Joy Mahabir - Academia.edu (original) (raw)

Papers by Joy Mahabir

Small Axe: A Caribbean Journal of Criticism, Jul 1, 2017

Styles of Indo-Caribbean jewelry created during indentureship have been continually reproduced up... more Styles of Indo-Caribbean jewelry created during indentureship have been continually reproduced up to the present. Exploring the demand and desire for these styles, this essay suggests that there is a communal aesthetic underlying the production of the jewelry, influenced by the perception of the jewelry as a commentary on sociohistorical realities and gendered labor practices. Artists working in the diaspora, including British-Guyanese jeweler Vannetta Seecharran, have created experimental pieces that still retain the minimalist and communal aesthetics traditionally associated with Indo-Caribbean jewelry.

Anthurium A Caribbean Studies Journal, 2010

Anthurium A Caribbean Studies Journal, 2010

Critical Perspectives on Indo-Caribbean Women's Literature, 2012

Postcolonial Studies, 2004

Peter Hitchcock's Imaginary States: Studies in Cultural Transnationalism displays the same ki... more Peter Hitchcock's Imaginary States: Studies in Cultural Transnationalism displays the same kind of bold theoretical speculation that characterises his previous works. Themes that have become intrinsic to his writing, especially concepts of culture, socio-political con®gurations and global processes, are now rigorously connected and explored in this text. Hitchcock argues that transnational cultural studies can expose the differences and disjunctures in global culture and therefore lead to a radical understanding and critique of globalisation. Such a critique can displace current discourses on transnationalism that are centred on economic relations, and are supportive of global capitalism. The `imaginary states' of the title therefore refer to the alternative possibilities of transnationalism that emerge through cultural forms and that might counter the ideologies of global capitalism. In the ®rst part of his Introduction, Hitchcock carefully elaborates the main theoretical terms used in his study, insisting upon the idea of a `transnational imaginary' within cultural studies that is valuable because it is de®ned by an openended process of interrogations and disjunctions. In a sense Hitchcock theoretically rehearses what he advocates, since it appears that Imaginary States itself enters this transnational imaginary space through the juxtaposition of the cultural forms discussed in its six chapters. The ®rst three chapters are focused on the work of Caribbean writers Edouard Glissant, Kamau Brathwaite and Maryse Conde respectively. Chapter four then turns to the ideas explored by Algerian writer Assia Djebar, while chapter ®ve considers the production of shoes and chapter six the production of coffee. By considering these texts together, Hitchcock shows that there are disjunctive transnational imaginary spaces that nevertheless intersect on global and local levels within complicated theoretical parameters. These parameters appear to have material registers in Caribbean culture, which Hitchcock describes as the `archetype for non-prescriptive cultural transnationalism' (21). The second part of the introduction therefore delineates the main features of `Caribbeanness' that justify Hitchcock's emphasis on Caribbean cultural forms in the ®rst three chapters. Hitchcock's ideas of `Caribbeanness' rely mainly on the work of Antonio Benõ Âtez-Rojo, whose theories celebrate the Caribbean as a zone of supersyncretism, discontinuities and postmodern

Small Axe, 2017

Abstract: Styles of Indo-Caribbean jewelry created during indentureship have been continually rep... more Abstract: Styles of Indo-Caribbean jewelry created during indentureship have been continually reproduced up to the present. Exploring the demand and desire for these styles, this essay suggests that there is a communal aesthetic underlying the production of the jewelry, influenced by the perception of the jewelry as a commentary on sociohistorical realities and gendered labor practices. Artists working in the diaspora, including British-Guyanese jeweler Vannetta Seecharran, have created experimental pieces that still retain the minimalist and communal aesthetics traditionally associated with Indo-Caribbean jewelry.

Anthurium A Caribbean Studies Journal, 2010

Small Axe: A Caribbean Journal of Criticism, Jul 1, 2017

Styles of Indo-Caribbean jewelry created during indentureship have been continually reproduced up... more Styles of Indo-Caribbean jewelry created during indentureship have been continually reproduced up to the present. Exploring the demand and desire for these styles, this essay suggests that there is a communal aesthetic underlying the production of the jewelry, influenced by the perception of the jewelry as a commentary on sociohistorical realities and gendered labor practices. Artists working in the diaspora, including British-Guyanese jeweler Vannetta Seecharran, have created experimental pieces that still retain the minimalist and communal aesthetics traditionally associated with Indo-Caribbean jewelry.

Anthurium A Caribbean Studies Journal, 2010

Anthurium A Caribbean Studies Journal, 2010

Critical Perspectives on Indo-Caribbean Women's Literature, 2012

Postcolonial Studies, 2004

Peter Hitchcock's Imaginary States: Studies in Cultural Transnationalism displays the same ki... more Peter Hitchcock's Imaginary States: Studies in Cultural Transnationalism displays the same kind of bold theoretical speculation that characterises his previous works. Themes that have become intrinsic to his writing, especially concepts of culture, socio-political con®gurations and global processes, are now rigorously connected and explored in this text. Hitchcock argues that transnational cultural studies can expose the differences and disjunctures in global culture and therefore lead to a radical understanding and critique of globalisation. Such a critique can displace current discourses on transnationalism that are centred on economic relations, and are supportive of global capitalism. The `imaginary states' of the title therefore refer to the alternative possibilities of transnationalism that emerge through cultural forms and that might counter the ideologies of global capitalism. In the ®rst part of his Introduction, Hitchcock carefully elaborates the main theoretical terms used in his study, insisting upon the idea of a `transnational imaginary' within cultural studies that is valuable because it is de®ned by an openended process of interrogations and disjunctions. In a sense Hitchcock theoretically rehearses what he advocates, since it appears that Imaginary States itself enters this transnational imaginary space through the juxtaposition of the cultural forms discussed in its six chapters. The ®rst three chapters are focused on the work of Caribbean writers Edouard Glissant, Kamau Brathwaite and Maryse Conde respectively. Chapter four then turns to the ideas explored by Algerian writer Assia Djebar, while chapter ®ve considers the production of shoes and chapter six the production of coffee. By considering these texts together, Hitchcock shows that there are disjunctive transnational imaginary spaces that nevertheless intersect on global and local levels within complicated theoretical parameters. These parameters appear to have material registers in Caribbean culture, which Hitchcock describes as the `archetype for non-prescriptive cultural transnationalism' (21). The second part of the introduction therefore delineates the main features of `Caribbeanness' that justify Hitchcock's emphasis on Caribbean cultural forms in the ®rst three chapters. Hitchcock's ideas of `Caribbeanness' rely mainly on the work of Antonio Benõ Âtez-Rojo, whose theories celebrate the Caribbean as a zone of supersyncretism, discontinuities and postmodern

Small Axe, 2017

Abstract: Styles of Indo-Caribbean jewelry created during indentureship have been continually rep... more Abstract: Styles of Indo-Caribbean jewelry created during indentureship have been continually reproduced up to the present. Exploring the demand and desire for these styles, this essay suggests that there is a communal aesthetic underlying the production of the jewelry, influenced by the perception of the jewelry as a commentary on sociohistorical realities and gendered labor practices. Artists working in the diaspora, including British-Guyanese jeweler Vannetta Seecharran, have created experimental pieces that still retain the minimalist and communal aesthetics traditionally associated with Indo-Caribbean jewelry.

Anthurium A Caribbean Studies Journal, 2010