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Novelist and playwright Strachan (English, U. of Massachusetts- Dartmouth) identifies historical, political, economic, cultural, and geographical conditions that make his native Caribbean an ideal location for paradise, and discusses the means by which the idea has thrived among travel agents and their clients. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).
In Escape from Paradise, Dr. Hathorn details her life's journey from Paradise cotton plantation to receiving her doctorate degree on the stage of Zellerbach Hall on the campus of the University of California at Berkeley. You will laugh and cry with her as she travels the circuitous route life has led her from goal to goal. Experience gained from years of working in both inner city and well-equipped private schools gives Dr. Hathorn the expertise needed to keep students encouraged to experience a measure of success daily. Her writings will inspire the reader to try the thing that has never been done before and stick with a task to the end. Never quit! Never give in! Never give up! Dr. Pauline Pearson Hathorn is an educator extraordinaire. Born during the Great Depression on Paradise cotton plantation in Dover, Mississippi, she along with many of her contemporaries is a living example of overcoming and successfully traversing life's uncrossable rivers. Dr. Hathorn is living proof that mountains can be removed with sheer tenacity through the grace of God. Education for her began in a non-descript, unpainted, one-room shack on the side of a dusty road bordering a cotton field. From this modest beginning she completed her elementary education in the parochial school in Yazoo City and high school at the Natchez College Baptist Seminary at Natchez, Mississippi. She earned the Bachelor of Science and Master's degree at Jackson State University in Jackson, Mississippi. Later, defying age she earned the Doctor of Education degree from the University of California, at Berkeley at the age of 71. Dr. Hathorn has taught in the public and private schools of Mississippi and San Jose, California. Presently, she is employed by Hinds Community College in the Adult Education Program at the Voice of Calvary Empowerment Center in Jackson, Mississippi.
Homelandings is a critical exploration of the ways that postcolonial diasporas challenge exclusive formulations of ‘home’ and ‘homeland’ based on racist and heteronormative assumptions. It critically engages with Foucault’s notions of “biopolitics" and "governmentality" as a conjoined technology of governance in the era of neoliberal capitalism ushered into the global economy from the late 1970s. Drawing on texts produced by diasporic people in the UK and USA whose work resists and re-appropriates exclusive home sites produced by trends of Anglo-American neoliberalism, it exposes entrenched discourses of exclusion rooted in race, class, and sexuality. In doing so, it offers an urgent intervention for students and scholars of cultural studies, postcolonial studies, Anglophone literature, comparative literature, Race and Ethnicity studies, and Queer studies.
In 1764 the first printing press was established in the French Caribbean colonies, launching the official documentation of operas and plays performed there, and marking the inauguration of the first theatre in the colonies. A rigorous study of pre–French Revolution performance practices in Guadeloupe, Martinique, and Saint-Domingue (now Haiti), Powers’s book examines the elaborate system of social casting in these colonies; the environments in which nonwhite artists emerged; and both negative and positive contributions of the Catholic Church and the military to operas and concerts produced in the colonies. The author also explores the level of participation of nonwhites in these productions, as well as theatre architecture, décor, repertoire, seating arrangements, and types of audiences. The status of nonwhite artists in colonial society; the range of operas in which they performed; their accomplishments, praise, criticism; and the use of créole texts and white actors/singers à visage noirs (with blackened faces) present a clear picture of French operatic culture in these colonies. Approaching the French Revolution, the study concludes with an examination of the ways in which colonial opera was affected by slave uprisings, the French Revolution, the emergence of “patriotic theatres,” and their role in fostering support for the king, as well as the impact on subsequent operas produced in the colonies and in the United States.
In The Lees of Virginia, Paul Nagel chronicles seven generations of Lees, from the family founder Richard to General Robert E. Lee, covering over two hundred years of American history. We meet Thomas Lee, who dreamed of America as a continental empire. His daughter was Hannah Lee Corbin, a non-conformist in lifestyle and religion, while his son, Richard Henry Lee, was a tempestuous figure who wore black silk over a disfigured hand when he made the motion in Congress for Independence. Another of Thomas' sons, Arthur Lee, created a political storm by his accusations against Benjamin Franklin. Arthur's cousin was Light-Horse Harry Lee, a controversial cavalry officer in the Revolutionary War, whose wild real estate speculation led to imprisonment for debt and finally self-exile in the Caribbean. One of Harry's sons, Henry Lee, further disgraced the family by seducing his sister-in-law and frittering away Stratford, the Lees' ancestral home. Another son, however, became the family's redeeming figure--Robert E. Lee, a brilliant tactician who is still revered for his lofty character and military success. In these and numerous other portraits, Nagel discloses how, from 1640 to 1870, a family spirit united the Lees, making them a force in Virginian and American affairs. Paul Nagel is a leading chronicler of families prominent in our history. His Descent from Glory, a masterful narrative account of four generations of Adamses, was hailed by The New Yorker as "intelligent, tactful, and spiritually generous," and Pulitzer Prize-winning historian W.A. Swanberg, in the Chicago Sun-Times, called it "a magnificent embarrassment of biographical riches." Now, in The Lees of Virginia, Nagel brings his skills to bear on another major American family, taking readers inside the great estates of the Old Dominion and the turbulent lives of the Lee men and women.
The Daughter's Return offers a close analysis of an emerging genre in African-American and Caribbean fiction produced by women writers who make imaginative returns to their ancestral pasts. Considering some of the defining texts of contemporary fiction--Toni Morrison's Beloved, Jean Rhys's Wide Sargasso Sea, and Michelle Cliff's No Telephone to Heaven--Rody discusses their common inclusion of a daughter who returns to the site of her people's founding trauma of slavery through memory or magic. Rody treats these texts as allegorical expressions of the desire of writers newly emerging into cultural authority to reclaim their difficult inheritance, and finds a counter plot of heroines' encounters with women of other racial and ethnic groups running through these works.
In the recent past, enormous creative energy has gone into the study of American slavery, with major explorations of the extent to which African culture affected the culture of black Americans and with an almost totally new assessment of slave culture as Afro-American. Accompanying this new awareness of the African values brought into America, however, is an automatic assumption that white traditions influenced black ones. In this view, although the institution of slaver is seen as important, blacks are not generally treated as actors nor is their "divergent culture" seen as having had a wide-ranging effect on whites. Historians working in this area generally assume two social systems in America, one black and one white, and cultural divergence between slaves and masters. It is the thesis of this book that blacks, Africans, and Afro-Americans, deeply influenced white's perceptions, values, and identity, and that although two world views existed, there was a deep symbiotic relatedness that must be explored if we are to understand either or both of them. This exploration raises many questions and suggests many possibilities and probabilities, but it also establishes how thoroughly whites and blacks intermixed within the system of slavery and how extensive was the resulting cultural interaction.