As an avid reader, I believe in the power of knowledge. I am a teacher of Literature and Communications who hopes to transform the way students think about the English Language and Caribbean Creole varieties. Address: Jamaica
There has been many discursive arguments surrounding how best to regard Creole languages. DeGraf... more There has been many discursive arguments surrounding how best to regard Creole languages. DeGraff (2005) in his article 'Linguists' most dangerous myth: The fallacy of Creole Exceptionalism' affirms that Creole exceptionalism propagandised by various scholars is a platitudinous discourse with direct correlation to "racism and slavery" (p.534). DeGraff sets out to debunk five canonical tropes surrounding these myths in order to redefine people's views by arguing that there is no difference between Creoles and other languages. These myths relegate Creoles to 'degenerate offshoots', 'linguistic dodos', 'Special hybrids' formed by 'abnormal transmission' and are 'contemporary ursprachen'. Hence, the tenets of DeGraff's arguments rest on a more intellectual assessment of Creoles specifically Haitian Creole (HC). In order to expedite his arguments, DeGraff segments his paper into several Philological sub-topics: "Neo-colonial vs. postcolonial" theories and "Neo-colonial anti-Creolistics". Next he explores the "Socio-historical and epistemological background" of Creolitics and concludes with alternate ways to reform our thinking. He generalizes that marginal assessments of Creoles are responsible for the Neo-colonial dogmas plaguing our society. Thus, to combat this, Creole speakers must "become active participants in the reflexive, Cartesian-Uniformitarian" (p. 579). DeGraff's arguments effectively prove that Creoles meet the needs of their speakers and are not 'caricatures' but are real languages. This contextualizes his discourse, so that, he is able to peel back the layers of trite beliefs disseminated by hegemonic narratives.
's ekphrastic poem, " Musee des Beaux Arts " meaning The Museum of Fine Arts, showcases the indif... more 's ekphrastic poem, " Musee des Beaux Arts " meaning The Museum of Fine Arts, showcases the indifference with which humans perceive suffering. This title, though fancy, is quite ironic in that, the subject it outlines does not reflect anything that of which is fine. Auden, through an unnoticed persona or third person, critically recaptures , with careful poetic dexterity, Pieter Brueghel's painting which outlines a farmer, a sailing ship, a shining sun and a drowning boy. Auden illustrates this same scenario in his poem. After careful observation, he paints a general picture of how suffering is common – placed to the daily practices of human beings. The painting done by Brueghel seems to be the inspiration for Auden's poem. The poem, written in third person, starts off by giving general views about suffering and how it happens while humans and animals are carrying on with their day to day routines: " how it takes place/ while someone else is eating or opening a window or just/ walking dully along/ where the dogs go on with their doggy life... " (Lines 4, 5, 13). This speaks directly to how universal the subject of the poem is. Auden gives his personal conviction when he suggests that " The Old Masters " , written in capital letters, this suggests experts of the past like Brueghel, who is the only one who knows about and understands the hardship and suffering people face. The persona also speaks about how nonchalantly children react to suffering as opposed to elderly folks who await another birth while turning a blind eye to human suffering. In addition, the second section of the poem moves away from a general commentary to an analogy, narrowing its focus to " Brueghel's Icarus ". This further concretizes and exemplifies the situational irony of how " the plowman "-an ordinary person-and " the expensive delicate ship " –
The paper contains an analysis of The Character Daisy from The Great Gatsby. Victim or Victi... more The paper contains an analysis of The Character Daisy from The Great Gatsby. Victim or Victimizer is the topic of discussion. what makes her either or both?
Keb r in a Ba iley ID# 6 2 00 1 3 4 4 4 Tu tor ia l p r es en ta tion # 2 : An a lys is of "Th e ... more Keb r in a Ba iley ID# 6 2 00 1 3 4 4 4 Tu tor ia l p r es en ta tion # 2 : An a lys is of "Th e Ha r lem Da n cer " b y Cla u d e McKa y ______________________________________________________________________________
The media is regarded as the fulcrum of today’s communication process where people worldwide are ... more The media is regarded as the fulcrum of today’s communication process where people worldwide are finding ways and means of crossing boundaries, crisscrossing and cross talking in order to build connections. The Caribbean region is no different since we seem to be quite technologically savvy. As a Caribbean, we are trying to make world-class advancements in the ways we communicate; however, we often times find ourselves at crossroads that can deter our progress. While Britain attempts to break ties in an effort to be ‘great’ again, the Caribbean realized years ago the benefits of coming together as a region. This communal spirit is seen in our efforts with the signing of the 1973 Treaty of Chaguaramas (birth child Caribbean Community- CARICOM) and our Caribbean Free Trade Association- CARIFTA. With these efforts, we can cross paths easily. Therefore, in this paper I will argue for us to focus on the concept of ‘crossroads’ as having several metaphorical meanings that we can explore to create change by utilizing Augmented Reality tools and the media. I will also argue that our ‘crossroads’ are opportunities to take different routes and embark upon new and diverse ways of seeing ourselves as a Caribbean community. Data gathered via a simple survey is tabulated and presented to justify the use of technology in making life easier. This will allow us to realize what the media can truly do for us in times of crises. Hence, media can be a vehicle for neo-liberalism, educational advancements, cultural expansion and a platform for not just net-surfing but an actual meeting space for networking.
There has been many discursive arguments surrounding how best to regard Creole languages. DeGraf... more There has been many discursive arguments surrounding how best to regard Creole languages. DeGraff (2005) in his article 'Linguists' most dangerous myth: The fallacy of Creole Exceptionalism' affirms that Creole exceptionalism propagandised by various scholars is a platitudinous discourse with direct correlation to "racism and slavery" (p.534). DeGraff sets out to debunk five canonical tropes surrounding these myths in order to redefine people's views by arguing that there is no difference between Creoles and other languages. These myths relegate Creoles to 'degenerate offshoots', 'linguistic dodos', 'Special hybrids' formed by 'abnormal transmission' and are 'contemporary ursprachen'. Hence, the tenets of DeGraff's arguments rest on a more intellectual assessment of Creoles specifically Haitian Creole (HC). In order to expedite his arguments, DeGraff segments his paper into several Philological sub-topics: "Neo-colonial vs. postcolonial" theories and "Neo-colonial anti-Creolistics". Next he explores the "Socio-historical and epistemological background" of Creolitics and concludes with alternate ways to reform our thinking. He generalizes that marginal assessments of Creoles are responsible for the Neo-colonial dogmas plaguing our society. Thus, to combat this, Creole speakers must "become active participants in the reflexive, Cartesian-Uniformitarian" (p. 579). DeGraff's arguments effectively prove that Creoles meet the needs of their speakers and are not 'caricatures' but are real languages. This contextualizes his discourse, so that, he is able to peel back the layers of trite beliefs disseminated by hegemonic narratives.
's ekphrastic poem, " Musee des Beaux Arts " meaning The Museum of Fine Arts, showcases the indif... more 's ekphrastic poem, " Musee des Beaux Arts " meaning The Museum of Fine Arts, showcases the indifference with which humans perceive suffering. This title, though fancy, is quite ironic in that, the subject it outlines does not reflect anything that of which is fine. Auden, through an unnoticed persona or third person, critically recaptures , with careful poetic dexterity, Pieter Brueghel's painting which outlines a farmer, a sailing ship, a shining sun and a drowning boy. Auden illustrates this same scenario in his poem. After careful observation, he paints a general picture of how suffering is common – placed to the daily practices of human beings. The painting done by Brueghel seems to be the inspiration for Auden's poem. The poem, written in third person, starts off by giving general views about suffering and how it happens while humans and animals are carrying on with their day to day routines: " how it takes place/ while someone else is eating or opening a window or just/ walking dully along/ where the dogs go on with their doggy life... " (Lines 4, 5, 13). This speaks directly to how universal the subject of the poem is. Auden gives his personal conviction when he suggests that " The Old Masters " , written in capital letters, this suggests experts of the past like Brueghel, who is the only one who knows about and understands the hardship and suffering people face. The persona also speaks about how nonchalantly children react to suffering as opposed to elderly folks who await another birth while turning a blind eye to human suffering. In addition, the second section of the poem moves away from a general commentary to an analogy, narrowing its focus to " Brueghel's Icarus ". This further concretizes and exemplifies the situational irony of how " the plowman "-an ordinary person-and " the expensive delicate ship " –
The paper contains an analysis of The Character Daisy from The Great Gatsby. Victim or Victi... more The paper contains an analysis of The Character Daisy from The Great Gatsby. Victim or Victimizer is the topic of discussion. what makes her either or both?
Keb r in a Ba iley ID# 6 2 00 1 3 4 4 4 Tu tor ia l p r es en ta tion # 2 : An a lys is of "Th e ... more Keb r in a Ba iley ID# 6 2 00 1 3 4 4 4 Tu tor ia l p r es en ta tion # 2 : An a lys is of "Th e Ha r lem Da n cer " b y Cla u d e McKa y ______________________________________________________________________________
The media is regarded as the fulcrum of today’s communication process where people worldwide are ... more The media is regarded as the fulcrum of today’s communication process where people worldwide are finding ways and means of crossing boundaries, crisscrossing and cross talking in order to build connections. The Caribbean region is no different since we seem to be quite technologically savvy. As a Caribbean, we are trying to make world-class advancements in the ways we communicate; however, we often times find ourselves at crossroads that can deter our progress. While Britain attempts to break ties in an effort to be ‘great’ again, the Caribbean realized years ago the benefits of coming together as a region. This communal spirit is seen in our efforts with the signing of the 1973 Treaty of Chaguaramas (birth child Caribbean Community- CARICOM) and our Caribbean Free Trade Association- CARIFTA. With these efforts, we can cross paths easily. Therefore, in this paper I will argue for us to focus on the concept of ‘crossroads’ as having several metaphorical meanings that we can explore to create change by utilizing Augmented Reality tools and the media. I will also argue that our ‘crossroads’ are opportunities to take different routes and embark upon new and diverse ways of seeing ourselves as a Caribbean community. Data gathered via a simple survey is tabulated and presented to justify the use of technology in making life easier. This will allow us to realize what the media can truly do for us in times of crises. Hence, media can be a vehicle for neo-liberalism, educational advancements, cultural expansion and a platform for not just net-surfing but an actual meeting space for networking.
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