/ .#(*+-"5*+%*7/2'*%"*7/2'*/ -;#<2%S*5-87(%*(%"2*+%*/:.2;8%"(.(#-"*+:-77-&(2"#()'*+:%87/-#'*7-2&*/%'*]-#&'*+."'*/%'*;&."+%'*$#//%'*#"+2'(&#%//%'*5-88%*\F#5.;-S*G)(&-#(*-2*]%U*^-&TKQu*G."'*2"*.&(#5/%*+2*R'%7;)G0$H#$*7.&2*/%*B*.-Ä(*ABMC*%(*5-"'.5&)*9*/.*;&."+%*8#;&.(#-"S*0-2#'*Å--1-5T*&)'28.#(*/%'*5.2'%'*+%*/:%?-+%*"-#&*$%&'*/%*]-&+*#"+2'(&#%/*%"*5%'*(%&8%'*v**b*[p]*(F%*5.2'%'*8.a*1%*5/.''#=#%+*.'*2"+%&/a#";*."+*#88%+#.(%K*qF%*=-&8%&*.&%*1-(F*%5-"-8#5*."+*'-5#./K*qF%*8.#"*%5-"-8#5*5.2'%'*.&%*(F%*(%"."(*'a'(%8*-=*=.&8#";S*-&*(F%*/."+/%''"%''*-=*(F%*]%;&-*=.&8%&'S*(F%*/-U*U.;%'*7.#+*(-*(F%*]%;&-*/.1-&*#"*(F%*e-2(Fi*UF#/%*'-8%*-=*(F%*2"+%&/a#";*'-5#./*5.2'%'*F.$%*1%%"*(F%*+%'#&%*=-&*1%((%&*'5F--/'S*=-&*32'(#5%*#"*(F%*5-2&('S*=-&*%<2./*7-/#(#5./*."+*5#$#/*&#;F('S*%(5K*qF%*#88%+#.(%*5.2'%'*F.$%*1%%"*(F%*+%8."+*=-&*/.1-&*#"*(F%*]-&(F*+2&#";*(F%*a%.&'*-=*b*7&-'7%&#(aS*c*(F%*5%''.(#-"*-=*#88#;&.(#-"S*."+*(F%*.5(#$#(#%'*-=*/.1-&*.;%"('S*(F%*7%&'2.'#-"*-=*=&#%"+'K*cQX*0%'*L=&->.8).#"'*-"(*+-"5*7&#'*5-"'5#%88%"(*/.*+)5#'#-"*+%*<2#((%&*/%*e2+*%"*1/-5S*"-"*'%2/%8%"(*7-2&*(&-2$%&*+%*8%#//%2&'*%87/-#'S*8.#'*'2&(-2(*7-2&*(%"(%&*+%*&%5-88%"5%&*/%2&*$#%*+."'*+%'*5-"+#(#-"'*7/2'*F28.#"%'KQB*\%*5F-#?*5-"'5#%"(*)(.#(*'-2$%"(*%?7)*+."'*/%'*3-2&".2?*"-#&'*+%*/:)7-<2%S*5-88%*+."'*/%*14P)-0+%,)!$.+,S*+."'*/%<2%/*-"*7%2(*/#&%*+J'*ABAR*v**********************************************************37 À l'augmentation d'opportunités d'emplois dans le Nord, ajoutons aussi que la crise du charançon de coton et les inondations dévastatrices de 191 6 à travers le Mississippi, l'Alabama, le Tennessee et les deux Carol ines ont profondément appauvri l'économie du Sud. 38 The Daily Worker, "Negro Migration and its Causes", by Louis ZOOBOCK, Special Magazine Supplement, August 9, 1924, p. 2*39 LeRoi JONES, Op. cit. p. 149-150

*Mu*b*qF%*\-/-&%+*7%-7/%*.&%*8#;&.(#";*1%5.2'%*(F%*e-2(F*F.'*'(-/%"*(F%#&*7-/#(#5./*&#;F('*."+*52&(.#/%+*(F%#&*5#$#/*&#;F('S*1%5.2'%*#(*&%=2'%'*5-88-"*32'(#5%*(-*(F%*]%;&-*."+*%+25.(#-"*(-*F#'*5F#/+&%"S*1%5.2'%*#(*'%;&%;.(%'*F#8*#"*(F%*5#(#%'S*5-"+%8"'*F#8*(-*(F%*Z#8*\&-U*5.&S*&%=2'%'*(-*&%'7%5(*F#'*7&-7%&(aS*."+*F-/+'*-$%&*F#8*(F%*2/(#8.(%*(%&&-&*-=*8-1*$#-/%"5%*."+*Z2+;%*0a"5FK*cCN**LCM!83!?35!?3P6'!'K!,E!DEF))EDN3!7YKD3!D'KZ3,,3!N'D)NF3DN3!***)@()4?#)D#$;)6$0&#,,)02)<#%(.)4$'(,67'(4#=Q)4?#)/#.$0)%,)<#&0"%(.)4$'(,20$"#=P[\*>*L/.#"*0-5T%S*L?#)/#8)/#.$0S*ABMO))))*0%*]-&+*+%'*g(.('>!"#'*.*/-";(%87'*&%7&)'%"()*/.*q%&&%*7&-8#'%*7-2&*+%*"-81&%2?*]-#&'*.8).#"'K*0:#+)%*+2*Z-2&+.#"*7%&'#'(.*+2&."(*/.*;&."+%*8#;&.(#-"S*8.#'*+%*8."#J&%*8-#"'*8a(F#<2%*<2:.$."(*/:.1-/#(#-"*+%*/:%'5/.$.;%K*b*0%*]-&+*&%7&)'%"(.*'-2+.#"*/:#+)%*+%*5%*<2%*7-2&&.#(S*7/2'*(.&+S*+%$%"#&*5%*7.a'*%(*/.*$#%*+:2"*F-88%*"-#&K*cCM*G."'*/%'*=.#('S*/%'*L=&->.8).#"'*7-2$.#%"(*.2*]-&+*7/2'*'-2$%"(*7.&(#5#7%&*9*/.*$#%*7-/#(#<2%S*;&Y5%*9*/:%?#'(%"5%*%(*9*/.*82 /(#7/ #5.(#-"*+ %*&)'%.2?*'-5#.2?*+-"(*/%'*);/#'%'*"-#&% 'S*/%'*=& .(%&"#()'*%(* /%'*.''-5#.(#-"'*5-882".2(.#&%'KCQ*0%*+)$%/-77%8%"(*&.7#+%*+:2"%*5-882".2()*"-#&%*7/2'*-2*********************************************************40 Cité dans Eric ARNESEN, Op. cit. p. 4 Ce choix conscient est réexprimé de manière presque identique par Louis Zoobock dans le Daily Worker : "The Negro is migrating because the South has stolen his political rights and curtailed his civil liberties; [...] he desires to escape the exploitation of the Southern landlords; [...] his children are denied an education; [...] he is refused common jurisdiction; [...] he is segregated in the cities and condemned to the Jim Crow car; [...] the South holds over him the ultimate terror of mob violence and Judge Lynch." in The Daily Worker, "Negro Migration and its Causes", Op. cit, p. 7 41 Alain LOCKE, The New Negro, Albert & Charles Boni, Inc., New York, 1925 in Eric ARNESEN, Op. cit. p. 198 42 LeRoi JONES, Op. cit. p. 149 Nous retrouvons ce même constat dans la conclusion du roman Black Boy de Richard Wright : "L'oeil aux aguets, portant des cicatrices visibles et invisibles, je pris le chemin du Nord, imbu de la notion brumeuse que la vie pouvait être vécue avec dignité, qu'il ne fallait pas violer la personnalité d'autrui, que les hommes devraient pouvoir affronter d'autres hommes sans crainte ni honte et qu'avec de la chance - dans leur existence terrestre - ils pourraient peut-être trouver une sorte de compensation aux luttes et aux souffrances qu'ils endurent ici-bas sous les étoiles." Richard WRIGHT, Black Boy, Éditions Gallimard, coll. Folio, Paris, 1947 (pour la traduction française), p. 445 43 Eric ARNESEN, Op. cit. p. 12

*MX*8-#"'*#"+)7%"+. "(%*'#;"#=#.#(*+)39*7-2&*5%&(.#"'*L=&->.8).#"'*/:)8%&;%"5%*+:2"%*"-2$%//%*5-"'5#%"5%*+2*'(.(2(*+%'*]-#&'*%"*L8)&#<2%K*0%'*3-2&".2?*"-#&'*5-88%"(.#%"(*.2*<2-(#+#%"*/%'*&)./#()'*+%*'.*5-882".2()S*/%'*%"=."('*"-#&'*7-2$.#%"(*3-2#&*+:2"%*)+25.(#-"*7/2'*/-";2%*<2 %*+."'*/%*e2+*%(*2"*" -81&%*5&-#'' ."(*+%*7%(#(%'* %"(&%7&# '%'*"-#&%'*".#''.#%"(KCC*,./;&)*(-2(S*9*/:#"'(.&*+2*e2+S*/%'*;&."+%'*$#//%'*#"+2'(&#%//%'*+2*]-&+ *#"5.&".#%"(*%//%'*.2''#*/.*52/(2&%* &.5#'(%*+%*/:L8)&#< 2%K*e-2$%"(S*/%'*% 87/-a%2&' *7.&(.;%.#%"(*/%'*8`8%'*7&)32;)'*&.5#.2?*<2%*/%2&'*5-87.&'%'*1/."5'*+2*e2+*%(*/%'*&%/.(#-"'*%"(&%*(&.$.#/ /%2&'*1/."5'*%(*(&.$.#//%2&'*"-#&'*)(. #%"(*(%"+2%'S*/%'*7&%8#%&'*$-a."(*+:2"* 8.2$.#'*y#/*/:.&&#$)%*8.''#$%*+%'*7&-/)(.#&%'*"-#&'K*G:.#//%2&'S*#/*.&&#$.#(*=&)<2%88%"(*<2%*/%'*(&.$.#//%2&'*1/."5'S*'a"+#<2)'*-2*"-"S*&%=2'%"(*'a'()8.(#<2%8%"(*+%*(&.$.#//%&*.2?*5z()'*+%'*]-#&'S*8%".f."(*/%2&'*7.(&-"'*+%*<2#((%&*/%2&'*7-'(%'*'#*5%2?>5#*5-"(&%$%".#%"(*.2?*+#$#'#-"'*&.5#./%'*(&.+#(#-""%//%'*'2&*/%'*/#%2?*+%*(&.$.#/KCO*!"*.2(&%*7&-1/J8%*8.3%2&*.2<2%/*/%'*(&.$.#//%2&'*"-#&'*-"(*+Ä*=.#&%*=.5%*.*)()*+%*'%*'a"+#<2%&*-2*+:#"();&%&*/%'*&.";'*+%'*'a"+#5.('*%?#'(."('K*G. "'*/.*;&."+%*8.3-& #()*+%'*5.'S*/%'*(%"(.( #$%'*+%*'a" +#5./#'.(#-"*8%".#%"(*.2(-8.(#<2%8%"(*. 2*/#5%"5#%8%"(*+%'*%87/-a)'*"-#&'K*L2''#S*/ %'*%87/-a% 2&'*'-2F.#(.#%"(*7-2$-#&*2(#/#'%&*/.*8.#">+:y2$&%*"-#&%*7-2&*1&#'%&*/%'*8-2$%8%"('*+%*;&J$%S*5%*<2#*7.&(#5#7.#(*)$#+%88%"(*9*.55%"(2%&*/%'*(%"'#-"'*%"(&%*/%'*(&.$.#//%2&'*1/."5'*%(*/%'*L=&->L8).#"'K**0%*5-87-&(%8%"(*+%'*(&.$.#//%2&'*1/."5'*9*/:);.&+*+%'*]-#&'*(&.+2#'.#(*'2&(-2(*/.*5&.#"(%*+%*7%&+&%*/%2&'*%87/-#'*.2*7&-=#(*+:2"*&?#'6)7'<0$*"-#&S*8`8%*'#*/%'*(&.$.#//%2&'*"-#&'*)(.#%"(*8.3-&#(.#&%8%"(*%";.;)'*7-2&*+%'*%87/-#'*"-"*<2./#=#)'K*\%((%*7%2&*+%*$-#&*/:-==&%*+:%87/-#*********************************************************44 Ibid. 45 Ibid., p. 6-7

*MB*8#")%*7.&*/.*+%8."+%*;&."+#''."(%*.*52/8#")*.$%5*/:%?7/-'#-"*+:)8%2(%'*&.5#./%'*+2&."(*/:)()*'.";/."(*+%*ABABK*W/2'*+:2"%*$#";(.#"%*+:)8%2(%'*."(#>"-#&%'*-"(*)()*&)7%&(-&#)%'*9*(&.$%&'*/%*7.a'S*)8%2(%'*+2&."(*/%'<2%/'*/%'*_/."5'*F.&5%/.#%"(*%(*(2.#%"(*+%'*]-#&'S*'-2'*/%'*a%2?*+%'*7-/#5#%&'*&.5#'( %'KCR*G."'*(-2'*/%'*5.'S*/%'*]-#&'*':-&;."#'.#%"(*%(*":F)'#(.#%"(*.252"%8%"(*9*7&%"+&%*/%'*.&8%'* 7-2&*' %*+)=%"+&%*5-"(&%*/.*$#-/%"5%* 1/."5F%K*\%(( %*.2(-+)=%"'%*.*8`8%*)()*%"5-2&.;)%*9*7 /2'#%2 &'*&%7&# '%'*+."'*/%* 3-2&"./*'-5#./#'(%*L?#)*#,,#(.#$*.2 <2%/*7.&(#5#7.#(*+%* 3%2"%'*8.&?#'(%'*"-#&'Cu*(% /'*L'.*WF#/#7*o ."+-/7F*% (*\F."+/%&*nU%"*%(*7.&*/:)5&#$.#"*\/.2+%*,5x.a*+."'*'-"*7-J8%*@2)G#)*+,4)R%#CXP*L2*5-2&'*+%*/:)()*'.";/."(*+%*ABABS*L?#)*#,,#(.#$).*=.#(*.77%/*9*/:)8%&;%"5%*+:2"*/#8)/#.$0*&%3%(."(*(-2(%'*7-'#(#-"'*+:.55-88-+.(#-"S*+:#"();&.(#-"*;&.+2%//%*%(*+%*7.''#$%()S*+)=%"+2%'*7.&*7/2'#%2&'*/%.+%&'*"-#&'*+2*]LL\W*%(*+2*/'4%0('7)C$<'()-#'.+#K*0%*/#8)/#.$0S*'-2(%".#(*L?#)*#,,#(.#$S)+-#(*=.#&%*+%'*g(.('>!"#'*2"*7.a'*')52&#(.#&%*7-2&*/2#*%(*7-2&*/%'*;)")&.(#-"'*9*$%"# &S*7-2&'2#$&%*/%*5-81 .(*7-2&*/.*&%5-"".#''."5%*+%*/:) ;./#()*& .5#./%*%(*+%'*+&-# ('*5#$#<2%'*%(*.''28%&*/.*7&-(%5(#-"*+%'*5-882".2()'*"-#&%'*5-"(&%*/%'*.((.<2%'*$#-/%"(%'*+%'*_/."5'*%"*7&%"."(*/%'*.&8%'S*5-88%*/.*32&#'7&2+%"5%*.";/->'.?-""%*&%5-"".I(*/);./%8%"(*/%*+&-#(*9*/:.2(-+)=%"'%K**b*]-*/-";%&*.&%*]%;&-%'*U#//#";*(-*1%*'F-(*+-U"*-&*F2"(%+*=&-8*7/.5%*(-*7/.5%*/#T%*U#/+*1 %.'('i*"-*/-"; %&*U#//*(F%a*=/%%*=&-8*( F%#&*F-8%' *."+*/%.$%*(F%#&*7&-7%&(a*(-*(F%*(%"+%&*8%&5#%'*-=*(F%*F-U/#";*."+*5-U.&+/a*8-1K*}p~j=*+%.(F*********************************************************46 August MEIER & Elliot M. RUDWICK, Op. cit. p. 194 47 Ces jeunes leaders politiques noirs disaient faire partie de la nouvelle vague de militants et n'hésitaient en aucun temps à critiquer ceux qu'ils considéraient faire partie de la vieille vague militante, comme la NAACP et la National Urban League, organisations, selon eux, incapables de se renouveler et représentant les intérêts de la bourgeoisie noires et non de la masse prolétaire. 48 " If we must die, let it not be like hogs - Hunted and penned in an inglorious spot, While round us bark the mad and hungry dogs, Making their mock at our accursed lot. [...] Like men we'll face the murderous, cowardly pack, Pressed to the wall, dying, but fighting back!" in Claude McKAY, Selected poems, with an introduction by John Dewey, Bookman Associates: New York, 1953, p. 36

*QN*#'*(-*1%* (F%#&*7- &(#-"S*]% U*]%;&-%'*.&%*+%( %&8#"%+*(-*8.T%*(F%#&*+a#";* .*5-'(/a*#"$%'(8%"(*=-&*.//*5-"5%&"%+K*cCB***L/-&'*<2%*/.*]LL\W *':.5F.&".# (*.2*(-2& "."(*+%'*." ")%'*ABMN*9*':.((.<2%&*+%*8."#J&%*7&.;8.(#<2%*9*/.*+#'5#".(#-"*&. 5#./%* Ç*'2&*/%*=&-"(*32&#+#<2%*Ç*%(*.((#&.#(*7&#"5#7./%8%"(*+."'*'-"*5.87*/%'*"-2$%.2?*F-88%'*+:.==.#&%'*%(*/%'*7&-=%''#-""%/'*"-#&'*+2*]-&+*%(*+2*e2+S*/%'*)+#(-&#./#'(%'*+2*8.;.4#"%*L?#)*#,,#(.#$)+)8-"(&.#%"(*2"%*7-'#(#-"*"%((%8%"(*7/2'*&.+#5./%S*#" '7#&)%*+%'*#+) %'*+%*,.&?S*%"*'-2(%"."(*<2%* /%*5.7#(./#'8%*&%7-'.#(*'2&*/.*5-"'( &25(#-"*+:2 "%*52/(2&%*&.5#. /%*&%'7-"'.1/%*+%*/.*+#$#'#-"*%"(&%*(&.$.#//%2&'*1/."5'*%(*"-#&'S*7-2&*8#%2 ?*%?7/-#(%&*/%*7&-/) (.&#.(*% (*'%&$#&*/:#+)-/-;#%* +-8#"."(%K*W-2&*o."+-/7F*%(*'%'*5-//J;2%'S*/%*/#8)/#.$0*+%*/:#88)+#.(*.7&J'>;2%&&%*"%*7%2(*<2:`(&%*7/2'*&.+#5./*+."'*/.*&%$%"+#5.(#-"*+%*'%'*+&-#('S*7&#"5#7./%8%"(*5-"5%&")*9*+)=%"+&%*/%'*#"()&`('*+%*/.*5/.''%*-2$&#J&%*%(*+)+#)*9*':2"#&*.$%5*/%*7&-/)(.&#.(*1/."5*.=#"*+%*/2((%&*7/2'*%==#5.5%8%"(*5-"(&%*/.*1-2&;%-#'#%*7-2&*7/2'*+%*32'(#5%*'-5#./%KON**,`8%*'#*7/2'#%2&'*L=&->.8).#"'*7.&(.;%.#%"(*/%'*'%"(#8%"('*+%*5-/J&%*%(*+:#87.(#%"5%*%?7/#5#()'*7.&*o."+-/7FS*/%*8.;.4#"%*L?#)*#,,#(.#$).*(-2(%=-#'*%2*8-#"'*+%*'255J'*+."'*'%'*82/(#7/%'*(%"(.(#$%'*+%*':.+&%''%&*9*/:%"'%81/%*+%'*(&.$.#//%2&'*%(*+%'*(&.$.#//%2'%'*"-#&@%D'S*'#*-"*/ %quotesdbs_dbs50.pdfusesText_50