Creole In The Archive

Explores creole discourse to re-conceptualize archive that is contemporaneous and centralizes the presence and imagery of the Caribbean figure.

A twentieth century cookbook featuring the food, cooking techniques and culinary history of the Creole people in New Orleans. One of the world's most unusual and exciting cooking styles, New Orleans Creole cookery melds a fantastic array of influences: Spanish spices, tropical fruits from Africa, native Choctaw Indian gumbos, and most of all, a panoply of French styles, from the haute cuisine of Paris to the hearty fare of Provence. Assembled at the turn of the twentieth century by a Crescent City newspaper, The Picayune, this volume is the bible of many a Louisiana cook and a delight to gourmets everywhere. Hundreds of enticing recipes including fine soups and gumbos, seafoods, all manner of meats, rice dishes and jambalayas, cakes and pastries, fruit drinks, French breads, and many other delectable dishes. A wealth of introductory material explains the traditional French manner of preparing foods, and a practical selection of full menus features suggestions for both everyday and festive meals.

Using the historical principles of the Oxford English Dictionary, Lise Winer presents the first scholarly dictionary of this unique language. The dictionary comprises over 12,200 entries, including over 4500 for flora and fauna alone, with numerous cross-references. Entries include definitions, alternative spellings, pronunciations, etymologies, grammatical information, and illustrative citations of usage. Winer draws from a wide range of sources - newspapers, literature, scientific reports, sound recordings of songs and interviews, spoken language - to provide a wealth and depth of language, clearly situated within a historical, cultural, and social context.

Modern Language Association's Katherine Singer Kovacs Prize, Honorable Mention, 2016 Born between 1568 and 1580, Alva Ixtlilxochitl was a direct descendant of Ixtlilxochitl I and Ixtlilxochitl II, who had been rulers of Texcoco, one of the major city-states in pre-Conquest Mesoamerica. After a distinguished education and introduction into the life of the empire of New Spain in Mexico, Ixtlilxochitl was employed by the viceroy to write histories of the indigenous peoples in Mexico. Engaging with this history and delving deep into the resultant archives of this life's work, Amber Brian addresses the question of how knowledge and history came to be crafted in this era. Brian takes the reader through not only the history of the archives itself, but explores how its inheritors played as crucial a role in shaping this indigenous history as the author. The archive helped inspire an emerging nationalism at a crucial juncture in Latin American history, as Creoles and indigenous peoples appropriated the history to give rise to a belief in Mexican exceptionalism. This belief, ultimately, shaped the modern state and impacted the course of history in the Americas. Without the work of Ixtlilxochitl, that history would look very different today.

In the seventeenth century, even as the Spanish Habsburg monarchy entered its irreversible decline, the capital of its most important overseas territory was flourishing. Nexus of both Atlantic and Pacific trade routes and home to an ethnically diverse population, Mexico City produced a distinctive Baroque culture that combined local and European influences. In this context, the American-born descendants of European immigrants—or creoles, as they called themselves—began to envision a new society beyond the terms of Spanish imperialism, and the writings of the Mexican polymath Carlos de Sigüenza y Góngora (1645-1700) were instrumental in this process. Mathematician, antiquarian, poet, and secular priest, Sigüenza authored works on such topics as the 1680 comet, the defense of New Spain, pre-Columbian history, and the massive 1692 Mexico City riot. He wrote all of these, in his words, "out of love for my patria." Through readings of Sigüenza y Góngora's diverse works, Baroque Sovereignty locates the colonial Baroque at the crossroads of a conflicted Spanish imperial rule and the political imaginary of an emergent local elite. Arguing that Spanish imperialism was founded on an ideal of Christian conversion no longer applicable at the end of the seventeenth century, More discovers in Sigüenza y Góngora's works an alternative basis for local governance. The creole archive, understood as both the collection of local artifacts and their interpretation, solved the intractable problem of Spanish imperial sovereignty by establishing a material genealogy and authority for New Spain's creole elite. In an analysis that contributes substantially to early modern colonial studies and theories of memory and knowledge, More posits the centrality of the creole archive for understanding how a local political imaginary emerged from the ruins of Spanish imperialism.

In this innovative study, Jenny Sharpe moves beyond the idea of art and literature as an alternative archive to the historical records of slavery and its aftermath. Immaterial Archives explores instead the intangible phenomena of affects, spirits, and dreams that Caribbean artists and writers introduce into existing archives. Through the works of Frantz Zéphirin, Edouard Duval-Carrié, M. NourbeSe Philip, Erna Brodber, and Kamau Brathwaite, Immaterial Archives examines silences as black female spaces, Afro-Creole sacred worlds as diasporic cartographies, and the imaginative conjoining of spirits with industrial technologies as disruptions of enlightened modernity.

Creolization describes the cultural adaptations that occur when a community moves to a new geographic setting. Exploring the consciousness of peoples defined as "creoles" who moved from the Old World to the New World, this collection of eighteen original essays investigates the creolization of literary forms and genres in the Americas between the sixteenth and nineteenth centuries. Creole Subjects in the Colonial Americas facilitates a cross-disciplinary, intrahemispheric, and Atlantic comparison of early settlers' colonialism and creole elites' relation to both indigenous peoples and imperial regimes. Contributors explore literatures written in Spanish, Portuguese, and English to identify creole responses to such concepts as communal identity, local patriotism, nationalism, and literary expression. The essays take the reader from the first debates about cultural differences that underpinned European ideologies of conquest to the transposition of European literary tastes into New World cultural contexts, and from the natural science discourse concerning creolization to the literary manifestations of creole patriotism. The volume includes an addendum of etymological terms and critical bibliographic commentary. Contributors: Ralph Bauer, University of Maryland Raquel Chang-Rodriguez, City University of New York Lucia Helena Costigan, Ohio State University Jim Egan, Brown University Sandra M. Gustafson, University of Notre Dame Carlos Jauregui, Vanderbilt University Yolanda Martinez-San Miguel, University of Pennsylvania Jose Antonio Mazzotti, Tufts University Stephanie Merrim, Brown University Susan Scott Parrish, University of Michigan Luis Fernando Restrepo, University of Arkansas, Fayetteville Jeffrey H. Richards, Old Dominion University Kathleen Ross, New York University David S. Shields, University of South Carolina Teresa A. Toulouse, Tulane University Lisa Voigt, University of Chicago Jerry M. Williams, West Chester University

This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners. Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, restorative, and more. This book draws attention to the work of artists, art historians, and scholars in related fields who have been engaging with disrupting master narratives and forging new directions, often within a hostile academy or an indifferent art world. The volume unpacks the assumptions projected onto objects of art and visual culture and the discourse that contains them. It equally addresses the manifold complexities around representation as visual and discursive praxis through a range of epistemologies and metaphors originated outside or against the logic of modernity. This companion is organized into four thematic sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving. The book will be of interest to scholars working in art history, visual culture, museum studies, race and ethnic studies, cultural studies, disability studies, and women’s, gender, and sexuality studies.