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Sujin Huggins.Pdf
HOW DID WE GET HERE?: AN EXAMINATION OF THE COLLECTION OF CONTEMPORARY CARIBBEAN JUVENILE LITERATURE IN THE CHILDREN’S LIBRARY OF THE NATIONAL LIBRARY OF TRINIDAD & TOBAGO AND TRINIDADIAN CHILDREN’S RESPONSES TO SELECTED TITLES BY SUJIN HUGGINS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Library and Information Science in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Associate Professor Christine Jenkins, Chair and Director of Research Professor Violet Harris Professor Linda Smith Assistant Lecturer Louis Regis, University of the West Indies, St. Augustine ABSTRACT This study investigates the West Indian Juvenile collection of Caribbean children's literature housed at the Port of Spain Children's Library of the National Library of Trinidad and Tobago to determine its characteristics and contents, and to elicit the responses of a group of children, aged 11 to 13, to selected works from the collection. A variety of qualitative data collection techniques were employed including document analysis, direct observation, interviews with staff, and focus group discussions with student participants. Through collection analysis, ethnographic content analysis and interview analysis, patterns in the literature and the responses received were extracted in an effort to construct and offer a 'holistic' view of the state of the literature and its influence, and suggest clear implications for its future development and use with children in and out of libraries throughout the region. ii For my grandmother Earline DuFour-Herbert (1917-2007), my eternal inspiration, and my daughter, Jasmine, my constant motivation. iii ACKNOWLEDGMENTS To adequately thank all of the wonderful people who have made the successful completion of this dissertation possible would require another dissertation-length document. -
Black History Month 2018
Black History Month 2018 Theme: Artists • This year we will be celebrating Black History Month with a focus on Black artists in the field of fine art, sculpture, architecture • In recent years, the important contribution that black artists have made in all fields of art has been highlighted and DKH we are going to celebrate the significant impact that has been made by black artists in Britain, USA and across the world. • Today, you will have the opportunity to learn about and been inspired by the art of some black artists. There might be a particular artist or form of art you prefer. Be inspired and have a go at creating your own art both at school and at home. •ENJOY OBSERVE ENGAGE REFLECT Michel-Jean Cazabon (September 20, 1813 – November 20, 1888) is regarded as the first great Trinidadian painter and is Trinidad’s first internationally known artist. He is also known as the layman painter. He is renowned for his paintings of Trinidad scenery and for his portraits of planters, merchants and their families in the 19th century. Boscoe Holder (1921-2007) was born in Port of Spain, Trinidad and Tobago. He was Trinidad and Tobago's leading contemporary painter, who also had a celebrated international career spanning six decades as a designer and visual artist, dancer and musician. Jacob Lawrence (September 7, 1917 – June 9, 2000) • He was an African-American painter known for his portrayal of African-American life. Stephen Wiltshire (24th April 1974 • Stephen Wiltshire is a British architectural artist and autistic savant. He is known for his ability to draw from memory a landscape after seeing it just once. -
384 Alain Boulanger, John Cowley & Marc Monneraye This Book Is
384 book reviews Alain Boulanger, John Cowley & Marc Monneraye Creole Music of the French West Indies: A Discography 1900–1959. Holste-Oldendorf, Germany: Bear Family Records, 2014. 367 pp. (Cloth US$61.18) This book is a rarity—a discography that dazzles: one part visual treat, one part meticulous scholarly document. Its publisher, known for lavish boxed sets of rereleased popular music of the past (mostly American and European), took its first major plunge into Caribbean music in 2006 with ten cds of classic Trinidadian recordings from the late 1930s accompanied by a thick, beautifully illustrated book including chapters by several of the world’s lead- ing calypso scholars.1 Though lacking companion cds, the present book makes an equally noteworthy contribution. It began in 2008 as a less elaborate publication with limited distribution.2 The 2014 version, vastly improved, is the only extensive discographic treatment of French Antillean music to date. Drawing on the authors’ personal archives, the audiovisual department of the Bibliothèque Nationale de France, the British Library Sound Archive, and a number of other libraries and private collections, it lists what must be the great majority of commercial recordings of French Caribbean music released (on 78 rpm discs, LPs, and 45 rpm singles) during roughly the first half of the twentieth century. It also includes a handful of “ethnographic recordings” made by linguists, folklorists, and musicologists during this period. The book’s two main components—the discography and historical essay— evidence years of painstaking research, and include, in addition to basic disco- graphic information (names of singers/band leaders and/or orchestras, album and/or song titles, dates, recording locations, labels, and catalog numbers), many valuable details. -
Dancing Postcolonialism
Sabine Sörgel Dancing Postcolonialism TanzScripte | edited by Gabriele Brandstetter and Gabriele Klein | Volume 6 Sabine Sörgel (Dr. phil.) teaches the history and theory of theatre and dance at Johannes Gutenberg-University Mainz. Her current research includes cross- cultural corporealities, contemporary performance and postcolonial theory. Sabine Sörgel Dancing Postcolonialism The National Dance Theatre Company of Jamaica Die vorliegende Arbeit wurde vom Fachbereich 05 Philosophie und Philologie der Jo- hannes Gutenberg-Universität Mainz im Jahr 2005 als Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie (Dr. phil.) angenommen. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2007 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Cover illustration: Rex Nettleford, NDTC’s »moving spirit«, co-founder, princi- pal choreographer, and current Artistic Director. Here seen in lead role of »Myal«. Credits: Photographs: cover illustration and pages 100, 102, 103, 110, 112, 119, 131, 175, 176, 177 courtesy and copyright by Maria LaYacona and NDTC ar- chives; page 140 courtesy and copyright by Denis Valentine and NDTC ar- chives; page 194 courtesy and coypright by W. Sills and NDTC archives. All video stills: courtesy -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Art & Design Catalogue 2011
The University of the West Indies The Department of Creative and Festival Arts Fine ARTS Children in war torn countries in spite of their circum- stances play. Play provides a means of escape for them in these harsh conditions. (3.) The ‘war games’ played by political leaders. (By this I do not mean simulation Nikita Alcala of a military operation intended to train military com- manders or to test a proposed strategy. Instead I am War Games trying to draw the similarity in the way in which these Nikita Alcala was born on April 30th 1987. She did leaders seem to use their armies and ammunition as her first year of her BA in Visual Arts in Jamaica their toys along with their powers to ‘play’ war as chil- where she attended both the University of the dren do with the toy soldiers). West Indies, Mona and Edna Manley’s School of Also the use of the toy soldiers contrasts sharply with Visual and Performing Arts. She is currently in her the dominant iconographic notion of children as being final semester of the Visual Arts degree program innocent and in high spirits. There are countless chil- at the University of the West Indies, St. Augustine. dren in countries such as Iraq, Uganda, Afghanistan, Her interest lies in photography and she hopes to Somalia, Rwanda, Libya, Ivory Coast, Iran, Burma and continue her studies in that field. many more who are involved in war as child soldiers or are just caught in the middle, injured physically and The piece is entitled ‘War Games’. -
Left of Karl Marx : the Political Life of Black Communist Claudia Jones / Carole Boyce Davies
T H E POLI T I C A L L I F E O F B L A C K C OMMUNIS T LEFT O F K A R L M A R X C L A U D I A JONES Carole Boyce Davies LEFT OF KARL MARX THE POLITICAL LIFE OF BLACK LEFT OF KARL MARX COMMUNIST CLAUDIA JONES Carole Boyce Davies Duke University Press Durham and London 2007 ∫ 2008 Duke University Press All rights reserved Printed in the United States of America on acid-free paper $ Designed by Heather Hensley Typeset in Adobe Janson by Keystone Typesetting, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. CONTENTS Acknowledgments vii Preface xiii Chronology xxiii Introduction. Recovering the Radical Black Female Subject: Anti-Imperialism, Feminism, and Activism 1 1. Women’s Rights/Workers’ Rights/Anti-Imperialism: Challenging the Superexploitation of Black Working-Class Women 29 2. From ‘‘Half the World’’ to the Whole World: Journalism as Black Transnational Political Practice 69 3. Prison Blues: Literary Activism and a Poetry of Resistance 99 4. Deportation: The Other Politics of Diaspora, or ‘‘What is an ocean between us? We know how to build bridges.’’ 131 5. Carnival and Diaspora: Caribbean Community, Happiness, and Activism 167 6. Piece Work/Peace Work: Self-Construction versus State Repression 191 Notes 239 Bibliography 275 Index 295 ACKNOWLEDGMENTS his project owes everything to the spiritual guidance of Claudia Jones Therself with signs too many to identify. At every step of the way, she made her presence felt in ways so remarkable that only conversations with friends who understand the blurring that exists between the worlds which we inhabit could appreciate. -
The Novel Since 1970
Published in: A History of Literature in the Caribbean – volume 2: English- and Dutch- Speaking Region s, ed. by A. James Arnold (Amsterdam & Philadelphia: John Benjamins, 2001), pp. 149-198. Status: Postprint (Authors' version) The Novel since 1970 Hena Maes-Jelinek and Bénédicte Ledent University of Liège Since 1970, Caribbean fiction in English has continued to evolve by producing more original talents and imposing itself on the international scene as one of the most innovative and diversified achievements to have emerged from the postcolonial world. Its originality lies partly in its impressively wide range of language forms from classical traditional prose to the highly metaphorical through a remarkable diversity of regional dialects and idiosyncratic blendings of voices and oral rhythms into literary prose. It lies also in the writers' vision of the West Indian experience in the Caribbean itself or in exile which, either in its regional multiracial and multicultural makeup or in a widespread displacement to North America and Britain, is representative of a largely universal condition. It must be noted, however, that whatever society they have chosen to live in, West Indian novelists have generally resisted the temptation of international postmodernism, no doubt stimulated by the need to envision a promising future for their people rather than adhere to the non-referential world view of "First" and "Second" World Western writers. In addition, the social and political unrest of the early seventies in the Caribbean was an incentive to many to investigate the sources of conflict and the possibilities of harmonious living in the islands and in Guyana: while exile remained a pervasive theme, much fiction from the seventies onward deals with the advisability of returning to the Caribbean in order to contribute to the building of a new society. -
Caribbean Women and the Critique of Empire: Beyond
CARIBBEAN WOMEN AND THE CRITIQUE OF EMPIRE: BEYOND PATERNALISTIC DISCOURSES ON COLONIALISM By Jennifer Bagneris Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University In partial fulfillment of the requirements For the degree of MASTER OF ART In English December, 2011 Nashville, Tennessee Approved: Professor Vera Kutzinski Professor Dana Nelson A question often asked by those sensitive to gender, race, and postmodernist discourse is: where are the women in the theorizing of post- coloniality? Although there are growing numbers of titular identifications of post-colonial feminist discussions, it seems so far that the discourse of post-coloniality is not, at this point in history, overly populated by “post- colonial women.” - Carole Boyce Davies, Black Women, Writing, and Identity I. Introduction “Where are the women?” This is a question I‟ve found myself asking on several occasions, a question which has been met with resounding echoes from scholars across numerous academic disciplines for whom this absence is all too noticeable, persistent, and systematically maintained. As Carole Boyce Davies illustrated in 1994 with her influential work Black Women, Writing, and Identity: Migrations of the Subject, there is a wealth of possibilities for new analyses within the study of literature and history when more substantial consideration is given to cultural, linguistic, and gender differences. Additionally, Davies work does not simply insist on an incorporation of gender within discussions of post-colonialtiy, but also demonstrates the necessity for further scrutiny of the terminology used to critically approach categories of difference. As such, Davies approaches a term like “post-colonial” with caution, asserting its inaccuracy as a “premature formulation” which fails to account for places in the world where colonial relationships remain in existence or where a colonizer is still actively present (i.e. -
Archiving Memories
Orality in the Body of the Archive: Memorialising Representations of Creole Language and Culture in the Technologised Word A thesis submitted by Marl’ene Edwin in the fulfilment of the requirement for the degree of Doctor of Philosophy in English and Comparative Literature, Goldsmiths, University of London, 2016 I hereby declare that this thesis is my own work. Marl’ene Edwin 2 Dedicated to the memory of my beloved mother and father Linnette (1933-1996) and George (1925-1998) 3 ACKNOWLEDGEMENTS Too many people to mention here, Who have helped me along the way. However, there are a few things I find I must say. Overwhelming thanks to Professor Joan Anim-Addo, Supervisor, mentor and critical friend Without your pushing and pulling, This project would never have made it to the end. My colleagues in CELAW you know who you are. Natasha and fellow students in the Centre for Caribbean and Diaspora Studies, This is not the end by far! To my upgrade examiners, Clea Bourne and Geri Popova, Much food for thought And time to work my thesis over. For her quick reading and mock exam I extend my warmest regards To Maria Helena Lima and Our network of women in Europe and afar. For conducting the final examination, Viv Golding and Pia Pichler, I’ve run out of words and my face Must have been a picture! To my friends and family who have been with me to the end, Special thanks to Karol and Deirdre, two very good friends, Brothers and Sisters how could I miss you out Estola, Jasper, Marcia, Sandra, Yvette and Dave, there is no doubt This thesis is for us all, whether from a big island or small!! Jo and Steve, what can I say, Our weekend jaunts certainly saved the day. -
The Spiritual Baptist Church in Earl Lovelace's the Wine of Astonishment
Coolabah, No.13, 2014, ISSN 1988-5946, Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona “The grass that they cut and trample and dig out and sprout roots again”: The Spiritual Baptist Church in Earl Lovelace’s The Wine of Astonishment Maria Grau Perejoan Copyright©2014 Maria Grau Perejoan. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged. Abstract: Earl Lovelace’s fiction can be said to, ultimately, work as a force to give validity to the Creole culture created out of the coming together of many worlds in the Caribbean. As in his novel The Dragon Can’t Dance, which celebrated those Creole art forms around Carnival, in his next novel, The Wine of Astonishment (1982), i Lovelace celebrates yet another Creole institution, the Trinidadian African-derived church of the Spiritual Baptists. In the novel the Spiritual Baptist church, made to be seen as the darkness from which natives needed to be weaned by colonial authorities, is celebrated and acknowledged as one of the basis that allowed for the creation of a new society away from the colonial narrowness. In The Wine of Astonishment, the resistance put up by Spiritual Baptist practitioners, in spite of the prohibition and violence endured, is acknowledged, celebrated and recognised as one of the milestones in Caribbean history. This article will trace, as reflected in the novel, the evolution of the Spiritual Baptist church, and will analyse its symbolical relation to another art form created in the New World: the steel pan movement. -
Jamaica's Difficult Subjects
JAMAICA’S DIFFICULT SUBJECTS JAMAICA’S DIFFICULT SUBJECTS NEGOTIATING SOVEREIGNTY IN ANGLopHONE CARIBBEAN LITERATURE AND CRITICISM SHERI-MARIE HARRISON THE OHIO STATE UNIVERSITY PRESS • CoLUMBUS Copyright © 2014 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Harrison, Sheri-Marie, 1979– author. Jamaica’s Difficult Subjects : Negotiating Sovereignty in Anglophone Caribbean Literature and Criticism / Sheri-Marie Harrison. pages cm Includes bibliographical references and index. ISBN-13 : 978-0-8142-1263-9 (cloth : alk. paper) 1. Jamaican literature—History and criticism. 2. Sovereignty in literature. 3. Postcolonialism in literature. 4. Caribbean literature (English)—History and criticism. 5. Motion pictures—Carib- bean Area. I. Title. PR9265.05H37 2014 820.9'97292—dc23 2014013473 Cover design by Laurence J. Nozik Text design by Juliet Williams Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 For my parents, Audley C. Harrison and Esmin Harrison CONTENTS Acknowledgments ix INTRODUCTION • T he Politics of Sovereignty in Postcolonial West Indian Literary Discourse 1 CHAPTER 1 • “Who worked this evil, brought this distance between us?” Sex and Sovereignty in Sylvia Wynter’s The Hills of Hebron 33 CHAPTER 2 • “What you say, Elsa?” Postcolonial Sovereignty and Gendered Self-Actualization 69 CHAPTER 3 • “ No, my girl, try Bertha”: Race, Gender, Nation, and Criticism in Wide Sargasso Sea and Lionheart Gal 102 CHAPTER 4 • B eyond Inclusion, Beyond Nation: Queering Twenty-First-Century Caribbean Literature 142 Bibliography 181 Index 189 ACKNOWLEDGMENTS There is a passage in scripture about God’s care for Elijah that resonated with me throughout the process of writing and publishing this book.