Department of Language, Linguistics & Philosophy

's ekphrastic poem, " Musee des Beaux Arts " meaning The Museum of Fine Arts, showcases the indifference with which humans perceive suffering. This title, though fancy, is quite ironic in that, the subject it outlines does not reflect anything that of which is fine. Auden, through an unnoticed persona or third person, critically recaptures , with careful poetic dexterity, Pieter Brueghel's painting which outlines a farmer, a sailing ship, a shining sun and a drowning boy. Auden illustrates this same scenario in his poem. After careful observation, he paints a general picture of how suffering is common – placed to the daily practices of human beings. The painting done by Brueghel seems to be the inspiration for Auden's poem. The poem, written in third person, starts off by giving general views about suffering and how it happens while humans and animals are carrying on with their day to day routines: " how it takes place/ while someone else is eating or opening a window or just/ walking dully along/ where the dogs go on with their doggy life... " (Lines 4, 5, 13). This speaks directly to how universal the subject of the poem is. Auden gives his personal conviction when he suggests that " The Old Masters " , written in capital letters, this suggests experts of the past like Brueghel, who is the only one who knows about and understands the hardship and suffering people face. The persona also speaks about how nonchalantly children react to suffering as opposed to elderly folks who await another birth while turning a blind eye to human suffering. In addition, the second section of the poem moves away from a general commentary to an analogy, narrowing its focus to " Brueghel's Icarus ". This further concretizes and exemplifies the situational irony of how " the plowman "-an ordinary person-and " the expensive delicate ship " –

African art forms, whether as music, novel, film, play or dance are usually expressive in the sense that they reflect what obtains in the physical and social spaces where the artist showcase their talents. The Music of Sholla-Allyson Obaniyi could be regarded as an exemplification of this position. This paper undertakes a philosophical analysis and critique of Sholla-Allyson Obaniyi’s idea of work as a human virtue as rendered in her song, Márosè. The paper examines Sholla Allyson Obaniyi’s view that work is virtuous and that there is a causal link between laziness and poverty. The paper observes that this is a traditional conception of work, but argues that this conception of work has been downplayed by industrial society as encapsulated in capitalist and neo-liberal political and economic systems that have rendered work to be a curse in the sense to be explained in the paper. The paper canvasses the view that a conceptual framework that sees work in relation to leisure and play could be used to rectify the state of affairs that has been responsible for the degradation of work from its traditional conception as a noble human activity.

The study of linguistic variation in the Caribbean has been central to the emergence of Pidgin and Creole Linguistics as an academic field. It has yielded influential theory, such as the (post-)creole continuum or the 'Acts of Identity' models, that has shaped sociolinguistics far beyond creole settings. This volume collects current work in the field and focuses on methodological and theoretical innovations that continue, expand, and update the dialog between Caribbean variation studies and general sociolinguistics.

... Note * Correspondence address: Faculty of Education and Liberal Studies , University of Tech-nology, Jamaica, 237 Old Hope Road, Kingston 6 Jamaica. E-mail: joseph.farquharson@ utech.edu.jm. Two valuable contributions to creolistics 1389 Page 6. References ...