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Este artículo propone un examen del romance “A un salto por donde se despeña el arroyo de Chillo”, propuesta estética de Hernando Domínguez Camargo, como parte de la concepción de este poeta criollo del paisaje americano como medio didáctico en contra de la arrogancia. This article proposes an exam of the romance “A un salto por donde se despeña el arroyo de Chillo”, written by Hernando Domínguez Camargo, as part of the American creole poet’s vision as an instructive means against arrogance.

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.

Beginning after World War I, Houston was transformed from a black-and-white frontier town into one of the most ethnically and racially diverse urban areas in the United States.Houston Bounddraws on social and cultural history to show how, despite Anglo attempts to fix racial categories through Jim Crow laws, converging migrations-particularly those of Mexicans and Creoles-complicated ideas of blackness and whiteness and introduced different understandings about race. This migration history also uses music and sound to examine these racial complexities, tracing the emergence of Houston's blues and jazz scenes in the 1920s as well as the hybrid forms of these genres that arose when migrants forged shared social space and carved out new communities and politics.This interdisciplinary book provides both an innovative historiography about migration and immigration in the twentieth century and a critical examination of a city located in the former Confederacy.

Who are the Black heroines of Latin America and the Caribbean? Where do we turn for models of transcendence among women of African ancestry in the region? In answer to the historical dearth of such exemplars, Mayaya Rising explores and celebrates the work of writers who intentionally center powerful female cultural archetypes. In this inventive analysis, Duke proposes three case studies and a corresponding womanist methodology through which to study and rediscover these figures. The musical Cuban-Dominican sisters and former slaves Teodora and Micaela Ginés inspired Aida Cartagena Portalatin's epic poem Yania tierra; the Nicaraguan matriarch of the May Pole, \"Miss Lizzie,\" figures prominently in four anthologies from the country's Bluefields region; and the iconic palenqueras of Cartagena, Colombia are magnified in the work of poets María Teresa Ramírez Neiva and Mirian Díaz Pérez. In elevating these figures and foregrounding these works, Duke restores and repairs the scholarly record.

Geographies of Philological Knowledge examines the relationship between medievalism and colonialism in the nineteenth-century Hispanic American context through the striking case of the Creole Andrés Bello (1781–1865), a Venezuelan grammarian, editor, legal scholar, and politician, and his lifelong philological work on the medieval heroic narrative that would later become Spain's national epic, the Poem of the Cid. Nadia R. Altschul combs Bello's study of the poem and finds throughout it evidence of a \"coloniality of knowledge.\" Altschul reveals how, during the nineteenth century, the framework for philological scholarship established in and for core European nations—France, England, and especially Germany—was exported to Spain and Hispanic America as the proper way of doing medieval studies. She argues that the global designs of European philological scholarship are conspicuous in the domain of disciplinary historiography, especially when examining the local history of a Creole Hispanic American like Bello, who is neither fully European nor fully alien to European culture. Altschul likewise highlights Hispanic America's intellectual internalization of coloniality and its understanding of itself as an extension of Europe. A timely example of interdisciplinary history, interconnected history, and transnational study, Geographies of Philological Knowledge breaks with previous nationalist and colonialist histories and thus forges a new path for the future of medieval studies.

This chapter contains sections titled: Context Culture Conquest References Further Reading

This chapter contains sections titled: Introduction The Background Basic Clause Structure Complex Constructions Conclusion References

Recognizing theatres as sites of cultural exchange that could cross oceans and borders, Creole Drama offers not only a detailed history of francophone theatre in New Orleans but an account of the surprising ways in which multilingualism and early transnational networks helped create the American nation.

\"We're seeing people that we didn't know exist,\" the director of FEMA acknowledged in the wake of Hurricane Katrina. Sacral Grooves, Limbo Gateways offers a corrective to some of America's institutionalized invisibilities by delving into the submerged networks of ritual performance, writing, intercultural history, and migration that have linked the coastal U.S. South with the Caribbean and the wider Atlantic world. This interdisciplinary study slips beneath the bar of rigid national and literary periods, embarking upon deeper-more rhythmic and embodied-signatures of time. It swings low through ecologies and symbolic orders of creolized space. And it reappraises pluralistic modes of knowledge, kinship, and authority that have sustained vital forms of agency (such as jazz) amid abysses of racialized trauma. Drawing from Haitian Vodou and New Orleanian Voudou and from Cuban and South Floridian Santería, as well as from Afro-Baptist (Caribbean, Geechee, and Bahamian) models of encounters with otherness, this book reemplaces deep-southern texts within the counterclockwise ring-stepping of a long Afro-Atlantic modernity. Turning to an orphan girl's West African initiation tale to follow a remarkably traveled body of feminine rites and writing (in works by Paule Marshall, Zora Neale Hurston, Lydia Cabrera, William Faulkner, James Weldon Johnson, and LeAnne Howe, among others), Cartwright argues that only in holistic form, emergent from gulfs of cross-cultural witness, can literary and humanistic authority find legitimacy. Without such grounding, he contends, our educational institutions blind and even poison students, bringing them to \"swallow lye,\" like the grandson of Phoenix Jackson in Eudora Welty's \"A Worn Path.\" Here, literary study may open pathways to alternative medicines-fetched by tenacious avatars like Phoenix (or an orphan Kumba or a shell-shaking Turtle)-to remedy the lies our partial histories have made us swallow.