Liminal Spaces Migration And Women Of The Guyanese Diaspora

Liminal Spaces is an intimate exploration into the migration narratives of fifteen women of Guyanese heritage. It spans diverse inter-generational perspectives – from those who leave Guyana, and those who are left – and seven seminal decades of Guyana’s history – from the 1950s to the present day – bringing the voices of women to the fore. The volume is conceived of as a visual exhibition on the page; a four-part journey navigating the contributors’ essays and artworks, allowing the reader to trace the migration path of Guyanese women from their moment of departure, to their arrival on diasporic soils, to their reunion with Guyana. Eloquent and visually stunning, Liminal Spaces unpacks the global realities of migration, challenging and disrupting dominant narratives associated with Guyana, its colonial past, and its post-colonial present as a ‘disappearing nation’. Multimodal in approach, the volume combines memoir, creative non-fiction, poetry, photography, art and curatorial essays to collectively examine the mutable notion of ‘homeland’, and grapple with ideas of place and accountability. This volume is a welcome contribution to the scholarly field of international migration, transnationalism, and diaspora, both in its creative methodological approach, and in its subject area – as one of the only studies published on Guyanese diaspora. It will be of great interest to those studying women and migration, and scholars and students of diaspora studies. Grace Aneiza Ali is a Curator and an Assistant Professor and Provost Fellow in the Department of Art & Public Policy, Tisch School of the Arts, New York University. Her curatorial research practice centers on socially engaged art practices, global contemporary art, and art of the Caribbean Diaspora, with a focus on her homeland Guyana.

Liminal Spaces is an intimate exploration into the migration narratives of fifteen women of Guyanese heritage. It spans diverse inter-generational perspectives – from those who leave Guyana, and those who are left – and seven seminal decades of Guyana’s history – from the 1950s to the present day – bringing the voices of women to the fore. The volume is conceived of as a visual exhibition on the page; a four-part journey navigating the contributors’ essays and artworks, allowing the reader to trace the migration path of Guyanese women from their moment of departure, to their arrival on diasporic soils, to their reunion with Guyana. Eloquent and visually stunning, Liminal Spaces unpacks the global realities of migration, challenging and disrupting dominant narratives associated with Guyana, its colonial past, and its post-colonial present as a ‘disappearing nation’. Multimodal in approach, the volume combines memoir, creative non-fiction, poetry, photography, art and curatorial essays to collectively examine the mutable notion of ‘homeland’, and grapple with ideas of place and accountability. This volume is a welcome contribution to the scholarly field of international migration, transnationalism, and diaspora, both in its creative methodological approach, and in its subject area – as one of the only studies published on Guyanese diaspora. It will be of great interest to those studying women and migration, and scholars and students of diaspora studies. -- From publisher's website.

Liminal Spaces is an intimate exploration into the migration narratives of fifteen women of Guyanese heritage. It spans diverse inter-generational perspectives - from those who leave Guyana, and those who are left - and seven seminal decades of Guyana's history - from the 1950s to the present day - bringing the voices of women to the fore. The volume is conceived of as a visual exhibition on the page; a four-part journey navigating the contributors' essays and artworks, allowing the reader to trace the migration path of Guyanese women from their moment of departure, to their arrival on diasporic soils, to their reunion with Guyana. Eloquent and visually stunning, Liminal Spaces unpacks the global realities of migration, challenging and disrupting dominant narratives associated with Guyana, its colonial past, and its post-colonial present as a 'disappearing nation'. Multimodal in approach, the volume combines memoir, creative non-fiction, poetry, photography, art and curatorial essays to collectively examine the mutable no on of 'homeland', and grapple with ideas of place and accountability. This volume is a welcome contribution to the scholarly fi eld of international migration, transnationalism, and diaspora, both in its creative methodological approach, and in its subject area - as one of the only studies published on Guyanese diaspora. It is essential reading to those studying women and migration, and scholars and students of diaspora studies. As with all Open Book publications, this entire book is available to read for free on the publisher's website. Printed and digital editions, together with supplementary digital material, can also be found at www.openbookpublishers.com.

These volumes represent the highest level of scholarship on what is arguably the most important tradition of Biblical Hebrew. Written by the leading scholar of the Tiberian Masoretic tradition, they offer a wealth of new data and revised analysis, and constitute a considerable advance on existing published scholarship. It should stand alongside Israel Yeivin’s ‘The Tiberian Masorah’ as an essential handbook for scholars of Biblical Hebrew, and will remain an indispensable reference work for decades to come. —Dr. Benjamin Outhwaite, Director of the Taylor-Schechter Genizah Research Unit, Cambridge University Library The form of Biblical Hebrew that is presented in printed editions, with vocalization and accent signs, has its origin in medieval manuscripts of the Bible. The vocalization and accent signs are notation systems that were created in Tiberias in the early Islamic period by scholars known as the Tiberian Masoretes, but the oral tradition they represent has roots in antiquity. The grammatical textbooks and reference grammars of Biblical Hebrew in use today are heirs to centuries of tradition of grammatical works on Biblical Hebrew in Europe. The paradox is that this European tradition of Biblical Hebrew grammar did not have direct access to the way the Tiberian Masoretes were pronouncing Biblical Hebrew. In the last few decades, research of manuscript sources from the medieval Middle East has made it possible to reconstruct with considerable accuracy the pronunciation of the Tiberian Masoretes, which has come to be known as the ‘Tiberian pronunciation tradition’. This book presents the current state of knowledge of the Tiberian pronunciation tradition of Biblical Hebrew and a full edition of one of the key medieval sources, Hidāyat al-Qāriʾ ‘The Guide for the Reader’, by ʾAbū al-Faraj Hārūn. It is hoped that the book will help to break the mould of current grammatical descriptions of Biblical Hebrew and form a bridge between modern traditions of grammar and the school of the Masoretes of Tiberias. Links and QR codes in the book allow readers to listen to an oral performance of samples of the reconstructed Tiberian pronunciation by Alex Foreman. This is the first time Biblical Hebrew has been recited with the Tiberian pronunciation for a millennium. Click here to purchase the two volumes of The Tiberian Pronunciation Tradition of Biblical Hebrew at a discounted rate.

This book is concerned with the nature of the relationship between gender, ethnicity and poverty in the context of the external and internal dynamics of households in Guyana. Using detailed data collected from male and female respondents in three separate locations, two urban and one rural, and across two major ethnic groups, Afro-Guyanese and Indo-Guyanese, the authors discuss the links between gender and race, exploring development issues from a feminist perspective.

Women and Migration(s) II draws together contributions from scholars and artists showcasing the breadth of intersectional experiences of migration, from diaspora to internal displacement. Building on conversations initiated in Women and Migration: Responses in Art and History, this edited volume features a range of written styles, from memoir to artists’ statements to journalistic and critical essays. The collection shows how women’s experiences of migration have been articulated through art, film, poetry and even food. This varied approach aims to aid understanding of the lived experiences of home, loss, family, belonging, isolation, borders and identity—issues salient both in experiences of migration and in the epochal times in which we find ourselves today. These are stories of trauma and fear, but also stories of the strength, perseverance, hope and even joy of women surviving their own moments of disorientation, disenfranchisement and dislocation. This collection engages with current issues in an effort to deepen understanding, encourage ongoing reflection and build a more just future. It will appeal to artists and scholars of the humanities, social sciences, and public policy, as well as general readers with an interest in women’s experiences of migration.

Exposes the global threat of environmental catastrophe and the forms of erasure that structure Caribbean women’s lives in the overlooked nation of Guyana Previously ranked among the hemisphere’s poorest countries, Guyana is becoming a global leader in per capita oil production, a shift which promises to profoundly transform the nation. This sea change presents a unique opportunity to dissect both the environmental impacts of modern- world resource extraction and the obscured yet damaging ways in which intersectional race and gender formations circumscribe Caribbean women’s lives. Drawing from archival research and oral history, and examining mass-mediated flashpoints across the African and Indian diasporas—including Rihanna’s sonic routes, ethnic conflict reportage, HBO’s Lovecraft Country, and Netflix’s Indian Matchmaking—Global Guyana repositions this marginalized nation as a nexus of social and economic activity which drives popular culture and ideas about sexuality while reshaping the geopolitical and literal topography of the Caribbean region. Oneka LaBennett employs the powerful analytic of the pointer broom to disentangle the symbiotic relationship between Guyanese women’s gendered labor and global racial capitalism. She illuminates how both oil extraction and sand export are implicated in a well-established practice of pillaging the Caribbean’s natural resources while masking the ecological consequences that disproportionately affect women and children. Global Guyana uncovers how ecological erosion and gendered violence are entrenched in extractive industries emanating from this often-effaced but pivotal country. Sounding the alarm on the portentous repercussions that ambitious development spells out for the nation’s people and its geographical terrain, LaBennett issues a warning for all of us about the looming threat of global environmental calamity.

There have been many great and enduring works of literature by Caribbean authors over the last century. The Caribbean Contemporary Classics collection celebrates these deep and vibrant stories, overflowing with life and acute observations about society. Written as a series of letters from the child Sunshine to her absent mother, Aunt Jen traces the changing attitudes of a child entering adulthood as she tries to understand the truth behind her mother's departure, and make sense of her relationship with her family. Aunt Jen migrated to England as part of the Windrush generation, and Sunshine's letters, written in the early 1970s, reveal something of the emotional as well as the physical gulf between those who left and those who remained behind. A companion novel to Letters Home, Aunt Jen is a painfully one-sided correspondence, revealing the complex inheritance we pass on to our children. Suitable for readers aged 14 and above.