Cette thèse explore les relations intertextuelles entre Saint-John Perse et Derek Walcott en abordant des thèmes sur lesquels se penchent leurs oeuvres, à travers le prisme de l’influence et de la Relation glissantienne. L’appartenance de ces oeuvres à une sphère géohistorique – l’esclavage et la colonisation antillaise –, autorise une démarche postcoloniale qui étudie les contextes d’émergence d’Eloges (1911), The Castaway (1965) et The Star-Apple Kingdom (1979). Notre objectif est de démontrer que l’identité antillaise est constituée de facettes multiples : une identité-légion. Nous rappelons ainsi les phases d’exploitation humaine, de domination et de luttes sociopolitiques,idéologiques et culturelles qui ont donné naissance à une culture créole, à une littérature qui s’élève contre la déliquescence de l’homme et défend l’expression totale de sa diversalité. Aussi nous analysons d’abord le cadre dans lequel sont apparues des propositions qui renouvellent les approches classiques de l’histoire antillaise, pour examiner comment les théories postcoloniales permettent d’approcher la question de la mémoire, du lieu et de l’identité antillaise.Nous analysons ensuite comment la rencontre entre Saint-John Perse et Derek Walcott se traduit dans les oeuvres par une poétisation du réel antillais à travers l’errance, une fiction de l’histoire, une vision de l’entour et des identités plurielles. Enfin, nous étudions comment les poètes expriment une Intention qui mène au tout-monde, à travers la présence d’une langue créole, baroque, métaphorique et rhétorique, pour une Relation totale dans les Amériques et dans le monde. / This dissertation explores the inter-textual relations between Saint-John Perse and Derek Walcott, focusing on the themes discussed in their works, through the prism of influence and Glissant’s poetics of Relation. The fact that these works belong to the same geo-historical sphere —West Indian slavery and colonisation —, allows a postcolonial approach to the contexts of Eloges(1911), The Castaway (1965), and The Star-Apple Kingdom (1979). Our aim is to demonstrate thatWest Indian identity is multifaceted: a legion-identity. We thus recall the phases of human exploitation, domination, and socio-political, ideological and cultural struggle, which gave rise to Creole culture, to a literature which rises against the decay of man and champions the total expression of its diversality. Consequently, we first discuss the context in which new approaches to classical histories of the West Indies have appeared, to examine the way in which post-colonial theories envision the questions of memory, place, and West Indian identity. We then analyse how the encounter between Saint-JohnPerse and Derek Walcott translates into their works, in a poetizing of West Indian reality through wandering, a fiction of history, a vision of the entour, and multiple identities. Finally, we study theway in which the poets express an Intention towards the whole-world, through the presence of aCreole, baroque, metaphorical, and rhetorical language, for a total Relation in the Americas and in the world.

Cette recherche traite de la forme la plus contemporaine de mascarade du carnaval de Trinidad (République de Trinidad-et-Tobago, Caraïbe Anglophone), connue sous l’appellation Pretty Mas’. Cette dernière s’imprègne d’une esthétique nommée Bikini & Beads, pratiquée en majorité par les femmes et de jeunes participants. C’est la forme de mascarade la plus commerciale du pays et le modèle de carnavals diasporiques à travers le monde. L’objet de cette recherche est d’expliquer comment l’aspect visuel de la mascarade tend à transformer cette performance carnavalesque en spectacle.Je montre que la valeur historique de la pratique du carnaval évolue dans la forme contemporaine Bikini & Beads, où les joueurs portent de simples bikinis en guise de costumes. Cette recherche aborde également la question de la représentation de soi à travers ce style de carnaval où le corps des participants se substitue au costume. Les joueurs y affirment leur individualité et leur volonté d’interpréter des histoires autoréférentielles. La visibilité du joueur et de la joueuse devient un moyen d’affirmation de soi, ce qui modifie la pratique performative de la mascarade. J’analyse ensuite l’impact du visuel sur le management de ce style de mascarade. La recherche de visibilité des joueurs et la nécessité d’impressionner les publics modifient l’organisation des groupes de carnaval et la création des costumes. Le désir de reconnaissance publique des participants influe sur la pratique performative et représentationnelle de la mascarade. En privilégiant l’aspect visuel de l’évènement, la performance carnavalesque devient prévisible et reproductible pour son exportation dans les festivals internationaux. / This research is about the most current form of carnival masquerade on the island of Trinidad (Republic of Trinidad and Tobago, West Indies), known as Pretty Mas'. Pretty Mas' is imbued with a masquerade style named Bikini & Beads, which is mostly practiced by women and young participants. It is the most commercial form of masquerade in the country and is the model for diaspora carnivals around the world. The object of this research is to explain how the visual aspect of this masquerade tends to transform the carnival performance into a spectacle.I show how the historical value of carnival practice has evolved into the contemporary form of Bikini & Beads, where players wear simple bikinis as costumes. This research deals with the question of self-representation through this masquerade style where the participants' bodies replace the costumes. In doing so players affirm their individuality and willingness to interpret self-referential stories. The player's visibility becomes a mean of asserting oneself, which modifies the performative practice of the masquerade. I then analyze the visual impact on the management of this form of performance and costuming. The players' search for visibility and their need to impress the public have changed the organization of carnival groups and the creation of costumes. The participants' desire for public recognition influences the performative and representational practice of the masquerade. I conclude by affirming that the emphasis on the visual aspect of the event makes the carnival performance more predictable and reproducible so it can be exported to the international festivals.

Nasutitermes corniger tends to construct its distinctive, conspicuous nests at the bases of trees in the northern West Indies versus well above ground on trunks or branches in Trinidad & Tobago and further south. By means of data from 32 localities from the Equator to 17° north latitude, we describe the geographic pattern of nest-height variation. The localities are from both continental areas (mainland and continental islands) and oceanic islands. The latter are all to the north of the former. If nest-height variation is mainly or solely due to abiotic (climatic) factors, a more or less monotonic south–north decline is predicted. If it is mainly due to biotic factors, a change in the trend is expected at a distinct latitudinal transition. The data show an overall tendency for nest height to decrease further from the Equator. However, there is a distinct change in the slope, consistent with the biotic hypothesis. Against expectation, this does not occur between Tobago (continental island) and Grenada (oceanic island) but between Venezuela (continental mainland) and Trinidad (continental island). The biotic factors affecting nest-site in this species are not known. However, the data are consistent with the hypothesis that the species involved are affected by biotic relaxation during the several millennia since Trinidad and Tobago isolated from the mainland.

No description available.

This is an investigation and analysis of the institution of indentured servitude in the English colonies of Virginia and Barbados in the first half of the seventeenth century. It argues that the system of indentured servitude contributed to the development of property rights in individuals and thereby provided early examples of treating people as property that would ultimately lead to the rise of chattel slavery in both colonies. It investigates servitude in law, politics, and practice providing examples of the treatment, trade, and resistance of servants throughout this period. Included are chapters examining the trade in servants and a statistical breakdown of the servant population, a comparison of the practice of servitude in both colonies, and a description of the factors that led to the eventual transition to black slavery. / Master of Arts

The West Indies College is an institution of higher education in Jamaica which was established by the Seventh-Day Adventist Church in 1909. It has had three names: 1909-1923, West Indian Training School; 1924-1958, West Indian Training College, and 1959-present, West Indies College. The school has been served by over 20 presidents. The needs of the Seventh-Day Adventist Church, the Mandeville community, Jamaica, and the West Indies region continue to play an important role in the addition and elimination of academic programs at the college. Present programs have attracted students from Africa, North and South America, the West Indies, and Europe. The college has industries that are used as facilities to provide the work-study program for students to fulfill the college's operational philosophy of educating the entire person. The industries assist students in the development of manual skills and in the payment of tuition. The West Indies College is funded by grants of the Seventh-Day Adventist Church, tuition fees, profits from industries, and individual contributions. The school also receives a financial advantage in the form of tax exemption from the Jamaican government. An organized Department of Alumni Affairs assists the college in moral, professional, and material support. Due to the generosity of individual alumni, scholarships have been established to help needy students.

Cette étude comparative des œuvres d’Edouard Glissant et de Derek Walcott examine le devenir de la littérature antillaise ainsi que l’évolution des littératures dites postcoloniales.A partir des notions critiques d’esthétique, de politique, de culture et de stratégie discursive, nous avons examiné les œuvres de Glissant et celles de Walcott selon une perspective historique. En effet, la question de la place de l’Histoire étroitement liée à l’expérience personnelle des auteurs est au cœur des textes. Ils mettent en avant l’odyssée d’une Histoire antillaise marginale et fantasmée qui cherche à se frayer un chemin et concurrencer une Histoire traditionnelle.De cette tension, se dégage un jeu de dualité où continuités et ruptures, résistance et appropriation du discours de l’Occident constituent au fil de l’étude un trait distinctif de l’approche des textes. Mais ce qui en montre l’intérêt et l’originalité, c’est leur capacité à s’ériger comme un exposé représentatif du monde contemporain. La question de l’Histoire va au-delà du parcours colonial du monde occidental et le discours qui s’en rattache est loin d’une dénonciation ou l’expression d’une culpabilité et encore moins celle des bienfaits de la colonisation. Les auteurs appellent en revanche à l’expression d’une vision fragmentée de l’Histoire dont l’approche se situe dans la reconnaissance de la diversité des représentations historiques, littéraires et culturelles. Qu’il s’agisse d’épopées, de récits de vie, de chroniques historiques ou politiques, de simples anecdotes ou de réflexions philosophiques qui ponctuent le vaste champ de leur production, Walcott et Glissant apportent un souffle nouveau à la pensée postcoloniale et prolongent son avenir. Ensemble, ils communiquent, échangent et s’opposent parfois pour faire apparaître des procédés conceptuels et méthodologiques qui permettent d’appréhender autrement la littérature, les sciences humaines et sociales. / This comparative study of the works of Edouard Glissant and Derek Walcott examines the development of postcolonial literatures especially west indies literature.Based on the critical notions of aesthetic, political, cultural and discursive strategy, we assessed the works of authors through a historical perspective. Indeed, the question of the place of history and personal experience is at the heart of the texts. The authors highlight the fantasised odyssey of a marginal Caribbean History which is trying to make its way and to be in competition with a traditional History.From this tension, emerges a set of duality where continuities and ruptures, resistance and appropriation of the discourse of the West are honoured hallmark of this works. However, what shows interest and originality, is their ability to establish themselves as a functional presentation of the contemporary world. The question of history goes beyond the colonial path of the Western world, hence the discourse that is coming from it isn’t relegated to complaint or quest of guilt and even less of the benefits of colonization. On the contrary, the authors call the expression of a fragmented view of History. Whether epics of life story, historical or political columns, simple stories or philosophical reflections that punctuate the vast field of production, Walcott and Glissant give new impetus to the postcolonial thinking and extend its future. Together, they communicate, interact and sometimes clash to reveal the conceptual and methodological processes that allow us to understand literature in antoher way, humanities and social sciences.

<p>This essay deals with the post-colonial crisis of identity in Michelle Cliff’s novels <i>Abeng</i> and <i>No Telephone to Heaven</i>, more specifically, the perception of “self” experienced by people in, and from, the former British colonies in the West-Indies. The essential aspect in this context is <i>place</i>. Place in post-colonial literature does not simply denote a geographical locale. Apart from the physical surroundings, place also represents a non-material environment which comprises, inter alia, sounds and scents, legends and beliefs, manners and customs. In fact, there are places which are only spiritually present in people’s lives. Even so, they have a considerable impact on the individuals’ sense of selfhood.</p><p>I argue that <i>place</i> acts as a catalyst for the protagonists’ development of self and is central to their search for identity. By exploring the various facets of place, I will show what effects this multi-layered concept in post-colonial literature has on the characters.</p>

This essay deals with the post-colonial crisis of identity in Michelle Cliff’s novels Abeng and No Telephone to Heaven, more specifically, the perception of “self” experienced by people in, and from, the former British colonies in the West-Indies. The essential aspect in this context is place. Place in post-colonial literature does not simply denote a geographical locale. Apart from the physical surroundings, place also represents a non-material environment which comprises, inter alia, sounds and scents, legends and beliefs, manners and customs. In fact, there are places which are only spiritually present in people’s lives. Even so, they have a considerable impact on the individuals’ sense of selfhood. I argue that place acts as a catalyst for the protagonists’ development of self and is central to their search for identity. By exploring the various facets of place, I will show what effects this multi-layered concept in post-colonial literature has on the characters.

University of Macau / Faculty of Social Sciences and Humanities / Department of English