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A fun and interactive book packed with ideas and material for making collages. Create your own artworks and collages with this fantastic and fun book from print designer Lizzie Lees. Collage Carnival invites the reader to create a range of collage projects, from city scapes and travel journals using holiday snaps, to glitter-filled cards for friends. Mixed in with hints and tips for getting started are pages that can be coloured, cut out, customized, drawn on and embellished. There are pages filled with stickers and pages with gatefolds, allowing you to create your own collage masterpieces. Some pages are perforated so they can be pulled out and hung on the wall. Create your own collage carnival!
In Collective Memory and the Historical Past intellectual historian Jeffrey Andrew Barash elaborates a philosophical basis for the concept of collective memory and delimits the specific scope of this concept in relation to the historical past. Barash begins with the concept of memory and the principal significations it has been accorded by different traditions of Western thought. He argues that the predominant philosophical arguments in given historical periods regarding the significance and scope of memory are more than abstract speculations, for they owe their persuasive force to the fundamental convictions they convey concerning the sense of human existence and of human interaction in the socio-political sphere. Barash argues that the paradox of collective memory requires an account of the multiple functions of the imagination which, far from limited to the production of fantasy or fiction, configures the patterns of symbolic interaction through which remembered experience is made communicable among vast groups. Using vivid examples drawn from recent history, literature, and art, this learned yet accessible work interjects clarity and originality into the hitherto vexed and confused theory of collective memory.
The essays in this volume present a thorough re-evaluation of the idea of place for the twenty-first century, linking across theoretical interests in space and spatialisation and in motion and mobility. ‘Placing’ becomes an active process that happens in different parts of the world, and there is work here from the countries of the United Kingdom, from Ireland, the USA, Australia and mainland Europe. Placing also happens in different contexts, in the Production of visual images, in translation, in performance and in poetry that is both ‘there’ and ‘here’. The range of poets under consideration matches the breadth of the range of the Contributors. International in scope, and drawn from a variety of practices and processes, their combination in a single volume leads to unusual connections and new readings of their work.
A collection of poetry, prose and short fiction by authors both famous and up and coming who performed at during the first three years of the famed Toronto literary festival.
Contributions by Darrell Gerohn Baksh, Jan de Cosmo, Frances Henry, Jeff Henry, Adanna Kai Jones, Samantha Noel, Dwaine Plaza, Philip W. Scher, and Asha St. Bernard Women are performing an ever-growing role in Caribbean Carnival. Through a feminist perspective, this volume examines the presence of women in contemporary Carnival by demonstrating not only their strength in numbers, but also the ways in which women participate in the event. While decried by traditionalists, the bikinis, beads, and feathers of “pretty mas’” convey both a newly found empowerment as a gendered resistance to oppression from men. Although research on Carnivals is substantial, especially in the Americas, the subject of women in Carnival as a topic of inquiry remains fairly new. These essays address anthropological and historical facets of women and their practices in the Trinidad Carnival, including an analysis of how women’s costuming and performance have changed over time. The modern costumes, which are well within the financial means of most mas’ players, demonstrate the new power of women who can now afford these outfits. In discussing the commodification and erotization of Carnival, the book emphasizes the unveiling of the female body and the hip-rolling sexual movements called winin or it. Through display of their bodies, contemporary women in Carnival express a form of female resistance. Intent on enjoying and expressing themselves, they seem invigorated by their place in the economy, as well as their sexuality, defying the moral controls imposed on them. Through an array of methods in qualitative research, including interviews, participant observation, and ethnography, this volume explains the new power of women in the evolution of Carnival mas’ in Trinidad amid the wider Caribbean diaspora.
Essays and a catalog serving three exhibits: Music in the Life of Africa (UCLA Fowler Museum of Cultural History), The Fine Art of African Musical Instruments (Los Angeles County Museum of Art), and African Music in the Diaspora (California African American Museum).

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