Afromodernisms: modernity, Paris and the Atlantic world. Introduction
págs. 11-26
Black women writers, modernism, and Paris: part 1: afromodernism in the interwar period
págs. 27-42
Enlightenment and romanticism in the french defence of black people in the 1920s: the "Ligue Universelle de Défense de la Race Noire" against the colonial republic. part 1: afromodernism in the interwar period
págs. 43-56
Aimé Césaire, the colonial exhibition, and the modernity of the Black Atlantic: part 1: afromodernism in the interwar period
págs. 57-74
Traces of the ephemeral: afromodern connections in the jazz and the travel writings of Elisabeth Sauvy aka Titaÿna. part 1: afromodernism in the interwar period
págs. 75-92
From Haiti to Mississippi: Faulkner and the making of the southern master-class. part 2: Haiti and the intewar atlantic modernist imagination
págs. 93-106
"Drums are note for gentlemen": class and race in Langston Hughes' haitian encounter. part 2: Haiti and the interwar atlantic modernist imagination
págs. 107-122
Dance anthropology and the impact of 1930s Haiti on Katherine Dunham's scientific and artistic consciousness: part 2: Haiti and the interwar atlantic modernist imagination
págs. 123-142
The haitian play: C. L. R. James' Toussaint Louverture (1936). part 2: Haiti and the interwar atlantic modernist imagination
págs. 143-166
Re-reading de Beauvoir "after race": woman-as-slave revisited. part 3: the politics of postwar aesthetic and intellectual practice
págs. 167-184
Sex and the subversive alien: the moral life of C. L. R. James. part 3: the politics of postwar aesthetic and intellectual practice
págs. 185-204
Narrative, contingency, modernity: Jean Rouch's "Moi, un Noir" (1958). part 3: the politics of postwar aesthetic and intellectual practice
págs. 205-220
Ted Joans' surrealist history lesson: part 3: the politics of postwar aesthetic and intellectual practice
págs. 221-240
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