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Essay on caribbean culture
Essay on caribbean culture
Essay on caribbean culture
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“…in spite of the gift of language, Caliban remains too heavily mired in nature for its uplifting powers of reason and civilization.”- (Paget, 20)
“Break a vase, and the love that resembles the fragments is greater than the love which took its symmetry for granted when it was a whole.” (Walcott, Nobel Speech)
The issue of cultural blend is central to Caribbean poetics and politics. The poetics of this ‘New World’ claimed to emerge from a landscape devoid of narrative, without history. Yet, Derek Walcott’s poetry is replete with allusions to history, with an undercutting of the imposed past, with an emphasis on language being central to knowledge, with a poet-speaker whose figure is an enmeshing of both the public and the personal. In his Nobel acceptance speech, Derek Walcott, contemplating “the proportions of the ideal Caribbean city”, proposes that
“it would be so racially various that the cultures of the world – the Asiatic, the Mediterranean, the European, the African – would be represented in it . . . Its citizens would intermarry as they chose, from instinct, not tradition, until their children found it increasingly futile to trace their genealogy.”
Walcott’s poetry is informed by the blend of cultures (Caribbean and ‘Western’) in which he finds himself. He does manifest a peculiar “schizophrenia” where he is “wrenched by two styles”, but also works with it as a politics of parodying the colonizer/outsider whose influence has infiltrated into his own cultural coordinates. Yet this parody is not completely devoid of identification with “the intimate enemy” (Ashish Nandy,1983), sometimes even to the extent of embracing the ‘other’. Walcott insists that no moment of ‘original’ national ‘purity’ should dominate the ima...
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7. Gates, Henry Louis (Jr.). The Signifyin(g) Monkey. Oxford: Oxford University press, 1988. Print.
8. Paget, Henry. Caliban’s Reason. New York: Routledge, 2000. Print.
9. Spivak, Gayatri. The Death of a Discipline. New York: Columbia University Press, 2003. Print.
10. Torres-Saillant, Silvio. Caribbean Poetics: towards an aesthetic of West Indian Literature. Cambridge: Cambridge University Press, 1997. Print.
11. Walcott, Derek.-
-Collected Poems. New York: Farrar, Giroux, Strauss, 1986. Print.
-Dream on Monkey-mountain and Other Plays. New York: Farrar, Giroux, Strauss, 1970. Print.
-Nobel Acceptance Speech, December, 1992. Accessed on 13th April, 2014, 11:12AM
http://www.nobelprize.org/nobel_prizes/literature/laureates/1992/walcott-lecture.html
12. Young, Robert J.C. Colonial Desire: Hybridity in Theory, Culture, Race. London: Routledge, 1995. Print.
Fluorescent turquoise waters, a vibrant city culture, as well as an unending supply of mimosas and sunburns within a resort, benefits the common wealthy couple looking for a swell time. When people imagine the Caribbean, they probably visualize the soft sands of the Spice Island Beach Resort. Many people see the Caribbean as relaxing paradise. What people don’t understand, are the years of history hidden behind the mask of many resorts. In the book entitled “Empire’s Crossroads: A History of the Caribbean from Columbus to the Present Day”, Author Carrie Gibson differentiates how people view the Caribbean nowadays, by altering their visualization with four-hundred pages of rich history and culture, that argues the ideology about the Caribbean
The ocean is what connects the people of the Caribbean to their African descendants in and out of time. Through the water they made it to their respective islands, and they, personally, crafted it to be temporal and made it a point of reference. The ocean is without time, and a speaker of many languages, with respect to Natasha Omise’eke Tinsley’s Black Atlantic, Queer Atlantic. The multilingualism of the ocean is reminiscent that there is no one Caribbean experience. The importance of it indicates that the Afro-Caribbean identity is most salient through spirituality. It should come to no surprise that Erzulie, a Haitian loa, is a significant part of the migration of bodies in Ana Maurine Lara’s Erzulie’s Skirt. Ana Maurine Lara’s depiction
It is a way to crucially engage oneself in setting the stage for new interventions and connections. She also emphasized that she personally viewed poetry as the embodiment of one’s personal experiences, and she challenged what the white, European males have imbued in society, as she declared, “I speak here of poetry as the revelation or distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean — in order to cover their desperate wish for imagination without insight.”
Sociologists often employ intersectionality theory to describe and explain facets of human interactions. This particular methodology operates on the notion that sociologically defining characteristics, such as that of race, gender, and class, are not independent of one another but function simultaneously to determine our individual social experiences. This is evident in poetry as well. The combination of one poet’s work that expresses issues on class with another poet’s work that voices issues on race, and so forth, can be analyzed through a literary lens, and collectively embody the sociological intersectionality theory.
...d issues of post-colonialism in Crossing the Mangrove. It is clear that Conde favors multiplicity when it comes to ideas of language, narrative, culture, and identity. The notion that anything can be understood through one, objective lens is destroyed through her practice of intertextuality, her crafting of one character's story through multiple perspectives, and her use of the motif of trees and roots. In the end, everything – the literary canon, Creole identity, narrative – is jumbled, chaotic, and rhizomic; in general, any attempts at decryption require the employment of multiple (aforementioned) methodologies.
...spoke a Spanish Creole. This made a clear distinction between the two and made it easy for the government to identify the difference. The reader sees how such themes of Birth and Death show so prominently throughout the characters that one must focus on how birth and deaths affect the concept of the individual relating to their own Negritude. It is culture, not skin tones but rather the beliefs and values that each country be it Haiti or Dominican Republic relate to. Danticat’s novel helps us understand the strengths and limits that Rene Depestre states in The Birth of Caribbean Civilisation “there is a progressive ‘negritude’ that expounds the need to rise above all the alienations of man . . . and there is “an irrational reactionary and mystic version of ‘negritude’ which serves . . . as a cultural base for neo-colonialist penetration into our countries” (244).
One of the most well known historic characteristics of poetry is that of rhyme, a technique that Alexander rejects. In American Sublime, every poem is written in free verse. Although some poems may contain an occasional slant rhyme, there is no fixed rhyme scheme in Alexander’s works. Along with her lack of rhyme, there is a no consistency in the structure of Elizabeth Alexander’s poetry. This is best demonstrated in the “Amistad” section of American Sublime. Each of the poems in this part tell a piece of the story of the Amistad ship and the slave revolt. However, only a few of these poems share similar structures. While some poems contain seven stanzas, others a written in haikus, and while others do not contain stanza breaks, making the poem one long stanza. By doing this, Elizabeth Alexander keeps herself from having a signature structure for her poems. Instead, by neglecting to use a specific style, Alexander creates a stark distinction between herself and other
Edyta, O. (1996). Jamaica KIncaid's Lucy. Cultural Translation as a case of creative exploration of the past, 143.
The Modernist era of poetry, like all reactionary movements, was directed, influenced, and determined by the events preceding it. The gradual shift away from the romanticized writing of the Victorian Era served as a litmus test for the values, and the shape of poetry to come. Adopting this same idea, William Carlos Williams concentrated his poetry in redirecting the course of Modernist writing, continuing a break from the past in more ways than he saw being done, particularly by T.S. Eliot, an American born poet living abroad. Eliot’s monumental poem, The Waste Land, was a historically rooted, worldly conscious work that was brought on by the effects of World War One. The implementation of literary allusions versus imagination was one point that Williams attacked Eliot over, but was Williams completely in stride with his own guidelines? Looking closely at Williams’s reactionary poem to The Waste Land, Spring and All, we can question whether or not he followed the expectations he anticipated of Modernist work; the attempts to construct new art in the midst of a world undergoing sweeping changes.
Bhabha’s hybridity challenges the certainty of the hierarchical notion that it must have the superiority and inferiority, controller and the controlled in cultural collision. Conversely, Bhabha suggests that all the cultural relation is ambiguous, full of exceeding, hybrid, and potential of subversion. In Bhabha’s narration, hybridity lets the boundary become a place of advantage to resist and interrupt the discourse of race, nation, and hegemony. As Bhabha delineates, it is “a turning of boundaries and limits into the in-between spaces through which the meanings of cultural and political authority are negotiated” (Bhabha 1990, 4). For Bhabha, hybridity is developed from this “in-between” space of the colonizer’s culture and the colonized’s
In the introduction to “The Pure Products Go Crazy,” James Clifford offers a poem by William Carlos Williams about a housekeeper of his named Elsie. This girl is of mixed blood, with a divided common ancestry, and no real collective roots to trace. Williams begins to make the observation that this is the direction that the world is moving in, as Clifford puts it—“an inevitable momentum.” Clifford believes in that, “in an interconnected world, one is always to varying degrees, ‘inauthentic.’” In making this statement, Clifford is perhaps only partially accurate. In the western hemisphere, where Williams was located, perhaps it can be said directly that the influence of modern society has attributed to the lack of general ancestry, as one culture after another has blended with the next. Perhaps it can be said as well that, as Clifford puts it, “there seem no distant places left on the planet where the presence of ‘modern’ products, media, and power cannot be felt” (Clifford, 14). The intention of this paper is to contend first that there is essentially such a thing as “pure” culture, and contrary to Clifford’s belief, that there are “pure” unblended cultures that remain (while not altogether untouched by foreign influence), natural within themselves. It will be argued as well that the influence of modern society does not necessarily lead to a loss of cultural soundness itself, but rather that a presence of certain cultural practices within the respective cultures has attributed to the lasting “purity” of certain cultures. In this case, we will be discussing the cultures that exist in Haiti and Bali.
As the Hispanic Caribbean has evolved it has managed to grow and thrive beyond belief, whether one is discussing art, music or just the culture alone the Hispanic Caribbean is truly reaping the benefits of allowing themselves to be influenced by many other cultures. While the Hispanic Caribbean is thriving they are still facing the many new found struggles that come along with the territory of becoming more affluent as well as more accepting to other cultures and their beliefs. Often with the growth of large proportions comes many problems, problems also can come about when incorporating of different cultures as a whole as well as just bringing in their beliefs and mannerisms. None the less it can be argued that the struggles being faced in
The Poetry of Judith Wright Abstract This report discusses the influences of Australia, as well as the universal impact on the poetry of Judith Wright. It contains an evaluation of both the techniques and the "plot" behind the poems "Remittance Man", "South of My Days" and "Eve to her Daughters" as well as a comparison between the three poems. Australia, as Wrights homeland, has had a significant effect on the content of her poems but references to English scenes are also consistent as well as general references to the universal world. Eve to her daughter. ?
Hybridity and National Identity in Postcolonial Literature. Every human being, in addition to having their own personal identity, has a sense of who they are in relation to the larger community—the nation. Postcolonial studies are the attempt to strip away conventional perspective and examine what that national identity might be for a postcolonial subject. To read literature from the perspective of postcolonial studies is to seek out—to listen for, that indigenous, representative voice which can inform the world of the essence of existence as a colonial subject, or as a postcolonial citizen.
Here Rhys also shows how language is used as the resistance to post-colonial discourse: Christophine is wholly in control of their dialogue. Jean Rhys rewrites the history of the colonized in Jamaica and gives the voice to the colonized. More importantly, she rectifies the stereotypes that the westerns, especially the Orientalists imposed on the colonized. So to speak, like other Postcolonial literatures, Wide Sargasso Sea is a result of the interaction between the prototyped imperial culture and the indigenous cultural practices, and it successfully challenge colonial values and