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For the first time the Dutch-speaking regions of the Caribbean and Suriname are brought into fruitful dialogue with another major American literature, that of the anglophone Caribbean. The results are as stimulating as they are unexpected. The editors have coordinated the work of a distinguished international team of specialists. Read separately or as a set of three volumes, the History of Literature in the Caribbean is designed to serve as the primary reference book in this area. The reader can follow the comparative evolution of a literary genre or plot the development of a set of historical problems under the appropriate heading for the English- or Dutch-speaking region. An extensive index to names and dates of authors and significant historical figures completes the volume. The subeditors bring to their respective specialty areas a wealth of Caribbeanist experience. Vera M. Kutzinski is Professor of English, American, and Afro-American Literature at Yale University. Her book Sugar's Secrets: Race and The Erotics of Cuban Nationalism, 1993, treated a crucial subject in the romance of the Caribbean nation. Ineke Phaf-Rheinberger has been very active in Latin American and Caribbean literary criticism for two decades, first at the Free University in Berlin and later at the University of Maryland. The editor of A History of Literature in the Caribbean, A. James Arnold, is Professor of French at the University of Virginia, where he founded the New World Studies graduate program. Over the past twenty years he has been a pioneer in the historical study of the Négritude movement and its successors in the francophone Caribbean.
An overview of Jamaica, including information on its geography, history, government, social life and customs, and relationship with the United States.
The language of Jamaican popular culture—its folklore, idioms, music, poetry, song—even when written is based on a tradition of sound, an orality that has often been denigrated as not worthy of serious study. In Noises in the Blood, Carolyn Cooper critically examines the dismissed discourse of Jamaica’s vibrant popular culture and reclaims these cultural forms, both oral and textual, from an undeserved neglect. Cooper’s exploration of Jamaican popular culture covers a wide range of topics, including Bob Marley’s lyrics, the performance poetry of Louise Bennett, Mikey Smith, and Jean Binta Breeze, Michael Thelwell’s novelization of The Harder They Come, the Sistren Theater Collective’s Lionheart Gal, and the vitality of the Jamaican DJ culture. Her analysis of this cultural "noise" conveys the powerful and evocative content of these writers and performers and emphasizes their contribution to an undervalued Caribbean identity. Making the connection between this orality, the feminized Jamaican "mother tongue," and the characterization of this culture as low or coarse or vulgar, she incorporates issues of gender into her postcolonial perspective. Cooper powerfully argues that these contemporary vernacular forms must be recognized as genuine expressions of Jamaican culture and as expressions of resistance to marginalization, racism, and sexism. With its focus on the continuum of oral/textual performance in Jamaican culture, Noises in the Blood, vividly and stylishly written, offers a distinctive approach to Caribbean cultural studies.
Reggae's influence can be heard in the popular music of nations in a variety of continents. In Dubwise, Klive Walker takes a fresh look at Bob Marley's global impact, specifically his legacy in the Caribbean diaspora. While considering Marley's status as an international reggae icon, Walker also discusses the vital contributions to reggae culture authored by other important Jamaican innovators such as poet Louise Bennett, hand drummer Oswald ''Count Ossie'' Williams, jazz saxophonist Joe Harriott, ska trombonist Don Drummond and singer Dennis Brown.
This book offers an in-depth study of the overall syntax of (basilectal) Jamaican Creole, the first since Bailey (1966). The author, a Jamaican linguist, meticulously examines distributional and interpretative properties of functional morphology in Jamaican Creole (JC) from a cartographic perspective (Cinque 1999, 2002; Rizzi 1997, 2004), thus exploring to what extent the grammar of JC provides morphological manifestations of an articulate IP, CP and DP. The data considered in this work offers new evidence in favour of these enriched structural analyses, and the instances where surface orders differ from the underlying functional skeleton are accounted for in terms of movement operations. This investigation of Jamaican syntax therefore allows us to conclude that the 'poor' inflectional morphology typical of Creole languages in general and of (basilectal) Jamaican Creole in particular does not correlate with poor structural architecture. Indeed the free morphemes discussed, as well as the word order considerations that indicate syntactic movement to designated projections, serve as arguments in favour of a rich underlying functional map.
The African- Jamaican Aesthetics Cultural Retention and Transformation Across Borders centres on the use of African Jamaican Aesthetics in Jamaica’s literary traditions and its transformation and transmission in the diaspora.
The career of Louise Bennett ('Miss Lou') is an essential component in any reckoning of Jamaican culture. This book offers a brief account of her life (1919-2006): a story of challenges and blessings, of a journey towards national and international acclaim. It draws on a variety of sources, including interviews, archives, academic theses, documentary projects, recorded performances and Louise Bennett's own writings. It also offers an assessment of Miss Lou's contribution to the arts. She was a key figure in the transformation of the Little Theatre Movement pantomime; a generous, well trained actor; an expert creator of Anancy stories; a television personality regularly engaging with children; a distinctive radio commentator; a laughing poet evaluating attitudes, sometimes with complex irony. Miss Lou used Standard English comfortably in many contexts, and did not wish the country rid of it; but she chose in most of her creative work to employ the language most Jamaicans speak. Her ebullient delight in Jamaican Creole spread joy and promoted respect. A diligent researcher into Jamaican heritage, she acknowledged its various streams, but was especially concerned with continuities out of Africa. When the Asian culture and the European culture buck up on African culture in the Caribbean people, we stir them up and blend them to we flavour, we shake them up and move them to we beat, we wheel them and we tu'n them and we rock them and we sound them and we temper them, and lawks, the rhythm sweet! Her name is frequently invoked by Jamaicans, especially in relation to national identity. As 'Jamaica's First Lady of Comedy' she delighted audiences in many parts of the world, and her publications have been praised internationally.
Large-scale migration after WWII and the prominence of Jamaican Creole in the media have promoted its use all around the globe. Deterritorialisation has entailed the contact-induced transformation of Jamaican Creole in diaspora communities and its adoption by ‘crossers’. Taking sociolinguistic globalisation yet a step further, this monograph investigates the use of Jamaican Creole in a web discussion forum by combining quantitative and qualitative methodology in a sociolinguistic ‘third wave’ approach. In the absence of standardised orthography, one of the central aims of this study is to document the sociolinguistic styling and grassroots (anti-) standardisation of spelling norms for Jamaican Creole in the web forum as a virtual community of practice. An analysis of individual repertoire portraits demonstrates that conventionalised spelling variants co-occur with basilectal Jamaican Creole morphosyntax in ‘Cyber-Jamaican’ as the digital ethnolinguistic repertoire of the discussion forum. The enregisterment of this ethnolinguistic repertoire is closely tied to staged performance, which establishes the link between ‘Cyber-Jamaican’ and the negotiation of sociolinguistic identity and authenticity via stance-taking.
Contemporary Caribbean Women's Poetry provides detailed readings of individual poems by women poets whose work has not yet received the sustained critical attention it deserves. These readings are contextualized both within Caribbean cultural debates and postcolonial and feminist critical discourses in a lively and engaged way; revisiting nationalist debates as well as topical issues about the performance of gendered and raced identities within poetic discourse. Newly available in paperback, this book is groundbreaking reading for all those interested in postcolonialism, Gender Studies, Caribbean Studies and contemporary poetry.