Pub Date : 2022-07-03DOI: 10.1080/00086495.2022.2105029
N. Butt
BORN IN 1932 IN AN IMPOVERISHED HINDU community of Trinidad, V.S. Naipaul moved to England in 1950, where he spent most of his life. As a writer of Indo-Caribbean origin, Naipaul has an important place in Caribbean literary history, which is haunted by colonialism, imperialism and neo-colonialism. Despite the fact that Naipaul claims not to adhere to any political principles in his work, his literature tends to become a form of resistance to colonial and postcolonial configurations across national and cultural borders. Scholars like Angus Richmund have criticised Naipaul for being “the mimic man”1 who merely documents colonial anxieties or insecurities in his work, although he may appear to be preoccupied with the predicament of the formerly colonised people in our postmodern world. His anti/heroes do not show an active resistance to the remnants of colonialism, but rather a passive one as they refuse to conform to the fantasies of the West. These fantasies are rooted in cultural othering, which appears to haunt his lonely and solitary characters who as a result tend to possess floating or fragmented identities. According to Min Zhou,
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Pub Date : 2022-07-03DOI: 10.1080/00086495.2022.2105049
Jesse Caval Ari
THE COLONISATION OF THE CIRCUM-CARIBBEAN AREA BROUGHT unprecedented levels of industrial agriculture, imperial rivalry, indigenous contact, forced African migration, and subaltern resistance to that part of the world, especially in the seventeenth century. The Torrid Zone provides fresh perspectives on the importance of the Caribbean, especially as historians continue to emphasise connectivity in the Atlantic world and across the globe. The volume contains contributions from seasoned historians like L.H. Roper, Erik Gøbel, and James Robertson, in addition to a cadre of up-and-coming experts in the field. The Torrid Zone focuses on the experiences of Indigenous, African, and Jewish people in the Caribbean, the nature and nuance of imperial rivalry including the often-neglected Danish colonisation efforts, and the unique socioeconomic character of many of the Caribbean islands as they were colonised over the course of the long seventeenth century. Taken together, this broad set of themes and the wide temporal scope expand our understanding of the pivotal role that the Caribbean played in social, economic, and religious history. The book is broken into three sections that are thematically organised. The first section consists of three essays focused on the indigenous perspective. The second section, consisting of six essays, covers imperial rivalry in Jamaica, Suriname, Saint-Domingue, and the Danish West Indies. Finally, the third section contains three essays that deal with the extension of the social and cultural formations of the Torrid Zone into the wider world through the migration of people and ideas. During the seventeenth century, Indigenous people in the Caribbean held considerable power despite the relentless encroachment of European colonialisms. The first chapter by Tessa Murphy sheds light on how the Kalinago actively shaped the socioeconomic landscape of the Lesser Antilles. Murphy skilfully illustrates how the Kalinago were “a polity that sought to counter foreign incursion through a combination of diplomacy and force” (19) as they negotiated treaties and engaged in military conquests of European-held territories in the
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Pub Date : 2022-07-03DOI: 10.1080/00086495.2022.2105043
Xu Peng
{"title":"Being La Dominicana: Race and Identity in the Visual Culture of Santo Domingo","authors":"Xu Peng","doi":"10.1080/00086495.2022.2105043","DOIUrl":"https://doi.org/10.1080/00086495.2022.2105043","url":null,"abstract":"","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":"68 1","pages":"448 - 451"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44800998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/00086495.2022.2105045
F. Ledgister
{"title":"In Plenty and in Time of Need: Popular Culture and the Remapping of Barbadian Identity","authors":"F. Ledgister","doi":"10.1080/00086495.2022.2105045","DOIUrl":"https://doi.org/10.1080/00086495.2022.2105045","url":null,"abstract":"","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":"68 1","pages":"456 - 458"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49410078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/00086495.2022.2105036
Tohru Nakamura
THIS ESSAY EXAMINES THE THEME OF BROKENNESS and the body in Kei Miller’s short stories, and suggests that he describes the body as a locus of existential realisation of one’s racially and sexually fragmented selfhood. It proposes what could be termed the broken body as a significant idea for the ongoing theorising of Caribbean sexualities. Miller’s literary predecessors of the twentieth century such as Derek Walcott, Jan Carew, Denis Williams, Glissant, and Kamau Brathwaite focus on racial fragmentation and hybridity, by colonialism, integral to the Caribbean’s history culture. 1 Williams
{"title":"“Maybe Broken Is Just the Same as Being”","authors":"Tohru Nakamura","doi":"10.1080/00086495.2022.2105036","DOIUrl":"https://doi.org/10.1080/00086495.2022.2105036","url":null,"abstract":"THIS ESSAY EXAMINES THE THEME OF BROKENNESS and the body in Kei Miller’s short stories, and suggests that he describes the body as a locus of existential realisation of one’s racially and sexually fragmented selfhood. It proposes what could be termed the broken body as a significant idea for the ongoing theorising of Caribbean sexualities. Miller’s literary predecessors of the twentieth century such as Derek Walcott, Jan Carew, Denis Williams, Glissant, and Kamau Brathwaite focus on racial fragmentation and hybridity, by colonialism, integral to the Caribbean’s history culture. 1 Williams","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":"68 1","pages":"382 - 401"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44904909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/00086495.2022.2105040
P. Pounder, Marsha Hinds Myrie
THE UNIQUENESS OF THE RUM SHOP AS an entrepreneurial venture in Barbados is embedded in the history and culture of that island.1 The origins of these shops were shaped by the sugarcane industry, English settlement, and congregation at what were then referred to as “tippling houses”. The strict stratification in plantation society resulted in the upper classes utilising tippling houses and a new space, the rum shop, being replicated for the masses. The rum shop is and has always been an enigmatic space. It is a perennial cultural institution in Barbados that is characterised by the sale of liquor, small-scale convenience items for households and, to a lesser extent, hardware, and usually food ready for consumption, such as chips and fish or pork chops. In contrast to bars, rum shops are known specifically for selling alcohol by the bottle (mini or flask), a nip, an eighth or a quarter, a pint or half-pint, or a shot. The physical characteristics of the rum shop, the decor and ambience, are also distinctive, with many rum shops being housed in simple rustic structures, featuring inside walls that function as bulletin boards with posters and announcements pasted over them, while the outside of the shop is branded by an alcohol supplier. Rum shops play a key role within the small and mediumsized sector of the local economy. This study recognises that entrepreneurship has a broad scope encompassing mindset, process, and venture creation; and for the purpose of this research, one of the views that we adopt in this article is that entrepreneurship is the creation of new economic activity either through new ventures or the exploiting of new opportunities in pursuit of business goals.2 There are several gaps in the literature about rum shops, with the little available focusing on them as cultural landmarks. In this article we attempt to examine the rum shop as an entrepreneurial model in the small retail sector.
RUM SHOP作为巴巴多斯的一家创业企业，其独特性植根于该岛的历史和文化。1这些商店的起源是由甘蔗业、英国人的定居点和当时被称为“翻斗车屋”的会众所决定的。种植园社会的严格分层导致上层阶级使用自卸车房，并为大众复制了一个新的空间，即朗姆酒店。朗姆酒店一直是一个神秘的空间。它是巴巴多斯的一个常年文化机构，其特点是出售酒类、家庭小规模便利物品，以及在较小程度上出售硬件，通常是现成的食物，如薯条、鱼或猪排。与酒吧不同的是，朗姆酒店专门以按瓶（迷你或烧瓶）、一杯、八分之一或四分之一、一品脱或半品脱或一杯出售酒精而闻名。朗姆酒店的物理特征、装饰和氛围也很独特，许多朗姆酒店都坐落在简单的乡村结构中，内墙充当公告板，上面贴着海报和公告，而店外则由一家酒类供应商品牌。朗姆酒商店在当地中小型经济部门发挥着关键作用。这项研究认识到，创业有一个广泛的范围，包括心态、过程和风险创造；为了进行这项研究，我们在本文中采用的观点之一是，创业是通过新的企业或利用新的机会来追求商业目标，从而创造新的经济活动。2关于朗姆酒商店的文献中存在一些空白，很少有文献将其作为文化地标。在这篇文章中，我们试图将朗姆酒店作为小型零售业的创业模式进行研究。
{"title":"Entrepreneurship and Local Culture","authors":"P. Pounder, Marsha Hinds Myrie","doi":"10.1080/00086495.2022.2105040","DOIUrl":"https://doi.org/10.1080/00086495.2022.2105040","url":null,"abstract":"THE UNIQUENESS OF THE RUM SHOP AS an entrepreneurial venture in Barbados is embedded in the history and culture of that island.1 The origins of these shops were shaped by the sugarcane industry, English settlement, and congregation at what were then referred to as “tippling houses”. The strict stratification in plantation society resulted in the upper classes utilising tippling houses and a new space, the rum shop, being replicated for the masses. The rum shop is and has always been an enigmatic space. It is a perennial cultural institution in Barbados that is characterised by the sale of liquor, small-scale convenience items for households and, to a lesser extent, hardware, and usually food ready for consumption, such as chips and fish or pork chops. In contrast to bars, rum shops are known specifically for selling alcohol by the bottle (mini or flask), a nip, an eighth or a quarter, a pint or half-pint, or a shot. The physical characteristics of the rum shop, the decor and ambience, are also distinctive, with many rum shops being housed in simple rustic structures, featuring inside walls that function as bulletin boards with posters and announcements pasted over them, while the outside of the shop is branded by an alcohol supplier. Rum shops play a key role within the small and mediumsized sector of the local economy. This study recognises that entrepreneurship has a broad scope encompassing mindset, process, and venture creation; and for the purpose of this research, one of the views that we adopt in this article is that entrepreneurship is the creation of new economic activity either through new ventures or the exploiting of new opportunities in pursuit of business goals.2 There are several gaps in the literature about rum shops, with the little available focusing on them as cultural landmarks. In this article we attempt to examine the rum shop as an entrepreneurial model in the small retail sector.","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":"68 1","pages":"423 - 442"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42030923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/00086495.2022.2105032
Andrea O’Reilly Herrera
IN A 1987 PAINTING TITLED LOOKING FOR HOME, Cuban diasporic artist Alberto Rey visually collapses the geographical distances that separate Havana, his birthplace; Mexico City, where he and his mother and sister reunited in 1963 with their father, who had left the island ahead of the family and sought political asylum; Miami, where the Reys lived for a period of time as they made their transition into exile; and Northern Cambria (formerly Barnesboro), Pennsylvania, where he spent the majority of his early childhood and young adulthood. Like many of the works Rey produced during this period, Looking for Home explores the themes of rupture and displacement and possesses a maplike, albeit abstract, quality. Rendered in a palette that progresses from darkness to light, the work reveals a figurative form seemingly hovering above a series of colourful geometric shapes outlined and demarcated by black boundaries and dotted lines. According to Rey, Looking for Home (as the title suggests) visually represents an aerial view or vantage point from which he attempted to reconcile his parents’ experience of exile with his own vicarious response to multiple displacements and the loss of nation. “During the period when I did the painting,” the artist told me,
{"title":"Beyond the Boundaries of the Past","authors":"Andrea O’Reilly Herrera","doi":"10.1080/00086495.2022.2105032","DOIUrl":"https://doi.org/10.1080/00086495.2022.2105032","url":null,"abstract":"IN A 1987 PAINTING TITLED LOOKING FOR HOME, Cuban diasporic artist Alberto Rey visually collapses the geographical distances that separate Havana, his birthplace; Mexico City, where he and his mother and sister reunited in 1963 with their father, who had left the island ahead of the family and sought political asylum; Miami, where the Reys lived for a period of time as they made their transition into exile; and Northern Cambria (formerly Barnesboro), Pennsylvania, where he spent the majority of his early childhood and young adulthood. Like many of the works Rey produced during this period, Looking for Home explores the themes of rupture and displacement and possesses a maplike, albeit abstract, quality. Rendered in a palette that progresses from darkness to light, the work reveals a figurative form seemingly hovering above a series of colourful geometric shapes outlined and demarcated by black boundaries and dotted lines. According to Rey, Looking for Home (as the title suggests) visually represents an aerial view or vantage point from which he attempted to reconcile his parents’ experience of exile with his own vicarious response to multiple displacements and the loss of nation. “During the period when I did the painting,” the artist told me,","PeriodicalId":35039,"journal":{"name":"Caribbean Quarterly","volume":"68 1","pages":"370 - 381"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46830196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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