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iconicity

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Journal Article
Small Axe: A Caribbean Journal of Criticism (1 November 2017) 21 (3 (54)): 188–202.
Published: 01 November 2017
...Edna Acosta-Belén This commentary is inspired to a large degree, but not solely, by literary critic Vanessa Pérez-Rosario's remarkable book Becoming Julia de Burgos: The Making of a Puerto Rican Icon . Aiming to undertake a historical and critical engagement with some aspects of Pérez-Rosario's...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 November 2017) 21 (3 (54)): 209–218.
Published: 01 November 2017
...Vanessa Pérez-Rosario This essay—a response to a discussion of the author's 2014 book Becoming Julia de Burgos: The Making of a Puerto Rican Icon —focuses on the importance of generations, intellectual genealogies, iconicity, and the afterlives of Puerto Rican poet and writer Julia de Burgos...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 November 2009) 13 (3 (30)): 12–24.
Published: 01 November 2009
...Carine Mardorossian The Martinican philosopher, psychiatrist, and social revolutionary Frantz Fanon is considered one of the pioneering figures of postcolonial studies. As an icon of postcolonialism, an increasingly institutionalized field, Fanon has thus come to be associated with what is...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2011) 15 (2 (35)): 96–116.
Published: 01 July 2011
...Cheryl Finley Since the early 1990s, the contemporary visual culture of slavery has been defined increasingly by installation, performance, and time-based media. This is particularly so for visual artists who chronicle Caribbean catastrophic history using the slave ship as a key iconic signifier...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2009) 13 (2): 148–163.
Published: 01 July 2009
... icons. Unlike many of the pre-lenten carnivals in the region, Crop Over celebrates the end of the sugar cane season, and directly ties the subversive elements and inversions of traditional carnival to the sugar economy of the Caribbean, and its historical dependence on slavery. While traditional...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2018) 22 (2 (56)): 115–127.
Published: 01 July 2018
...Danny Méndez This essay analyzes the impact of María Montez as an eccentric Dominican actress in Hollywood and as an iconic figure in the cultural memory of the Dominican Republic. While Montez’s eccentric personality accorded her a place in the stereotypical landscape created for the “Latina...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 November 2017) 21 (3 (54)): 179–187.
Published: 01 November 2017
...Rebeca L. Hey-Colón Through a discussion of Vanessa Pérez-Rosario's Becoming Julia de Burgos: The Making of a Puerto Rican Icon , this essay argues that Julia de Burgos is an integral figure to consider in the development of a feminine genealogy of the uses of water in Caribbean and diasporic...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 November 2017) 21 (3 (54)): 203–208.
Published: 01 November 2017
...Jossianna Arroyo This review essay focuses on a critical reading of Vanessa Pérez-Rosario's book Becoming Julia de Burgos: The Making of a Puerto Rican Icon with the aim to shed light on these following questions: How can we read the writing of community in the work of Julia de Burgos? And to what...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 March 2013) 17 (1 (40)): 263–280.
Published: 01 March 2013
...Leigh Raiford What is the relationship between photography and diaspora? How did this relationship stave off the catastrophe of black life? This essay uses the nineteenth-century photographic form of the stereograph as a hermeneutic. Through an examination of two iconic photographs of Pan-African...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2014) 18 (2 (44)): 69–71.
Published: 01 July 2014
... Even tho. in this iconic monument there is no absolute <7, 18 december 2013> Mandela's Release, 1990 . Photograph by Graeme Williams. Used by permission. Mandela's Release, 1990. Photograph by Graeme Williams. Used by permission. ...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 March 2005) 9 (1): 80–83.
Published: 01 March 2005
... optic and cognitive understanding of the image moves in and out of phase, and at times the two understandings seem to reinforce one another and at times negate one another. Ultimately, I am looking for a way to use historical, personal, and cultural icons without being determined by them; I...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2009) 13 (2): 135–142.
Published: 01 July 2009
... of absence. If memories implanted by photographs cannot be trusted, then what can we do with those memories? I am interested in the tension between the way it was, the way it really was, and the way it is. With the iconic imagery that I appropriate, I invite the viewers to...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 September 2004) 8 (2): 61–83.
Published: 01 September 2004
... with an epigraph, and Baraka’s praise poem “In the Tradition” aaxexe is excerpted for its musing on Afro-Latino rhythms. In the same vein Sánchez’s painting for Ritual and Rhythm collapses contemporary icons with ancestral motifs of Puerto Rican nationality. Th e painting Afro...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2010) 14 (2 (32)): 83–96.
Published: 01 July 2010
... sense) in part because they operate through the othering of queer and female bodies.”3 This queering of black musical forms is one example of the transverse optics by which Julien operates. Another of his preoccupations has been with revisiting iconic black cultural figures such as Frantz...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2015) 19 (2 (47)): 94–103.
Published: 01 July 2015
... bionica.” This nod to the bionic woman is a clever one, for her iconicity is best expressed in her heightened sensory perceptions, which allow her to participate in and be all over space and time. Yet, one is left to wonder what unconsciously drives La Lupe in her maneuver from Puerto Rico as her adoptive...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2011) 15 (2 (35)): 209–212.
Published: 01 July 2011
...- plinary Atlas of the Transatlantic Slave Trade (2010). She is the author of the forthcoming book Committed to Memory: The Slave Ship Icon in the Black Atlantic Imagination and coauthor of Harlem: A Century in Images (2010) and Diaspora, Memory, Place: David Hammons, Maria Magdalena...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 March 2010) 14 (1 (31)): 184–188.
Published: 01 March 2010
... by BoneS. Gone are the days of simplified line drawings and text from the bible, a style often used by the Rastafarians. While such symbolism is still alive, its appearance is greatly reduced. The colors, flags, and icons of that faith are now more often attached to...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 July 2009) 13 (2): 128–134.
Published: 01 July 2009
... ancestors of mine. I wonder, where are the great photographs of the Caribbean, the iconic pictures that have become part of the visual memory of the people and their struggle for everything from freedom to independence and the construction of nations from slave colonies? If I...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 March 2003) 7 (1): 1–16.
Published: 01 March 2003
...-century Caribbean public, images that aff ected, and continue to aff ect, Small Axe 13, March 2003: pp. 1–16 ISSN 0799-0537 Caribbean women of all ethnicities into the twenty-fi rst century. On the one hand, black women are represented as icons of respectability, virtuous women who must be...
Journal Article
Small Axe: A Caribbean Journal of Criticism (1 September 2004) 8 (2): v–x.
Published: 01 September 2004
... crate is likely to become as iconic a memento of this era as the image of Kim Phuc’s naked, napalm-covered child’s body, arms outstretched, desperately fl eeing hostile skies, was to a previous one. Th e parade of visual evidence amassed against the invaders framed the naked...