الفهرس 
The Background Multiculturalism and Dub PoetryOnly 14 pages are availabe for public view
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Abstract
As a main concern of the present study, in chapter I, multiculturalism and the Canadian multicultural mosiac are shown to be idealistic, owing to the racial/cultural marginalization of ethnic minorities. Multiculturalism which is supposed to consist of cultural diversity, is shown to be a decorative theory. It stimulates assimilation and acculturation so as to maintain a cultural reshapement of the ethnic minority’s identity, according to the white cultural norms. Both dub and meta dub poetry that are related to reggae and diverse African beats, reflect racial dilemmas, portraying the identity quest of blacks. Patois as the main language of dub poetry, is used as a reflection of the lost African culture’s image.
Chapter II, shows Lillian Allen tackling the Quebic, Canadian culture’s dominance, from the perspective of a female, Jamaican Diaspora member. Allen interrelates certain dub poetic features as that of griot, to the concepts of transnationalism and transhistoricism, so as to deal with white, cultural/economic oppression, practised upon blacks, under the guise of cultural plurality.
In chapter III, Louise Bennett focuses on dialect poetry, in her Jamaican identity quest. In her mento poetry, Miss Mattie, who presents stereotypes of Jamaican women, voices her spirit of nationalism and African culture.
Chapter IV considers the meta dub and women’s domestic dub poetry of ’Binta’ Breeze who believes in rhythm diversity, to voice the dynamism of the African female identity. She manipulates a transhistorical invocation of Nancy of the Maroons, portraying the colonial economic expliotation of Jamaica, and its cultural regression, from a female perspective.
Chapter V shows Marlene Nourbese Philip exposing the deformity of the English language, framed in the context of a father/mother struggle for cultural existence, and voicing the silence of her mother/identity. Her polyphonic discourses, the demotic tongue, as well as certain elements such as space, body/memory and intertextual citations, invoke her search for a mother culture’s articulation in a Canadian multicultural society.
Chapter VI, the Conclusion, points out the main findings of the study, asserting that diversity of cultures is hypothetical, since multiculturalism, as a theory, totally adheres to the white cultural norms, language, identity and ethnicity. This is an attempt to expose the ethnic inequality between blacks and whites through focusing on the economic and cultural oppression of Jamaicans. Through portraying dub/oral poetry as a political mouthpiece of the subjugated blacks and diaspora members, the study has aimed at reassessing, or giving a counter view of the different concepts, phases and ideals of multiculturalism, and the Canadian mosaic, pointing out their defects, and apparently positive motives. The study has delved into the poetic genres of dub, mento, meta-dub and scribalised, semi oral, poetry, giving a comprehensive analysis of poems written by Allen, Bennett, Breeze and Philip. It has also discussed such important concepts as transnationalism, body/ memory, culture trauma in the light of Bhabha’s views of stereotypes and ”world-in-the home” (2-11). A ”Bibliography of Works Cited” follows the study.