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The Dictionary of Caribbean English Usage is the first attempt for over four hundred years to provide an authentic record of current English from the Caribbean archipelago, Guyana and Belize. Drawing its data from a broad range of enquiry through teacher workshops in 22 territories in 18 states, from speech recordings and over 1,000 written sources of Caribbean literature, reference works, magazines, pamphlets and newspapers, the Dictionary surveys a range of over 20,000 words and phrases and includes hundreds of illustrative citations. With a specially designed system of labeling, the Dictionary offers maximum levels of clarity and accessibility Providing four levels of identification from Creole to Formal, and with labels to denote social or grammatical register, it also gives particular focus to Indic and French Creole loan-words. Etymological and Usage Notes are included, as well as a short supplement listing Caribbean French and Spanish equivalents to Caribbean English items selected from the main work. Covering as it does a large number of independent and non-contiguous states, the Dictionary of Caribbean English Usage is not only an instrument of education wherever Caribbean.

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From its first appearance in 1939 with a group of men knocking on pots and pans to the 1951 Trinidad All-Steel Percussion Orchestra (TASPO), steelband has fascinated the world. Relying largely on oral histories, this work investigates and documents the different technical, musical and organisational steps by which the steelband movement was born and grew to maturity.

This study is a radical break with the approach to cultural creativity in general and music of the African diaspora in particular, emphasising the role of individual agency, microsociology and aesthetic values. This contrasts with the resistance school of thought, which views music as an automatic reaction to oppression rather than a deliberate attempt to satisfy aesthetic needs and impulses.

The minute biographical and psychological details provide a unique theory of creolisation and chart its relationship to African retentions, based on empirical data. This authoritative study will appeal to both the general reader interested in the origins of steelband and to scholars concerned with the creolisation of African and European cultures and Caribbean creativity.

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The Terror and the Time contributes to the ongoing project of mapping the myriad ways in which contemporary individual and social scenarios and suffering are rooted in unresolved traumas bequeathed by the origins of the New World societies of the Caribbean. This study traces legacies of enforced and voluntary migrations: subjugation of language, custom and being, and violent rupture of ancestry and community, nation and ethnicity, family and sexuality. It draws its raw material from literature, personal narratives, print media and popular culture discourses to explore the interface between the psychological condition of having been colonized and the surviving cultural and material practices.

Part 1 deals with traumas of being and becoming; part 2 focuses on social suffering that results from state torture, aging and Alzheimers, child shifting, alcoholism and poverty. Morgan argues that modern Caribbean societies have been indelibly imprinted by the cataclysmic encounter between worlds and that substantial cross-sections of Caribbean populations are still reeling from the force of that wounding. This study probes the impulse of creative authors and cultural practitioners to revisit the seedbed of traumas and to variously respond with aesthetics of amnesia and negation, and/or to fashion therapeutic interventions through empowering narratives of resistance, self-fashioning, creativity and wholeness.

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Shared Visions Contains fifty high-quality color reproductions of Caribbean art and sculpture housed at the three campuses of the University of the West Indies in Barbados, Jamaica, Trinidad and Tobago. The book is a magnificent and rich celebration of heterogeneity, of unity in diversity, and of the creativity of Caribbean society, particularly in the visual arts. The book contains works by thirty-three Caribbean artists, including Edna Manley, Albert Huie, Gloria Escoffrey, Roger Mais, Rex Dixon, David Pottinger, and Barrington Watson.

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In From Plantations to University Campus, Woodville Marshall examines the evolution in the use of the space that surrounds the campus of the University of the West Indies at Cave Hill, Barbados, and identifies some of the individuals who played pivotal roles at different junctures. Based primarily on deeds and wills, this story reveals serial transformation while providing some clear indications of varied entrepreneurial activity in a physical environment that was not ideally suited to intensive agricultural activity.

Several small plantations co-existed with one large plantation during the first century of English settlement. However, by the 1740s, the space was entirely dominated by small plantations and by medium-sized farms; and it was evident that occupancy of the land was as much tied to residence and to various types of business activity (including land speculation) as it was to cultivation of the soil. Not surprisingly, by the 1850s and 1860s, many of the farms on the marginal land had been succeeded by villages that were created by some of the formerly enslaved population, and both proximity to Bridgetown and internal migration ensured that those villages by the early twentieth century were less farming settlements than residential districts, barely distinguishable from non-plantation tenantries.

In a final twist, an urban development programme of the 1960s ensured the continuation of hybrid characteristics in the use of the space. Middle-income housing estates were built and a university campus was established, and that development co-exists with the remnants of the earlier post-slavery villages.

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The bicentenary of Haitian independence in 2004 triggered a renewed interest in Haitian history and culture. In many ways, however, much work is still required in this fertile field. Reinterpreting the Haitian Revolution and Its Cultural Aftershocks, the first collection of essays edited by Martin Munro and Elizabeth Walcott-Hackshaw, addressed the repercussions of the Haitian Revolution in Haiti, the Caribbean, North America and Europe. This present volume develops and complements the previous collection to meet the growing demand for original scholarly work on Haiti. Widening the cultural lens to include diasporic studies, art, and questions of race and gender, Echoes of the Haitian Revolution exposes how the history of Haiti has shaped our ideas of race, nation and civilization in ways that we are often unaware of. Haiti's lessons continue to engage us in a dynamic dialog that compels us to question and revisit received arguments. The essays collected here provoke and stimulate these necessary conversations by approaching the legacies and repercussions of the revolution from a cultural perspective.

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Lady Nugent's husband was governor of Jamaica during a critical period of the Napoleonic Wars. Her personal diary conveys impressions of life among the slave-owning colonial gentry. The journal was first published in 1907.