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By S. Torres-Saillant

The 1st highbrow background of the Caribbean written via a most sensible Caribbean experiences student, this publication examines either writings penned by means of natives of the quarter in addition to a physique of texts interpretive of the quarter produced by way of Western authors. Stressing the experiential and cultural particularity of the Caribbean, the learn considers 4 significant questions: What paintings, literature or notion can come from the minds of people that have gone through a catastrophic historical past? What makes the conceptual paradigms shaped through the Western highbrow able to illuminating the specific adventure of Antilleans, yet now not vice versa? Do Antilleans lack the highbrow historical past required for the translation of tradition, even if of their zone or in other places on this planet? Why is the specificity of Caribbean humanity such that it can't be used as a paradigm for humanity as a complete?

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In 1623, on his way back from his fruitless expedition to Guiana, a Suffolk gentleman named Thomas Warner explored one of the less inhabited West Indian islands. He deposited a few colonists on St. Christopher, and hurried home to get a royal patent for a INTRODUCTION 23 more extensive enterprise. This achieved, he returned to the Caribbean, and though much harassed by Spanish raids, he established the English in the disputed sea. By the 1640s Barbados, St. Christopher, Nevis, Montserrat, and Antigua were in English hands and several thousands arrived.

A veritable hallmark. And now, unleashed its force, its dynamism, its melody, its rhythm, imbibes us with added strength 32 AN INTELLECTUAL HISTORY OF THE CARIBBEAN hope, courage, vigor to battle on, to struggle on, to freedom. S. drummer and ethnomusicology professor Gage Averill, who has done extensive research on Haitian Konpa, the subject of several of his scholarly articles, concludes his short social history of the form affirming that studying “the evolution of popular music” involves not just an examination of changes in sound, nor is it strictly a case of representations about music, attributions of styles, or claims to ownership.

James Arnold, took 15 years to complete, from a first editorial colloquium at the University of Virginia in 1986 to the issuing of the last of the volumes by John Benjamins Publishing Company in 2001. An unprecedented scholarly feat, this first-rate collection of studies brought together the skills of specialists in all the literary forms practiced across the region, all languages included. Nor would the project have come to fruition without the perseverance, erudition, and scholarly leadership of Arnold and his team of subeditors (Arnold 2001:ix).

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