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Preface: Informing cultural studies: a politics of betrayal? | ||
Acknowledgments | ||
Introduction: Oral/sexual discourse in Jamaican popular culture | 1 | |
1 | 'Me know no law, me know no sin': transgressive identities and the voice of innocence: the historical context | 19 |
2 | 'Culture an tradition an birthright': proverb as metaphor in the poetry of Louise Bennett | 37 |
3 | That cunny Jamma oman: representations of female sensibility in the poetry of Louise Bennett | 47 |
4 | Words unbroken by the beat: the performance poetry of Jean Binta Breeze and Mikey Smith | 68 |
5 | Writing oral history: Sistren Theatre Collective's Lionheart Gal | 87 |
6 | Country come to town: Michael Thelwell's The Harder They Come | 96 |
7 | Chanting down Babylon: Bob Marley's song as literary text | 117 |
8 | Slackness hiding from culture: erotic play in the dancehall | 136 |
9 | From 'centre' to 'margin': turning history upside down | 174 |
Appendix 1: Proverbs from Louise Bennett | 200 | |
Appendix 2: Jamaican proverbs: a gender perspective | 202 | |
Bibliography | 205 | |
Index | 210 |
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Add Noises in the Blood: Orality, Gender, and the Vulgar Body of Jamaican Popular Culture, The language of Jamaican popular culture—its folklore, idioms, music, poetry, song—even when written is based on a tradition of sound, an orality that has often been denigrated as not worthy of serious study. In Noises in the Blood, Carolyn Cooper , Noises in the Blood: Orality, Gender, and the Vulgar Body of Jamaican Popular Culture to the inventory that you are selling on WonderClubX
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Add Noises in the Blood: Orality, Gender, and the Vulgar Body of Jamaican Popular Culture, The language of Jamaican popular culture—its folklore, idioms, music, poetry, song—even when written is based on a tradition of sound, an orality that has often been denigrated as not worthy of serious study. In Noises in the Blood, Carolyn Cooper , Noises in the Blood: Orality, Gender, and the Vulgar Body of Jamaican Popular Culture to your collection on WonderClub |