Extrait de : Grandes figures coloniales I :Victor Hughes, le conventionnel (p. 112 )
Résumé : "Symboles de la Réublique française avec les termes "" Liberté,Egalité"", emblème en rapport avec la puissance maritime de la France "
Siècle(s) traité(s) : 18
Droits : Domaine public
Permalien : http://www.manioc.org/images/PAP110080119i1
PAP110080119i1

Éditeur(s) : LC2S : Laboratoire Caribéen de Sciences Sociales
Extrait de : Les jeudis de l'Université. Université des Antilles
Description : Richard Price présente la nouvelle édition de son livre Le bagnard et le colonel, parue en 2016. En 1925 en Martinique une émeute se solde par dix morts et quatorze blessés. Dans la ville du Diamant des pêcheurs brandissent une effigie en bois d'un colonel, riche propriétaire de l'usine locale, pour protester contre la fraude électorale. L'auteur de cette statue est Médard Aribot, un original qui vit dans une grotte. On dit que c'est pour cet acte d'insolence qu'il sera condamné et envoyé au bagne. Cinquante ans plus tard, sa vie est célébrée par des cartes postales, guides touristiques, pièces de théâtre et costumes de carnaval. Richard Price dénoue les fils de cette histoire. II montre comment les tensions de la société martiniquaise entre colonialisme, passé esclavagiste et modernité se cristallisent autour de cette sculpture et de l'histoire de son auteur, emblèmes de résistance. Et comment la mémoire peut produire la folklorisation de la vie quotidienne et transformer l'habitat et l'oeuvre d'un marginal en simples manifestations touristiques.

Droits : CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Permalien : http://www.manioc.org/fichiers/V18257
V18257

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Steel pan music, which evolved from African drum music, originated in Trinidad and Tobago in the early 20th century and is often a featured instrument during Carnival. As one of the national emblems of Trinidad and Tobago, steel pans were traditionally made from used steel oil drums or steel containers. The container’s head is concave and the playing surface is divided into convex sections by slants to make the pan's range of sounds. In this image are used steel oil drums, some steel pans with the Shell Oil Company logo and the word "Invaders," painted white metal steel pan stands, and breadfruit trees. One poster is advertising the Shell Invaders Steel Orchestra. Other signs includes phrases such as: "We are the greatest" and "Notice there is to be no unnecessary coasting in the yard." In the background is a woman standing on top of a concrete building's roof with laudry and men standing near the wall. Slide labeled Trin. 16.
Trinidad and Tobago -- South America -- Trinidad
Trinidad and Tobago -- Caribbean region -- Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031210/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
A steel pan instrustment maker, is looking at the surface markings on a steel pan instrument. These markings will be used as outlines to divide the pan’s surface into convex sections to make its range of sound. Each section will be pounded into shape with a hammer. This particular steel pan is made from a used steel oil drum. The steel pan, a percussion instrument, originated in Trinidad and Tobago and is one of the country’s national emblems. In the background of the image are other used steel oil drums and white metal steel pan stand. Slide labeled Trin. 19.
Trinidad and Tobago -- South America -- Trinidad
Trinidad and Tobago -- Caribbean region -- Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031222/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Two steel pan instrument makers are hammering the surfaces of drums to make the range of sound for steel pan instruments. One of the men is hammering a white steel drum, while the other is in the distance near red steel drums. These particular steel pans are made from used steel oil drums. The steel pan, a percussion instrument, originated in Trinidad and Tobago and is one of the country’s national emblems. In the yard are other used steel oil drums, white metal steel pan stands, and many breadfruit trees. In the background are buildings, some made of wood with zinc paneled roofs. There is also a poster advertising the Shell Invaders Steel Orchestra, a steel band active during the 1960s and sponsored by Shell Oil Company. Some of the notices in the yard read as follows: "Notice don't sit stand lean or prop on the stands," "We are the greatest," "Notice absolutely no unnecessary coasting in the yard." Slide labeled Trin. 17
Trinidad and Tobago -- South America -- Trinidad
Trinidad and Tobago -- Caribbean region -- Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031211/00001

Extrait de : Vieux papiers du temps des isles (Page 143)
Résumé : Dessin
Siècle(s) traité(s) : 17
Droits : Domaine public
Permalien : http://www.manioc.org/images/PAP110180165i1
PAP110180165i1

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
A steel pan instrument maker is resting his elbow on a steel pan, which has been connected to a metal steel pan stand. These particular steel pans are made from used steel oil drums. The steel pan, a percussion instrument, originated in Trinidad and Tobago and is one of the country’s national emblems. In the yard are other used steel oil drums, white metal steel pan stands, and a breadfruit tree. In the background are buildings, some made of wood with zinc paneled roofs. Slide labeled Trin. 18.
Trinidad and Tobago -- South America -- Trinidad
Trinidad and Tobago -- Caribbean region -- Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031221/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
The West Indian Flamingo is the national bird of The Bahamas. Concern for the protection of the West Indian Flamingo was reinforced with the creation of the Wildbirds Protection Act of 1905.The Bahamas National Trust, created by an Act of Parliament in 1959, manages the country’s national parks and conservation efforts of natural resources. The island of Great Inagua, the third largest and southernmost island in The Bahamas, is where the majority of West Indian Flamingos can be found. Hedley Vivian Edwards, in the background, can be seen commanding the flamingos during their march.
Greater flamingo (Emblem) -- Bahamas

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:11
http://ufdc.ufl.edu/AA00029409/00001

Extrait de : Vieux papiers du temps des isles (Page 155)
Résumé : Dessin
Siècle(s) traité(s) : 17
Droits : Domaine public
Permalien : http://www.manioc.org/images/PAP110180177i1
PAP110180177i1

Éditeur(s) : CRILLASH : Centre de recherches interdisciplinaires en lettres, langues, arts et sciences humaines CRILLASH : Centre de recherches interdisciplinaires en lettres, langues, arts et sciences humaines
Résumé : Suite à l'exode urbain du milieu du XXième siècle, le milieu des conteurs a subit une modification de son public et de ses lieux d'oralité. Actuellement, cette pratique culturelle subit une forte influence de la part des politiques qui cherchent à l'institutionnaliser. Le conte devient ainsi un objet culturel représentatif d'une lanque créole et emblème d'une population.
Martinique
21
20

Droits : Document protégé par le droit d'auteur
fichiers:HASHe7a34e448329ef1663ce71

Éditeur(s) : McLoughlin Brothers McLoughlin Brothers ( New York )
Résumé : "By arrangement with Messrs. Cassell and Company ... the illustrations ... have been printed from electrotypes from the original wood engravings."--Publisher's note.
Lovett does not list this reissue by McLoughlin of the text originally published in 1891 by Cassell & Co. This issue has the publishers's note in place of the publisher's emblem on the verso of the t.p. Cf. Lovett, R.W. Robinson Crusoe, 727.
Front. is included in pagination.
Parts I and II of Robinson Crusoe. Part II originally published under title: Farther adventures of Robinson Crusoe.
(Statement of Responsibility) by Daniel Defoe ; with one hundred and twenty original illustrations by Walter Paget
United States--New York--New York

Droits : This item is presumed to be in the public domain. The University of Florida George A. Smathers Libraries respect the intellectual property rights of others and do not claim any copyright interest in this item. Users of this work have responsibility for determining copyright status prior to reusing, publishing or reproducing this item for purposes other than what is allowed by fair use or other copyright exemptions. Any reuse of this item in excess of fair use or other copyright exemptions may require permission of the copyright holder. The Smathers Libraries would like to learn more about this item and invite individuals or organizations to contact The Department of Special and Area Studies Collections (special@uflib.ufl.edu) with any additional information they can provide.
SN01270
4660125
001825738

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
A steel pan maker is hammering the surface of a steel pan instrument to make its range of sound. This particular steel pan is made from a used steel oil drum. The steel pan, a percussion instrument, originated in Trinidad and Tobago and is one of the country’s national emblems. In the background of the yard are other used steel oil drums, a zinc paneled fence, and piles of wood. Slide labeled Trin. 20.
Trinidad and Tobago -- South America -- Trinidad
Trinidad and Tobago -- Caribbean region -- Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031223/00001

Éditeur(s) : CRILLASH : Centre de Recherches Interdisciplinaires en Lettres, Langues, Arts et Sciences Humaines
Extrait de : "Patrimonialisation et développement dans la Caraïbe et les Amériques" : colloque international, du 2 au 4 mars 2011. Université des Antilles et de la Guyane
Description : Tout d'abord, il est présenté les similitudes de la Corse et de la Martinique, deux iles, des territoires colonisés, des revendications identitaires... mais aussi les différences comme la corsitude et la négritude. Ensuite, il est étudié puis analysé des graffitis de ces espaces qui a contrario de la France, ne relèvent pas seulement de la sphère de l'art. Ainsi, en Corse, le graffiti est un emblème identitaire qui marque l'espace. En Martinique, le corpus pas encore assez fourni n'a pas permis de synthétiser mais laisse entrevoir des graffitis en plusieurs langues, politisés pour certains...
Siècle(s) traité(s) : 21
Droits : CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Permalien : http://www.manioc.org/fichiers/V12100
V12100

Éditeur(s) : CRILLASH : Centre de Recherches Interdisciplinaires en Lettres, Langues, Arts et Sciences Humaines CRILLASH : Centre de Recherches Interdisciplinaires en Lettres, Langues, Arts et Sciences Humaines CRILLASH : Centre de Recherches Interdisciplinaires en Lettres, Langues, Arts et Sciences Humaines
Extrait de : "Les nouvelles formes d'oralité créole" : journée d'étude, le 28 mai 2010. Université des Antilles et de la Guyane
Résumé : Suite à l'exode urbain du milieu du XXème siècle, le milieu des conteurs a subi une modification de son public et de ses lieux d'oralité. Actuellement, cette pratique culturelle subit une forte influence de la part des politiques qui cherchent à l'institutionnaliser. Le conte devient ainsi un objet culturel représentatif d'une langue créole et emblème d'une population.
Suite à l'exode urbain du milieu du XXème siècle, le milieu des conteurs a subi une modification de son public et de ses lieux d'oralité. Actuellement, cette pratique culturelle subit une forte influence de la part des politiques qui cherchent à l'institutionnaliser. Le conte devient ainsi un objet culturel représentatif d'une langue créole et emblème d'une population.
Siècle(s) traité(s) : 21
Droits : CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Provenance : Université des Antilles et de la Guyane. Service commun de la documentation
Permalien : http://www.manioc.org/fichiers/HASHe7a34e448329ef1663ce71
HASHe7a34e448329ef1663ce71
HASHe7a34e448329ef1663ce71
HASHe7a34e448329ef1663ce71

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : Les grands domaines naturels, rattachés aux diverses stations de villégiature, étaient dépositaires des meilleurs lacs à truites, d’immenses territoires de sauvagine, de cerf de Virginie et d’un grand nombre de rivières à saumon. Si le littoral et la montagne ont agi comme attracteurs dans le cas de la villégiature, il en a été autrement pour les clubs de chasse et de pêche, qui sont apparus au milieu du XIXe siècle et se sont multipliés à compter de 1885. En l’occurrence, la mécanique à l’œuvre semble avoir posé la « grande nature » comme visée territoriale et le « coureur des bois » comme figure emblématique du héros romantique. L’argument développé dans cet article va s’employer à montrer que le tourisme et la villégiature ont constitué au Québec des procédures de valorisation positionnelle de nature géoanthropologique. Le « clubage » des Laurentides, au sens large du terme, aura constitué en ce sens le présupposé de leur colonisation intérieure. Qu’il s’agisse du lac Saint-Jean, de la Mauricie ou des Laurentides en général, on retrouve l’efficacité du parcours structural de l’établissement humain développé en géographie structurale : l’occupation utilitaire d’un territoire disponible présuppose non pas d’abord une transformation de la nature, mais une valorisation des positions abstraites par le tourisme et la villégiature. 
The large natural areas, linked to the various resorts, were custodians of the best trout lakes, huge areas of waterfowl, deer of Virginia and a large number of salmon rivers. If the coast and the mountains acted as attractors in the case of the holiday, it was different for the club hunting and fishing, which have emerged in the mid-nineteenth century and have increased from 1885. In this case, the mechanics at work seems to have raised the "great outdoors" as a territorial and "rider of the woods" as emblematic figure of the romantic hero. In this case, the mechanics at work seems to have raised the "great outdoors" as a territorial and "rider of the woods" as emblematic figure of the romantic hero. The argument developed in this article will seek to show that tourism and vacationing were in Quebec recovery procedures such as positional geo-anthropological. The “clubage” Laurentian, in the broadest sense, will be formed in this sense the assumption of internal colonization. Whether Lake Saint-Jean, Mauricie and Laurentides in general, we find the effectiveness of the structural pathways of human settlement geography developed structural: the occupation of territory utility presupposes not available not primarily a transformation of nature but a recovery of vague ... by the tourism and the holiday resort.
Québec

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.3609
http://journals.openedition.org/etudescaribeennes/3609

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
The sail boat in the foreground is loaded with conch shells. Queen conch is a national emblem of the Bahamas and used in many popular dishes. The Bahamian coat of arms' crest features a pink conch shell. Behind this boat are many other anchored sailboats carrying cargo. Slide labeled Docks Nassau, April '65.
Bahamas -- North America -- Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 17:13
http://ufdc.ufl.edu/AA00029532/00001

Éditeur(s) : HAL CCSD Society of Environmental Toxicology and Chemistry Press (SETAC)
Résumé : International audience
Tributyltin (TBT) and triphenyltin (TPT) are emblematic endocrine disruptors, which have been mostly studied in gonochoric prosobranchs. Although both compounds can simultaneously occur in the environment, they have mainly been tested separately for their effects on snail reproduction. Because large discrepancies in experimental conditions occurred in these tests, the present study aimed to compare the relative toxicity of TBT and TPT under similar laboratory conditions in the range of 0 ng Sn/L to 600 ng Sn/L. Tests were performed on the simultaneous hermaphrodite Lymnaea stagnalis, a freshwater snail in which effects of TPT were unknown. Survival, shell length, and reproduction were monitored in a 21-d semistatic test. Frequency of abnormal eggs was assessed as an additional endpoint. Triphenyltin hampered survival while TBT did not. Major effects on shell solidity and reproduction were observed for both compounds, reproductive outputs being more severely hampered by TBT than by TPT. Considering the frequency of abnormal eggs allowed increasing test sensitivity, because snail responses to TBT could be detected at concentrations as low as 19 ng Sn/L. However, the putative mode of action of the 2 compounds could not be deduced from the structure of the molecules or from the response of apical endpoints. Sensitivity of L. stagnalis to TBT and TPT was compared with the sensitivity of prosobranch mollusks with different habitats and different reproductive strategies.
Environmental Toxicology and Chemistry

hal-00877955
https://hal.archives-ouvertes.fr/hal-00877955
DOI : 10.1002/etc.2200
PUBMED : 23450754

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In 1937, Jamaican-born horticulturist Hedley Vivian Edwards opened Ardastra Gardens, now known as Ardastra Gardens, Zoo and Conservation Centre. The word 'Ardastra' is from the Latin Ardua astrum, which means “Striving for the stars.” In 1956, as part of a preservation study to increase their numbers, the West Indian Flamingo was brought to New Providence by the Bahamian government from Great Inagua and housed in Ardastra Gardens. At the completion of the study, some of the young flamingos were given to Edwards. Later, Edwards trained the flamingos to march on command, which for years has been one of the most well-known visitor’s attractions at Ardastra Gardens, Zoo and Conservation Centre. In 1982 the gardens were bought by Norman Solomon and became the first zoo in the Bahamas. In the picture, rows of red chairs can be seen in the background as a flock of flamingos march across the foreground of the image. Hedley Vivian Edwards is among the people who can also been seen in the background.
Bahamas -- North America -- New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:10
http://ufdc.ufl.edu/AA00029408/00001

Éditeur(s) : HAL CCSD Université des Antilles
Résumé : International audience
The Caribbean Sea is emblematic of the cruise, it is known for its international routes, scenic postcards touting the charms of the region. The analysis of the cruise industry will highlight some limits and contradictions of current development patterns. The product "cruise" has evolved considerably. It’s now the cruise ship itself (temple of consumption and enclave floating) that became the object of the Cruise, the “Destination” of the cruise line.The cruise is part of mass tourism. It’s characterized by its huge boats, rationalization and cost optimization in the context of a market increasingly globalized capital. All data that must be analyzed to understand recent developments in the cruise and repeated challenges to the host territories.
El Mar Caribe es un emblema de la travesía. Esta conocido por sus rutas internacionales, postales escénicas explicando en detalle los encantos de la región. El análisis de la industria de los cruceros pondrán de relieve algunos límites y contradicciones de los patrones actuales de desarrollo. El producto "crucero" ha evolucionado considerablemente. Ahora es el crucero en sí (el templo del consumo y el enclave flotante) que se convirtió en el objeto del Crucero, el Destino "de la línea de cruceros. El crucero es parte del turismo de masas. Se caracteriza por sus grandes barcos, la racionalización y optimización de costes en el contexto de un mercado de capitales cada vez más globalizado. Todos los datos que se deben analizar para comprender la evolución reciente en el crucero y constantes desafíos a los territorios de acogida.
La mer des Caraïbes est un espace emblématique de la croisière. Au-delà de la réputation mondiale de ses destinations, des cartes postales qui vantent les charmes de la région, l’analyse de l’industrie de la croisière permet de souligner certaines limites et contradictions des modalités de développement actuelles. Le produit « croisière » a considérablement évolué : désormais c’est le paquebot en lui-même (temple de la consommation et enclave flottante) qui est devenu la destination du croisiériste. Ouverture au tourisme de masse, gigantisme des bateaux, rationalisation et optimisation des coûts dans le cadre d’un marché de plus en plus globalisé et capitalistique sont autant de données qui doivent être analysées pour comprendre l’évolution récente de la croisière et les défis renouvelés pour les territoires d’accueil.
ISSN: 1779-0980

hal-01624772
https://hal.archives-ouvertes.fr/hal-01624772
DOI : 10.4000/etudescaribeennes.3843

Éditeur(s) : HAL CCSD Université des Antilles
Résumé : International audience
This study highlights the importance of tourism issues for the tropical islands. The singularity of the spaces is too often overlooked because of the strength of fantasized representations of the tropical island which is seen as a paradise, a place of accomplishment desires unlimited with an easy life, with its sunny shores, between coral reefs and white sandy beaches lined with coconut trees. These intangible wealth are based on real resources, abundant and vulnerable, like the emblematic image of coral reefs. Although the tropical island destinations are not supported the weight of the major touristic regions of the world but their flows should be reconsidered in the light of the characteristics of these territories (small size, load population, shortage of land, limits of resources) that require defining specific indicators. But the advent of mass tourism in these last frontiers, these "Pleasure Periphery" needs to question the sustainability of tourism development strategies.
Cette étude souligne l’importance des enjeux touristiques pour les îles tropicales. La singularité des espaces est trop souvent négligée en raison de la vigueur des représentations fantasmées de l’île tropicale qui est perçue tel un lieu paradisiaque, un lieu d’accomplissement de désirs illimités où s’écoule une vie facile, avec ses rivages ensoleillés, entre récifs coralliens et plages de sable blanc bordées de cocotiers. Ces richesses immatérielles reposent sur des ressources bien réelles, abondantes et vulnérables, à l’image des emblématiques récifs coralliens. Certes les destinations insulaires tropicales ne connaissent pas les niveaux de fréquentation des grandes régions du monde, mais leurs flux doivent être reconsidérés au regard des caractéristiques de ces territoires (faible superficie, charge de population, rareté de la terre, limites des ressources) qui nécessitent la définition d’indications spécifiques. Mais l’avènement d’un tourisme de masse dans ces ultimes frontières, ces « Pleasure Periphery » nécessite de s’interroger sur la viabilité des stratégies de développement mises en œuvre autour du tourisme.
ISSN: 1779-0980

hal-01624747
https://hal.archives-ouvertes.fr/hal-01624747
DOI : 10.4000/etudescaribeennes.852