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Caribbean Studies SeriesTraditional, interdisciplinary, and comparative approaches to the politics, history, literature, philosophies, and popular culture of the Caribbean. Series editors: Shona Jackson, Assistant Professor of English at Texas A&M University; Anton Allahar, Professor of Sociology at the University of Western Ontario. Projects in this series will be scholarly works and edited volumes covering politics, history, literary criticism, anthropology, and more broadly cultural studies. In addition to these traditional fields, the series will encourage manuscripts that embody interdisciplinary and comparative approaches to understanding the Caribbean, its history, philosophies, its racial, ethnic, and national identities, political economies, literature, and popular culture including, but not limited to, visual arts, music, religion, and folklore. The series seeks works offering new approaches to the study of migration, diaspora formation, theater, dance and pageantry, gender, sexuality, and history, both written and oral. It also welcomes new critical and biographical works revealing the lives and thoughts of leading Caribbean figures past and present. The Artistry of Afro-Cuban Bata Drumming: Aesthetics, transmission, Bonding, and creativity The Black Carib Wars: Freedom, Survival, and the Making of the Garifuna The Caribbean Novel since 1945: Cultural Practice, Form, and the Nation-State Caribbean Visionary: A. R. F. Webber and the Making of the Guyanese Nation Decolonization in St. Lucia: Politics and Global Neoliberalism, 1945-2010 Patrick Chamoiseau: A Critical Introduction People Get Ready: African American and Caribbean Cultural Exchange Queen of the Virgins: Pageantry and Black Womanhood in the Caribbean Voice of the Leopard: African Secret Societies and Cuba Wolf Tracks: Popular Art and Re-Africanization in Twentieth-Century Panama |
READ OUR BLOGOn the Horizon: Scotty and ElvisWhen Elvis Presley first showed up at Sam Phillips’s Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called “That’s All (read more...) |



