20060510 Reading Jennifer De Vere Brody. "The Blackness of Blackness ...: Reading the Typography of Invisible Man." Theatre Journal 57.4 (2005): 679-698, near p 685, I was struck with the idea that 1st-person narration invisibilizes the speaker but, also, places the reader in the position of the speaker. Ellison's technique conflates the first-person narration with the readerly perspective in such a way the reader is placed in the position of IM, whereas many examples of first-person narrative place the reader in the position of listener, Invisible Man places the reader in the position of interactant.
<======>20060701 Deleuze and Guattari's concept of the idealization of flow by means of punctuated action fits in well with the cycle of ritualized violence (death and reawakenings) discussed in—Harris, Wilson. "Fiction and Idea++ A Note on Ellison's 'Black Mask of Humanity.'" Speaking for You++ The Vision of Ralph Ellison. Washington, D.C.++ Howard UP, 1987++ 159-162—and referenced by Hortense Spiller's (perhaps) in her theory of myth as a "usable past."
By using jazz and blues as a trope, I can use Dinerstein to tie it to the Jazz age and the concept of a machinic identity.
<======>20060716 Crosland's 1927 The Jazz Singer can be understood as Jackie Rabinowitz's attempt to accede to African-American subculture and Cantor Rabinowitz's refusal to allow him to do so. The movie is Semitically encryption of blackface minstrelsy and a warning regarding the devotion of Jews to Jewish culture.
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