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New, tenure-track women of color endure unique hardships teaching
at institutions in which they are not a majority. This edited
volume seeks to share, from a communication perspective, the
multifaceted experiences of these faculty members in the academy.
The experiences captured in this volume engage various theories,
methodologies, and frameworks that serve to bridge the chasm that
often exists between theory and praxis. The contributors to this
book are women of color from an array of ethnic, racial, and
religious backgrounds, resulting in a thoughtful and rich
discussion about the experiences of tenure-track women of color in
the academy.
This unique book helps nurses identify and develop the personal
qualities that go into "artful" nursing practice. Based on nurse
stories that portray the art of nursing, the book guides students
to analyse how each personal quality or concept is actualised in
the story, understand the challenges to enactment of the concept,
and then apply the concept experientially through group and
individual exercises. The text illustrates and elaborates onthe
forms of knowledge used by nurses and concepts central to the art
of nursing such as care, spirituality, presence, compassion,
self-care and advocacy.
These plenary lectures from the "Global Reggae" conference convened
at the University of the West Indies, Mona, Jamaica in 2008
eloquently exemplify the breadth and depth of current scholarship
on Jamaican popular music. Radiating from the Jamaican centre,
these illuminating essays highlight the "glocalization" of reggae -
its global dispersal and adaptation in diverse local contexts of
consumption and transformation. The languages of Jamaican popular
music, both literal and metaphorical, are first imitated in pursuit
of an undeniable "originality". Over time, as the music is
indigenized, the Jamaican model loses its authority to varying
degrees. The revolutionary ethos of reggae music is translated into
local languages that articulate the particular politics of new
cultural contexts. Echoes of the Jamaican source gradually fade.
But new hybrid sounds return to their Jamaican origins, engendering
polyvocal, cross-cultural dialogue. From the inter/disciplinary
perspectives of historical sociology, musicology, history, media
studies, literature, anthropology, sociology, cultural studies, the
creative/cultural industries and, above all, the metaphorical "life
sciences", the contributors to this definitive volume lucidly
articulate a cultural politics that acknowledges the far-reaching
creativity of small-islanders with ancestral memories of continents
of origin. The globalisation of reggae music and its "wild child"
dancehall is, indeed, an affirmation of the unquantifiable
potential of the Jamaican people to reclaim identities and
establish ties of affiliation that are not circumscribed by the
Caribbean Sea: To the world!
The language of Jamaican popular culture-its folklore, idioms,
music, poetry, song-even when written is based on a tradition of
sound, an orality that has often been denigrated as not worthy of
serious study. In Noises in the Blood, Carolyn Cooper critically
examines the dismissed discourse of Jamaica's vibrant popular
culture and reclaims these cultural forms, both oral and textual,
from an undeserved neglect. Cooper's exploration of Jamaican
popular culture covers a wide range of topics, including Bob
Marley's lyrics, the performance poetry of Louise Bennett, Mikey
Smith, and Jean Binta Breeze, Michael Thelwell's novelization of
The Harder They Come, the Sistren Theater Collective's Lionheart
Gal, and the vitality of the Jamaican DJ culture. Her analysis of
this cultural "noise" conveys the powerful and evocative content of
these writers and performers and emphasizes their contribution to
an undervalued Caribbean identity. Making the connection between
this orality, the feminized Jamaican "mother tongue," and the
characterization of this culture as low or coarse or vulgar, she
incorporates issues of gender into her postcolonial perspective.
Cooper powerfully argues that these contemporary vernacular forms
must be recognized as genuine expressions of Jamaican culture and
as expressions of resistance to marginalization, racism, and
sexism. With its focus on the continuum of oral/textual performance
in Jamaican culture, Noises in the Blood, vividly and stylishly
written, offers a distinctive approach to Caribbean cultural
studies.
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