Researching Resistance: Public Education After Neoliberalism serves two vital functions. First, it explores, explicates, and encourages critical qualitative research that engages the arts and born-digital scholarship. Second, it offers options for understanding neoliberalism, revealing its impact on communities, and resisting it as ideology, practice, and law. The book delves into • strategies for engaging neoliberalism • the Black feminist cyborg theoretical assumptions and intentions of the ethnographic web-based film project • the research and arts-based methodology that walks the fault line between film and ethnography, and • the relationships between the researcher, the activist organizations, and the activism. While the book will focus on neoliberalism within the realm of public education, the implications extend to many other areas of public life. This is an excellent text for classes in qualitative research and public policy. It is the companion text to the digital native ethnographic film project entitled Public Education|Participatory Democracy: After Neoliberalism.
From Kara Walker’s hellscape antebellum silhouettes to Paul Beatty’s bizarre twist on slavery in The Sellout and from Colson Whitehead’s literal Underground Railroad to Jordan Peele’s body-snatching Get Out, this volume offers commentary on contemporary artistic works that present, like musical deep cuts, some challenging “alternate takes” on American slavery. These artists deliberately confront and negotiate the psychic and representational legacies of slavery to imagine possibilities and change. The essays in this volume explore the conceptions of freedom and blackness that undergird these narratives, critically examining how artists growing up in the post–Civil Rights era have nuanced slavery in a way that is distinctly different from the first wave of neo-slave narratives that emerged from the Civil Rights and Black Power Movements. Slavery and the Post-Black Imagination positions post-blackness as a productive category of analysis that brings into sharp focus recent developments in black cultural productions across various media. These ten essays investigate how millennial black cultural productions trouble long-held notions of blackness by challenging limiting scripts. They interrogate political as well as formal interventions into established discourses to demonstrate how explorations of black identities frequently go hand in hand with the purposeful refiguring of slavery’s prevailing tropes, narratives, and images. A V Ethel Willis White Book
Denying its formative dialogues with minorities, the white race, Stephen P. Knadler contends, has been a fugitive race. While the "white question," like the "Negro question," and the "woman question" a century earlier, has garnered considerable critical attention among scholars looking to find new anti-race strategies, these investigations need to highlight not just the exclusion of people of color, but also examine minority writers' resistance to and disruption of this privileged racial category. "Highly original, wonderfully detailed, and thought provoking," says Professor Candace Waid of Knadler's intellectually challenging book. Although excluded, people of color looked back in anger, laughter, and wisdom to challenge the unexamined lie of a self-evident whiteness. Looking at fictional and nonfictional texts written between 1850 and 1984, The Fugitive Race traces a long cultural and literary history of the ways African Americans, Asian Americans, Jewish Americans, Chicanos, gays, and lesbians have challenged the shape and meaning of so-called white identities. From the antebellum period to the 1980s, the belief in a white racial superiority, or simply a white difference, has denied that people of color might and do have an influence on the supposedly pure or protected character of whiteness. In contrast, this book attempts to define a new way of analyzing minority literature that questions this segregated color line. In addition to creating a new racial awareness, many writers of color tried to interfere in the historical formulation of whiteness. They created unsettling moments when white readers had to see themselves for the first time from the outside-in, or from the critical perspective of non-white writers. These writers--including William Wells Brown, Pauline Hopkins, Abraham Cahan, Young-hill Kang, Zora Neale Hurston, and Arturo Islas--did not simply resist assimilation. They sought to dismantle the white identities that lay as the foundation of the master's house. Stephen P. Knadler, an assistant professor of English at Spelman College, has been published in American Literature, American Literary History, American Quarterly, Minnesota Review, and Modern Fiction Studies.
We've all seen how the criminal justice system is portrayed on TV. From NCIS and Law & Order to White Collar and Cops, were led to believe that we know how the system works. But how much do we really know about what goes on?
"Through both history and personal memoir, examines the role of the Fulton Theatre in Lancaster, Pennsylvania, in the shaping of American identity from colonial times to the present"--Provided by publisher.
DIVExpores the writings of Marcus Garvey, Claude McKay and C.L.R. James and argues that these black transnationals articulated a novel conception of black identity that reconfigures the meaning of American nationality./div
The fourth publication in the award-winning, critically acclaimed Milestone Documents sereis, Milestone Documents in African American History explores the fundamental primary sources in African American history. This four-volume set covers 135 iconic primary documents from the 1600's to the present. Each entry offers the full text of the document in question as well as an in-depth, analytical essay that places the document in its historical context.
Critical Perspectives on Canadian Theatre in English sets out to make the best critical and scholarly work in the field readily available. The series publishes the work of scholars and critics who have traced the coming-into-prominence of a vibrant theatrical community in English Canada.
Arguing that the reform impulse grew out of the era's peculiar mix of fear and hope, Steven Mintz shows that reform arose not only from fears of social disorder, family fragmentation, and widening class divisions but also from a millennialist sense of possibility rooted in new religious and philosophical ideas. He then examines three distinct responses to pre-Civil War America's pressing social problems. Moral reform sought to create a Christian moral order using moral suasion. Social reform combatted poverty, crime, and ignorance through new institutions offering nonauthoritarian forms of social control. Radical reform sought to regenerate American society by eliminating fundamental sources of inequality such as slavery and racial and sexual discrimination. In an epilogue, Mintz fits antebellum reform into the larger context of America's liberal tradition.
Contains over 4700 entries providing contact information on a wide range of non-profit, private, public, educational and governmental organizations and agencies concerned with black Americans. There are also descriptions of important sources of information, educational programmes, media, and more.