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in Dominican Pride and Shame: Gender, Race, and LGBT Activism in Santo Domingo
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2018
Figure 1 DR Pride logos 2016. Photograph posted on Facebook by the author. Santo Domingo, Dominican Republic. Figure 1. DR Pride logos 2016. Photograph posted on Facebook by the author. Santo Domingo, Dominican Republic.
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in Pays-là chaviré : Revolutionary Politics in Nineteenth-Century Haitian Creole Popular Music
> Small Axe: A Caribbean Journal of Criticism
Published: 01 March 2016
“Blanc-Français”; music transcribed by the author. From Jean Prax, “Ahiti: Etudes sur la civilisation des Noirs” (unpublished manuscript, dated 1857), 717. By permission of the Archives diplomatiques, Ministère des affaires étrangères, La Courneuve, France “Blanc-Français”; music transcribed
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Journal Article
Small Axe (2018) 22 (3 (57)): 81–89.
Published: 01 November 2018
...Anthony Harriott; Rivke Jaffe In this brief essay, the authors analyze encounters between Tivoli Gardens residents and members of the Jamaican police and military during the West Kingston security operation of May 2010 (the so-called Tivoli Incursion), understanding these (often violent...
Journal Article
Small Axe (2006) 10 (2): 19–39.
Published: 01 June 2006
...Raphael Dalleo Small Axe Incorporated 2006 Authority and the Occasion
for Speaking in the Caribbean
Literary Field: Martin Carter and
George Lamming
Raphael Dalleo
The dismantling of the colonial system and the emerging dominance of the postcolonial in
the decades following...
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Published: 01 July 2022
Figure 7 “Indian Type Trinidad,” a postcard from the author’s private collection
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in Against Type: Reading Desire in the Visual Archives of Dominican Subjects
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2018
Figure 5 Author’s family in El Cercado, Dominican Republic, 1962. Photographer unknown. Author’s family collection, Santo Domingo. Figure 5. Author’s family in El Cercado, Dominican Republic, 1962. Photographer unknown. Author’s family collection, Santo Domingo.
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in Making History Visible: Caribbean Artist Josef Nassy’s Visual Diary of Nazi Internment
> Small Axe: A Caribbean Journal of Criticism
Published: 01 March 2021
Figure 1 Polish graffiti in Tittmoning Castle, Tittmoning, Bavaria, Germany, June 2019. Photograph by the author Figure 1. Polish graffiti in Tittmoning Castle, Tittmoning, Bavaria, Germany, June 2019. Photograph by the author
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in Black Caribs / Garifuna: Maroon Geographies of Indigenous Blackness
> Small Axe: A Caribbean Journal of Criticism
Published: 01 November 2021
Figure 1 Garifuna ancestral ritual gathering in Orchard Beach, the Bronx, in June 2018. Photograph courtesy of the author Figure 1. Garifuna ancestral ritual gathering in Orchard Beach, the Bronx, in June 2018. Photograph courtesy of the author
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in Redefining Mestizaje : How Trans-Caribbean Exchanges Solidified Black Consciousness in Cuba
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2021
Figure 2 My teenage son, Camoren Keodouangsy, pictured here with Morejón, joined us for the four-hour interview. Photograph by the author Figure 2. My teenage son, Camoren Keodouangsy, pictured here with Morejón, joined us for the four-hour interview. Photograph by the author
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in Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2021
Figure 6 Front and back covers of the Mighty Sparrow’s Sparrow , 1960 (RCA Victor, Trinidad and Tobago, LPB-9035). Photograph by the author Figure 6. Front and back covers of the Mighty Sparrow’s Sparrow, 1960 (RCA Victor, Trinidad and Tobago, LPB-9035). Photograph by the author
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in Black Caribs / Garifuna: Maroon Geographies of Indigenous Blackness
> Small Axe: A Caribbean Journal of Criticism
Published: 01 November 2021
Figure 2 Members of the Joseph Chatoyer Dance Company participate in Garifuna Settlement Day at Brooklyn Borough Hall, 2014. Photograph courtesy of the author Figure 2. Members of the Joseph Chatoyer Dance Company participate in Garifuna Settlement Day at Brooklyn Borough Hall, 2014. Photograph
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in Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2021
Figure 1 Front and back covers of the Mighty Sparrow’s Great Calypsoes , 1963 (RCA Victor, Trinidad and Tobago, LPB-3107). Photograph by the author Figure 1. Front and back covers of the Mighty Sparrow’s Great Calypsoes, 1963 (RCA Victor, Trinidad and Tobago, LPB-3107). Photograph
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in Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2021
Figure 7 Front and back covers of the Mighty Sparrow’s The Slave , 1963 (National Recording Company, Port of Spain, NLP-4188). Photograph by the author Figure 7. Front and back covers of the Mighty Sparrow’s The Slave, 1963 (National Recording Company, Port of Spain, NLP-4188). Photograph
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Published: 01 July 2017
Figure 1. Individuals accused in the rising torrent of violent crimes, 29 October 2016. Electronic images, 2.56 × 3.41 in. each. Courtesy of the author Figure 1. Individuals accused in the rising torrent of violent crimes, 29 October 2016. Electronic images, 2.56 × 3.41 in. each. Courtesy
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in Through Archie Lindo’s Lens: Uncovering the Queer Subtext in Nationalist Jamaican Art
> Small Axe: A Caribbean Journal of Criticism
Published: 01 November 2020
Figure 2 Archie Lindo, untitled and undated print from a scanned photographic negative. Private collection in the author’s possession. Courtesy of Sue Willingham Figure 2. Archie Lindo, untitled and undated print from a scanned photographic negative. Private collection in the author’s
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in Through Archie Lindo’s Lens: Uncovering the Queer Subtext in Nationalist Jamaican Art
> Small Axe: A Caribbean Journal of Criticism
Published: 01 November 2020
Figure 4 Archie Lindo, untitled and undated print from a scanned photographic negative. Private collection in the author’s possession. Courtesy of Sue Willingham Figure 4. Archie Lindo, untitled and undated print from a scanned photographic negative. Private collection in the author’s
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in Through Archie Lindo’s Lens: Uncovering the Queer Subtext in Nationalist Jamaican Art
> Small Axe: A Caribbean Journal of Criticism
Published: 01 November 2020
Figure 5 Archie Lindo, untitled and undated print from a scanned photographic negative. Private collection in the author’s possession. Courtesy of Sue Willingham Figure 5. Archie Lindo, untitled and undated print from a scanned photographic negative. Private collection in the author’s
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in Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2021
Figure 4 Front and back covers of the Mighty Sparrow’s Sparrow in Hi-Fi , 1959 (Balisier Records, Trinidad and Tobago, HDF-1009). Photograph by the author Figure 4. Front and back covers of the Mighty Sparrow’s Sparrow in Hi-Fi, 1959 (Balisier Records, Trinidad and Tobago, HDF-1009
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in Alternative Soundscape Paradigms from Kamau Brathwaite and the Mighty Sparrow
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2021
Figure 5 Lyrics to “Simpson” (1959), by the Mighty Sparrow, from One Hundred and Twenty Calypsoes to Remember (Port of Spain: National Recording, c. 1963), 22; annotations by the author Figure 5. Lyrics to “Simpson” (1959), by the Mighty Sparrow, from One Hundred and Twenty Calypsoes
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in The Caribbean Scorpion: The Saint-Barthélemy Archive and Swedish Colonial Amnesia
> Small Axe: A Caribbean Journal of Criticism
Published: 01 July 2020
Figure 2 The Swedish, French, local Saint-Barthélemy, and European Union flags in front of the Gustavia Hôtel de la collectivité, the seat of the local governing body. Photograph by the author. Figure 2. The Swedish, French, local Saint-Barthélemy, and European Union flags in front
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