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It would be easy to assume that, in the eighteenth century, slavery and the culture of taste--the world of politeness, manners, and aesthetics--existed as separate and unequal domains, unrelated in the spheres of social life. But to the contrary,Slavery and the Culture of Tastedemonstrates that these two areas of modernity were surprisingly entwined. Ranging across Britain, the antebellum South, and the West Indies, and examining vast archives, including portraits, period paintings, personal narratives, and diaries, Simon Gikandi illustrates how the violence and ugliness of enslavement actually shaped theories of taste, notions of beauty, and practices of high culture, and how slavery's impurity informed and haunted the rarified customs of the time. Gikandi focuses on the ways that the enslavement of Africans and the profits derived from this exploitation enabled the moment of taste in European--mainly British--life, leading to a transformation of bourgeois ideas regarding freedom and selfhood. He explores how these connections played out in the immense fortunes made in the West Indies sugar colonies, supporting the lavish lives of English barons and altering the ideals that defined middle-class subjects. Discussing how the ownership of slaves turned the American planter class into a new aristocracy, Gikandi engages with the slaves' own response to the strange interplay of modern notions of freedom and the realities of bondage, and he emphasizes the aesthetic and cultural processes developed by slaves to create spaces of freedom outside the regimen of enforced labor and truncated leisure. Through a close look at the eighteenth century's many remarkable documents and artworks,Slavery and the Culture of Tastesets forth the tensions and contradictions entangling a brutal practice and the distinctions of civility.

The image of the Caribbean figure has been reconfigured by photography from the mid-19th century onwards. Initial images associated with the slave and indentured worker from the locations and legacies associated with plantation economies have been usurped by visual representations emerging from struggles for social, political and cultural autonomy. Contemporary visual artists engaging with the Caribbean as a 21st century globalised space have focused on visually re-imagining historical material and events as memories, histories and dreamscapes. Creole in the Archive uses photographic analysis to explore portraits, postcards and social documentation of the colonial worker between 1850 and 1960 and contemporary, often digital, visual art by post-independent, postcolonial Caribbean artists. Drawing on Derridean ideas of the archive, the book reconceptualises the Caribbean visual archive as contiguous and relational. It argues that using a creolising archive practice, the conjuncture of contemporary artworks, historical imagery and associated locations can develop insightful new multimodal representations of Caribbean subjectivities.

The focus of this study is upon those pidgins and creoles which are English based and which have arisen since the fifteenth century. The book examines the widespread nature of the pidgin/creole phenomenon and evaluates the current definitions of the terms and the theories which have been advanced to account for their existence. The author considers the potential of pidgins and creoles as literary media and as vehicles for education. She looks at the sociological and psychological implications of using pidgins and creoles in the classroom and examines the position of American `Black English' and `London Jamaican' in the pidgin/creole continuum.

The Creole architecture of New Orleans is one of the city’s most-recognized features, but studies of it largely have focused on architectural typology. In Building Antebellum New Orleans, Tara A. Dudley examines the architectural activities and influence of gens de couleur libres—free people of color—in a city where the mixed-race descendants of whites and other free Blacks could own property.Between 1820 and 1850 New Orleans became an urban metropolis and industrialized shipping center with a growing population. Amidst dramatic economic and cultural change in the mid-antebellum period, the gens de couleur libres thrived as property owners, developers, building artisans, and patrons. Dudley writes an intimate microhistory of two prominent families of Black developers, the Dollioles and Souliés, to explore how gens de couleur libres used ownership, engagement, and entrepreneurship to construct individual and group identity and stability. With deep archival research, Dudley re-creates in fine detail the material culture, business and social history, and politics of the built environment for free people of color and adds new, revelatory information to the canon on New Orleans architecture.

The Creoles of color of Louisiana claim an ethnohistory marked by the group's continuing marginal status, a marginality that served from the beginning as the primary basis of Creole ethnic identity. This has caused them to seek a new identity as part of the larger black community, while maintaining their traditions and distinctiveness as a special group within that community. (Abstract amended)

Analyses the contention that there is a pervasive, paralinguistic, cultural substrate linking Caribbean creoles (Anglophonic or Francophonic) with their African origins. Looks at the complementary relationship between psychological physical realities in the book and its use of the imagery of 'cleansing'. (SJK)

Reports on dialect-speaking groups who do poorly in high school while giving their teachers an impression that they have great intellectual ability and doing well on formal operational tasks. Examined the relation between stage of cognitive development, transfer ability, production ability in Standard English, and school achievement among speakers of Hawaiin Creole English. Suggests that transfer ability is the missing ingredient in school performance, and that a habit of active encoding in the classroom facilitates transfer. (Abstract amended)

Many Aboriginal Australian communities are undergoing language shift from traditional Indigenous languages to contact varieties such as Kriol, an English-lexified Creole. Kriol is reportedly characterised by lexical items with highly variable phonological specifications, and variable implementation of voicing and manner contrasts in obstruents (Sandefur, 1986). A language, such as Kriol, characterised by this unusual degree of variability presents Kriol-acquiring children with a potentially difficult language-learning task, and one which challenges the prevalent theories of acquisition. To examine stop consonant acquisition in this unusual language environment, we present a study of Kriol stop and affricate production, followed by a mispronunciation detection study, with Kriol-speaking children (ages 4-7) from a Northern Territory community where Kriol is the lingua franca. In contrast to previous claims, the results suggest that Kriol-speaking children acquire a stable phonology and lexemes with canonical phonemic specifications, and that English experience would not appear to induce this stability.

This book addresses the unique and profound indeterminacy of “Creole,” a label applied to white, black, and mixed-race persons born in French colonies during the nineteenth century. Creole” implies that the geography of one’s birth determines identity in ways that supersede race, language, nation, and social status. Paradoxically, the very capaciousness of the term engendered a perpetual search for visual signs of racial difference as well as a pretense to blindness about the intermingling of races in Creole society. Darcy Grimaldo Grigsby reconstructs the search for visual signs of racial difference among people whose genealogies were often repressed. She explores French representations of Creole subjects and representations by Creole artists in France, the Caribbean, and the Americas. To do justice to the complexity of Creole identity, Grigsby interrogates the myriad ways in which people defined themselves in relation to others. With close attention to the differences between Afro-Creole and Euro-Creole cultures and persons, Grigsby examines figures such as Théodore Chassériau, Guillaume Guillon-Lethière, Alexandre Dumas père, Édouard Manet, Edgar Degas, the models Joseph and Laure, Josephine Bonaparte, Jeanne Duval, and Adah Isaacs Menken. Based on extensive archival research, Creole is an original and important examination of colonial identity. This essential study will be welcomed by specialists in nineteenth-century art history, French cultural history, the history of race, and transatlantic history more generally.