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Caribbean Art presents and discusses the diverse, fascinating and highly accomplished work of Caribbean artists, whether indigenous or from the diaspora, popular or high culture, rural or urban based, politically radical or religious. This expanded edition has a new preface, and has been updated to reflect on recent challenges to the ideological premises and institutions of conventional art-historical practice and their connections to histories of colonialism, Eurocentricity and race. Two new chapters focus on public monuments linked to the history of the Caribbean, and the intersections between art and tourism, raising important questions about cultural representation. Featuring the work of internationally recognized artists such as Sonia Boyce, Christopher Cozier, Wifredo Lam, Ana Mendieta, Ebony G. Patterson, Hervé Télémaque, and more than 100 others working across a variety of media, this new edition makes an important contribution to the understanding of Caribbean art and its context, in ways that invite and encourage further explorations on the subject.
Pyle recounts the five years he spent sailing throughout the eastern Caribbean seeking out native whalers, fishermen, and traders to learn how they built their boats.
New Makers of Modern Culture will be widely acquired by both higher education and public libraries. Bibliographies are attached to entries and there is thorough cross- referencing.
Caribbean Elegance is an illustrated survey of the lifestyles, dwellings and varied furniture styles and decor of the island groups that make up the Caribbean region. It also includes a brief history of the islands and their economies.
From the era of the Spanish American war onward, the United States found itself increasingly involved in the affairs of countries beyond North America. The New World Power offers an interpretive framework for understanding U.S. foreign policy during the first two decades of America's emergence as a world power. Robert E. Hannigan describes the aspirations of American leaders, explores the bedrock social views and ideological framework they held in common, and shows how the approach of U.S. policymakers overseas mirrored their attitudes toward domestic progressivism. While the vast bulk of work on U.S. foreign policy has been concerned with the period from World War II to the present, this comprehensive examination of American policy at the turn of the twentieth century is of vital importance to the comprehension of subsequent events. Hannigan relates U.S. foreign policy to domestic society in ways that are new; in particular, he examines how issues of class, race, and gender were combined in the ideology held by policy makers and how this shaped their approaches to foreign affairs. His study reveals a fundamental unity to U.S. activity throughout the period, not only toward the Caribbean and China, regions that have been the traditional focus of historians, but toward the rest of North and South America as well. It also relates these regional activities to American policy toward the British Empire, European great power rivalries, and international institutions, arbitration, and law, culminating in a reinterpretation of U.S. involvement in World War I. Based on exhaustive research in the writings of presidents, secretaries of state, and key diplomats and advisers, The New World Power draws parallels between the methods by which policy makers sought to shape international society and the methods by which many of them hoped to secure the conditions they wanted within the United States. Most important, the book describes how an international search for order constituted the fundamental strategy by which American leaders sought to ensure for the United States a position of what they saw as wealth and greatness in the coming twentieth-century world.
Images of Jamaica and the Bahamas as tropical paradises full of palm trees, white sandy beaches, and inviting warm water seem timeless. Surprisingly, the origins of those images can be traced back to the roots of the islands’ tourism industry in the 1880s. As Krista A. Thompson explains, in the late nineteenth century, tourism promoters, backed by British colonial administrators, began to market Jamaica and the Bahamas as picturesque “tropical” paradises. They hired photographers and artists to create carefully crafted representations, which then circulated internationally via postcards and illustrated guides and lectures. Illustrated with more than one hundred images, including many in color, An Eye for the Tropics is a nuanced evaluation of the aesthetics of the “tropicalizing images” and their effects on Jamaica and the Bahamas. Thompson describes how representations created to project an image to the outside world altered everyday life on the islands. Hoteliers imported tropical plants to make the islands look more like the images. Many prominent tourist-oriented spaces, including hotels and famous beaches, became off-limits to the islands’ black populations, who were encouraged to act like the disciplined, loyal colonial subjects depicted in the pictures. Analyzing the work of specific photographers and artists who created tropical representations of Jamaica and the Bahamas between the 1880s and the 1930s, Thompson shows how their images differ from the English picturesque landscape tradition. Turning to the present, she examines how tropicalizing images are deconstructed in works by contemporary artists—including Christopher Cozier, David Bailey, and Irénée Shaw—at the same time that they remain a staple of postcolonial governments’ vigorous efforts to attract tourists.
"This Report demonstrates that innovative cultural policies implemented at regional and local levels have a positive impact on the whole of cultural governance. It highlights the strategic frameworks best adapted to the digital environment, the emergence of exchange platforms and the dynamism of artistic incubators in the global South. It also points to the persistent inequalities and underrepresentation of women in the culture sector, trade barriers on cultural goods and services from the global South and the vulnerability of artists at risk. By providing yet unpublished statistics and data in these areas, this Report is essential for developing and implementing public policies that are adapted to the evolving needs of the culture sector"--Foreword.