Afro-Caribbean Poetry and Ritual by P. Griffith

By P. Griffith

Concentrating on orally transmitted cultural kinds within the Caribbean, this ebook reaffirms the significance of delusion and image in people cognizance as a method of innovative conceptualization. Paul A. Griffith cross-references Kamau Brathwaite and Derek Walcott s postcolonial debates with concerns at seminal websites the place Caribbean imaginary insurgencies took root. This ebook demonstrates the methods residually oral types distilled heritage, society, and tradition to cleverly withstand aggressions authored via colonialist presumptions. In an research of the archetypal styles within the oral culture - either literary and nonliterary, this amazing publication supplies perception into the way humans take into consideration the area and characterize themselves in it.

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He speculates that she “believes that if she don’t do this,” her “‘poverty-stricken’ household . . would have somehow collapse” (29–30). Trope for a refiguring of space, time, and interval (the radical imaginative scope), structural irony here posits ground of freedom. Tidalectics is Brathwaite’s conception of such antinomies: a rhythmic pattern defined by both concord and discord in relation to natural, psychological, and political progressions. This visionary outline is epitome of the cultural form Lévi-Strauss describes as a double-structured event “altogether historical and ahistorical” (51).

In psychological terms, the elements of consciousness surrounding and obscuring one’s basic self were destroyed so that a new integrated personality could be reconstructed. This death-rebirth rhythm projects an organic or magically compensatory view of the world. The dawn climaxing Masks suggested this insight: discernment of a primary archetype of the living universe. Attaining such illumination signaled the creative energy that reversed the descent. The limbo stages the migrants’ experience as perception of this transitory ideal: their fixation in consciousness on a metaphysic of the cyclical.

This fluid nature associates the Nana with the temporal yet timeless personages of mythological transmutations. ” She appears thus as surrogate of “the gods who have become invisible”—condensed emanation or “form through whom the world destiny is realized” (Hero 315). Jamake Highwater explains this iconography of primary symbols: “Our bodies are the cosmos, for our mythologies about our place in the cosmos are inevitably transformed into anatomical metaphors” (201). This synedochic function of the body “reveals an important element of cultural symbolism,” he adds; and evoking Mary Douglas’s discernment, he posits, “Any culture is a series of related structures which comprise social forms, values, cosmology, the whole of knowledge and through which all experience is mediated.

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