1. 'Me know no law, me know no sin': transgressive identities and the voice of innocence: the historical context

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Preface: Informing cultural studies: a politics of betrayal? ix
4. Acknowledgments xiii
5. Introduction: Oral/sexual discourse in Jamaican popular culture 1
6. 1. 'Me know no law, me know no sin': transgressive identities and the voice of innocence: the historical context 19
7. 2. 'Culture an tradition an birthright': proverb as metaphor in the poetry of Louise Bennett 37
8. 3. That cunny Jarnma oman: representations of female sensibility in the poetry of Louise Bennett 47
9. 4. Words unbroken by the beat: the performance poetry of Jean Binta Breeze and Mikey Smith 68
10. 5. Writing oral history: Sistren Theatre Collective's Lionheart Gal 87
11. 6. Country come to town: Michael Thelwell's The Harder They Come 96
12. 7. Chanting down Babylon: Bob Marley's song as literary text 117
13. 8. Slackness hiding from culture: erotic play in the dancehall 136
14. 9. From 'centre' to 'margin': turning history upside down 174
15. Appendix 1: Proverbs from Louise Bennett 200
16. Appendix 2: Jamaican proverbs: a gender perspective 202
17. Bibliography 205
18. Index 210