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Thematische Bibliographien / African americans – history – drama / Zeitschriftenartikel

Zeitschriftenartikel zum Thema „African americans – history – drama“

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Veröffentlicht am 25. Juli 2024

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1

Gohar, Saddik M. „The dialectics of homeland and identity: Reconstructing Africa in the poetry of Langston Hughes and Mohamed Al-Fayturi“. Tydskrif vir Letterkunde 45, Nr. 1 (15.02.2018): 42–74. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4460.

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The article investigates the dialectics between homeland and identity in the poetry of the Sudanese poet, Mohamed Al-Fayturi and his literary master, Langston Hughes in order to underline their attitudes toward crucial issues integral to the African and African-American experience such as identity, racism, enslavement and colonisation. The article argues that – in Hughes’s early poetry –Africa is depicted as the land of ancient civilisations in order to strengthen African-American feelings of ethnic pride during the Harlem Renaissance. This idealistic image of a pre-slavery, a pre-colonial Africa, argues the paper, disappears from the poetry of Hughes, after the Harlem Renaissance, to be replaced with a more realistic image of Africa under colonisation. The article also demonstrates that unlike Hughes, who attempts to romanticize Africa, Al-Fayturi rejects a romantic confrontation with the roots. Interrogating western colonial narratives about Africa, Al-Fayturi reconstructs pre-colonial African history in order to reveal the tragic consequences of colonisation and slavery upon the psyche of the African people. The article also points out that in their attempts to confront the oppressive powers which aim to erase the identity of their peoples, Hughes and Al-Fayturi explore areas of overlap drama between the turbulent experience of African-Americans and the catastrophic history of black Africans dismantling colonial narratives and erecting their own cultural mythology.

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Hbean, Hussein, und Ikhlas Al-Abedi. „Vulnerability and Hypocrisy in Suzan Lori Parks' In The Blood“. Uruk Journal 15, Nr. 3-P1 (22.09.2022): 1648–54. http://dx.doi.org/10.52113/uj05/022-15/1648-1654.

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Black women's struggles for authority and identity are underreported not only within the political and social living days of the territory black females call home (for example, dark skin females), yet also in critical and creative literary works. Suzan-Lori Parks [1963-] – for her willingness to bring authority to black females who really are silenced. In her work, she attempted to demonstrate how racial identity, privilege, and sex all play a role in black female's oppression in United states. Because they are black, poor, and women, the [female] main characters in her work seem to be victims. Suzan-Lori Parks is a Pulitzer Prize-winning playwright who is bold and untraditional. She is part of a larger line of African American playwrights who have made a significant contribution to African Americans' quest/ion – for identities. Her drama are places where she highlights the importance of restructuring African Americans' identities by challenging dominant ideologies and metanarratives, invalidating some of the prejudices forced on them, exposing the press's duplicity in reinforcing racial prejudice, engendering enslavement, lynching, and their aftermaths, rehistoricizing history, catalyzing reflections on the numerous intersections of physical intimacy, racial group, category, and sex role sexualities, and profess. The search for one's identity has been a contentious topic in African American literature since its inception. Dark skin playwrights have made considerable efforts in the drama to emphasize the worth, significance, and self respect of African American women identities by combating racism and its harmful impacts on African Americans' lives and relationships.

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Elam, Harry. „A History of African American Theatre. By Errol G. Hill and James V. Hatch. Cambridge Studies in American Theatre and Drama. Cambridge: Cambridge University Press, 2003; pp. 608. $130 cloth.“ Theatre Survey 46, Nr. 1 (Mai 2005): 127–29. http://dx.doi.org/10.1017/s0040557405220094.

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Over the more than twenty years since the publication of two profoundly influential collections—Errol Hill's two-volume anthology of critical essays The Theatre of Black Americans (1980) and James V. Hatch's first edition of the play anthology Black Theatre USA (1974)—there has been considerable activity in African American theatre scholarship. Yet even as scholars have produced new collections of historical and critical essays that cover a wide range of African American theatre history, book-length studies that document particular moments in the historical continuum such as the Harlem Renaissance, and Samuel Hay's broader study African American Theatre: An Historical and Critical Analysis (1994), no one until now has written a comprehensive study of African American theatre history. Into this void have stepped two of the aforementioned distinguished scholars of African American theatre, Errol G. Hill and James V. Hatch. To be certain, writing a comprehensive history of African American theatre poses a daunting challenge for anyone hearty enough to undertake it. Where to begin? What to include and exclude? With their study, A History of African American Theatre, Hill and Hatch show themselves indeed worthy of the challenge. They explore the evolution of African American theatre across time and space, documenting the particular efforts of artists, writers, scholars, and practitioners, from inside as well as outside the United States, that have had an impact on our understanding of African American theatre. The authors make clear that the definition of African American theatre from the beginning has been in constant flux and that it has been affected by the changing social times in American as much as it has influenced those times.

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Zimmerman, Jonathan. „Brown-ing the American Textbook: History, Psychology, and the Origins of Modern Multiculturalism“. History of Education Quarterly 44, Nr. 1 (2004): 46–69. http://dx.doi.org/10.1111/j.1748-5959.2004.tb00145.x.

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In June 1944, a delegation of African-American leaders met with New York City school officials to discuss a central focus of black concern: history textbooks. That delegation reflected a broad spectrum of metropolitan Black opinion: Chaired by the radical city councilman Benjamin J. Davis, it included the publisher of theAmsterdam News—New York's major Black newspaper—as well as the bishop of the African Orthodox Church. In a joint statement, the delegates praised public schools' recent efforts to promote “intercultural education”—and to reduce “prejudice”—via drama, music, and art. Yet if history texts continued to spread lies about the past, Blacks insisted, all of these other programs would come to naught. One book described slaves as “happy”; another applauded the Ku Klux Klan for keeping “foolish Negroes” out of government. “Such passages… could well have come from the mouths of the fascist enemies of our nation,” the Black delegation warned. Even as America fought “Nazi doctrine” overseas, African Americans maintained, the country needed to purge this philosophy from history books at home.

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Evans, Curtis J. „The Religious and Racial Meanings of The Green Pastures“. Religion and American Culture: A Journal of Interpretation 18, Nr. 1 (2008): 59–93. http://dx.doi.org/10.1525/rac.2008.18.1.59.

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AbstractMarc Connelly's The Green Pastures play was one of the longest running dramas in Broadway history. Responses to the play by blacks and whites demonstrate its contested nature. Whites generally lauded the drama for its simplicity and its childlike depiction of black religion in the rural South. African Americans, though hopeful that its allblack cast would lead to more opportunities for blacks on stage, were divided between a general appreciation of the extraordinary display of talent by its actors and worries about the implications of a play that seemed to idealize the rural South as the natural environment of carefree overly religious blacks. Connelly's widely popular drama became a site of cultural debates about the significance of black migration to the urban North, the nature and importance of religion in black communities, and the place of blacks in the nation. Precisely when black social scientists were urging rural black Christians to abandon an otherworldly and emotional religion, white dramatists and literary artists were making more widely available what they saw as a picturesque and deeply rooted aspect of black folk culture.

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Stern, Steve J. „Paradigms of Conquest: History, Historiography, and Politics“. Journal of Latin American Studies 24, S1 (März 1992): 1–34. http://dx.doi.org/10.1017/s0022216x00023750.

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The Quandary of 1492The year 1492 evokes a powerful symbolism.1The symbolism is most charged, of course, among peoples whose historical memory connects them directly to the forces unleashed in 1492. For indigenous Americans, Latin Americans, minorities of Latino or Hispanic descent, and Spaniards and Portuguese, the sense of connection is strong. The year 1492 symbolises a momentous turn in historical destiny: for Amerindians, the ruinous switch from independent to colonised history; for Iberians, the launching of a formative historical chapter of imperial fame and controversy; for Latin Americans and the Latino diaspora, the painful birth of distinctive cultures out of power-laden encounters among Iberian Europeans, indigenous Americans, Africans, and the diverse offspring who both maintained and blurred the main racial categories.But the symbolism extends beyond the Americas, and beyond the descendants of those most directly affected. The arrival of Columbus in America symbolises a historical reconfiguration of world magnitude. The fusion of native American and European histories into one history marked the beginning of the end of isolated stagings of human drama. Continental and subcontinental parameters of human action and struggle, accomplishment and failure, would expand into a world stage of power and witness. The expansion of scale revolutionised cultural and ecological geography. After 1492, the ethnography of the humanoid other proved an even more central fact of life, and the migrations of microbes, plants and animals, and cultural inventions would transform the history of disease, food consumption, land use, and production techniques.2In addition, the year 1492 symbolises the beginnings of the unique world ascendance of European civilisation.

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Marcus, Kenneth H. „Dance Moves“. Pacific Historical Review 83, Nr. 3 (November 2012): 487–527. http://dx.doi.org/10.1525/phr.2014.83.3.487.

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This article argues that a group of young African Americans in the 1940s and 1950s used ballet as a means of crossing racial and class barriers of an art form in which few blacks had until then participated. Founded in 1946 by white choreographer Joseph Rickard (1918–1994), the First Negro Classic Ballet was one of the first African American ballet companies in the country's history and the first black ballet company known to last over a decade. With the goal of multiethnic cooperation in the arts, the company created a series of original “dance-dramas,” several with musical scores by resident composer Claudius Wilson, to perform for white and black audiences in venues throughout Southern and Northern California during the postwar era.

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Fraden, Rena. „:A History of African American Theatre.(Cambridge Studies in American Theatre and Drama, number 18.)“. American Historical Review 110, Nr. 3 (Juni 2005): 800–801. http://dx.doi.org/10.1086/ahr.110.3.800.

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Akbar, Nadia Ali. „Racial Discrimination and Dilemma of Colorism in Afro-American Drama“. International Journal of Literature Studies 2, Nr. 2 (05.09.2022): 29–37. http://dx.doi.org/10.32996/ijts.2022.2.2.4.

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African, black, coloured, Negro, and, more recently, Afro-American, or African-American, was the most often used and accepted terminology. These phrases were included in legislation limiting people's freedoms and human rights. So, racial discrimination is one of the most discussed topics nowadays and throughout history. It means the denial of opportunity for a specific group of people. It is usually based on a number of factors, such as race, the color of skin, social class, and religion. The present research aims at showing racial discrimination and the dilemma of color in two Afro-American female and male playwrights. They are Zola Neale Hurston (1891-1960) and Langgston Hughes (1920-1967). In her play Color Struck (1926), Hurston sheds light on the problem of colorism and its effect on women. It deals with the dilemma of Emma, a young black lady whose deep color-consciousness leads to an inferiority complex under miners in her own life and future. Hughes also addresses the realistic source of conflict in Mulatto (1935), which is the color line that individuals must transcend in order to embrace each other as human beings. The study concludes with a conclusion that summarizes the findings.

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ÜNEY, Muharrem. „A Theatre of a History: Major Themes in Early African-American Theater and their Relations with the History“. International Journal of Social, Political and Economic Research 7, Nr. 4 (23.12.2020): 1023–39. http://dx.doi.org/10.46291/ijospervol7iss4pp1023-1039.

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Although it is not the first literary type that comes to mind related to African-American literature, the drama has become an important form of black self-expression. The black theater, modernized with time and adapted to the popular formats of the era, has achieved rapid development in the after-slavery period. The Harlem Renaissance was especially a booming era in this respect. This genre sometimes appears as a reinterpretation of the classics like Shakespeare's works with a black point of view, but most often it appears as exclusive works, belonging to, and produced for black people. Black Nationalism, mentioned in this case, is a theme frequently used in theatrical works. Besides, subjects such as slavery, which blacks have suffered from for many years; their search for rights due to the unfair practices they have endured; the utopia of a new beginning as free blacks in another country; and the lives of historical personalities that have marked the blacks' struggle for freedom, are also among the themes that the black theater has used most frequently. In this study, the relationship between the history and the theater of blacks in America will be analyzed by exemplifying and discussing major themes used in the early African-American Theatre.

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Browder, Laura. „Sheep Hill Memories, Carver Dreams: Creating a Living Newspaper Today“. Public Historian 26, Nr. 2 (2004): 73–80. http://dx.doi.org/10.1525/tph.2004.26.2.73.

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In November 2000, the living newspaper drama Sheep Hill Memories, Carver Dreams premiered to packed houses at Virginia Commonwealth University (VCU) in Richmond. This documentary play concerns the history and survival of Carver, a historically African- American working-class community bordering VCU which was being threatened by the university’s planned expansion. Performed by a Carver-based theater group with a twenty-seven-year history, in collaboration with TheatreVCU, Sheep Hill Memories, Carver Dreams was the outcome of a two-year collaboration between a grass-roots community organization and the university. As playwright and co-director of the two-year Carver Living Newspaper Project, I present the development of the project, its outcomes, and the challenges we faced along the way in creating the play.

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12

Vandenbroucke, Russell. „Violence Onstage and Off: Drama and Society in Recent American Plays“. New Theatre Quarterly 32, Nr. 2 (13.04.2016): 107–20. http://dx.doi.org/10.1017/s0266464x16000026.

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Direct and bloody violence has a long history on stage. In recent years, a different mode of violence can be distinguished in the work of prominent American playwrights – less direct than indirect, more covert than overt, and likely to affect a group rather than individuals. In this article Russell Vandenbroucke applies concepts from Norwegian sociologist and Peace Studies scholar Johan Galtung to examine structural and cultural violence in Suzan-Lori Parks's Father Comes Home from the Wars (Parts 1, 2, & 3) and traces similar representations of violence in Anna Deavere Smith's Fires in the Mirror, Tony Kushner's Angels in America, Lynn Nottage's Ruined, Ayad Aktar's Disgraced, The Laramie Project by Moisés Kauffman and the Tectonic Theater Project, and Tim Robbins's adaptation of Dead Man Walking by Sr Helen Prejean. These writers have in common the status of traditional outsiders – black, female, gay, Muslim – and this informs their engagement in the social and political vitality of the stage. The shift in focus of these plays from direct violence echoes observations in Steven Pinker's recent The Better Angels of Our Nature: Why Violence Has Declined. Russell Vandenbroucke is Professor of Theatre Arts at the University of Louisville and Director of its Peace, Justice, and Conflict Transformation programme. He previously served as Artistic Director of Chicago's Northlight Theatre. His publications include Truths the Hand Can Touch: the Theatre of Athol Fugard and numerous articles on South African theatre.

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Helbling, Mark. „Reviews of Books:A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1927 David Krasner“. American Historical Review 108, Nr. 4 (Oktober 2003): 1165–66. http://dx.doi.org/10.1086/529856.

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Ding, Wenjing. „A Study on Michelle Obama’s Speech at Stanford Center at Peking University from the Perspective of Burke’s New Rhetoric“. International Journal of Linguistics, Literature and Translation 5, Nr. 10 (08.10.2022): 58–61. http://dx.doi.org/10.32996/ijllt.2022.5.10.7.

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Kenneth Burke is the founder of the new rhetoric. Dramatism is one of the important contents of Burke’s rhetoric theory. It is a way for Burke to analyze and study the relationship and motivation of human behavior through drama. Dramatism can be used as a practical tool in discourse analysis, especially in advertisements and speeches. Michelle Obama, the wife of 44th U.S. President Barack Obama, is the first African-American first lady in U.S. history. She has been a powerful force behind Barack Obama’s political career. Michelle Obama’s regular speeches not only raised her public profile but also built support for her husband, which had a huge impact on politics, education, and culture. The research mainly adopts a descriptive method to analyze Michelle Obama’s speech at Peking University in 2014 from the perspective of Burke’s dramatism. This paper tries to find out the characteristics of Michelle Obama’s speech and reveals the deep meaning of her speech, that is, to promote cultural exchanges between China and the United States.

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Frühwirth, Timo, Philipp Bechtold, Elisabeth Güner und Marie-Theres Krutner. „‘For better or for worse, there is history, there is the book and then there's the movie’: Foregrounding and Marginalizing African American Women in the Film Hidden Figures (2016)“. European Journal of Life Writing 10 (08.09.2021): WLS77—WLS105. http://dx.doi.org/10.21827/ejlw.10.37914.

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This paper critically examines the representation of gender and race in the biographical drama film Hidden Figures (2016), directed by Theodore Melfi. The film is based on Margot Lee Shetterly’s nonfiction book of the same title, which spotlights previously hidden figures in US history: the black female mathematicians who worked in the early US space program. The movie was released to critical acclaim and embraced by audiences as empowering African American girls. At the same time, the film was criticized for including a ‘white savior’ scene in which the black female protagonists are marginalized. After providing background information on Shetterly’s book and the film’s critical reception, this paper conducts a close formal analysis of a pivotal sequence in the film, which is compared to the events told in the nonfiction book. To shed light on the power structures that the film sequence projects, the results of this analysis are, subsequently, related to critical theoretical approaches to Hollywood cinema, as well as to Sara Ahmed’s concept of ‘affective economies.’ In conclusion, we argue that Hollywood filmmakers’ expectations about the desires of ‘mainstream’ audiences work to perpetuate the repression of previously repressed herstory on the ‘silver screen.’

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SABER, YOMNA. „Langston Hughes: Fringe Modernism, Identity and Defying the Interrogator Witch-Hunter“. Journal of American Studies 49, Nr. 1 (21.01.2015): 173–79. http://dx.doi.org/10.1017/s002187581400190x.

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Langston Hughes (1902–67), the wondering wandering poet, has left behind a rich legacy of books that never grow dusty on the shelves. There seems to be no path that Hughes left untrodden; he wrote drama, novels, short stories, two autobiographies, poetry, journalistic prose, an opera libretto, history, children's stories, and even lyrics for songs, in addition to his translations. Hughes was the first African American author to earn his living from writing and his career spans a long time, from the 1920s until the 1960s – he never stopped writing during this period. The Harlem Renaissance introduced prominent black writers who engraved their names in the American canon, such as Countee Cullen, Claude McKay, Jean Toomer and Zora Neale Hurston, but Hughes markedly stands out for his artistic achievements and longer career. Hughes had been identified by many as the spokesperson for his race since his works dug deep into black life, and his innovative techniques embraced black dialect and the rhythms of black music. He captured the essence of black life with conspicuous sensitivity and polished his voice throughout four decades. His name also had long been tied to the politics of identity in America. Brooding over his position, Hughes chose to take pride in being black in a racist nation. In his case, the dialectics of identity are more complicated, as they encompass debates involving Africa, black nationalism and competing constructions surrounding a seeming authentic blackness, in addition to Du Bois's double consciousness. Critics still endeavour to decipher the many enigmas Hughes left unresolved, having been a private person and a controversial writer. His career continues to broach speculative questions concerning his closeted sexual orientation and his true political position. The beginning of the new millennium coincided with the centennial of his birth and heralded the advent of new well-researched scholarship on his life and works, including Emily Bernard's Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, 1925–1964 (2001), Kate A. Baldwin's Beyond the Color Line and the Iron Curtain: Reading Encounters between Black and Red, 1922–1963 (2002), Anthony Dawahare's Nationalism, Marxism, and African American Literature between the Wars: A New Pandora's Box (2002), Bruce R. Schwartz's Langston Hughes: Working toward Salvation (2003), and John Edgar Tidwell and Cheryl R. Ragar's edited collection Montage of a Dream: The Art and Life of Langston Hughes (2007), among others.

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Sih, Emmerencia Beh. „The game of re-writing: From Hawthorne’s The Scarlet Letter to Parks’ In The Blood“. Research Journal in Advanced Humanities 1, Nr. 3 (29.06.2020): 72–81. http://dx.doi.org/10.58256/rjah.v1i3.192.

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African-American female playwrights have a durable inclination for social and political change. Their plays frequently reflect and deflect the socio-political events of the society. This study examines how Suzan-Lori Parks in In the Blood, shapes the presentation of a text to a wider sociological context in order to attain greater understanding and recognition of her message. This has been achieved by contextualizing Parks’ In the Blood with Nathaniel Hawthorne’s The Scarlet Letter so as to assess the interpretation of history and society through the process of re-writing. The paper illustrates that ideas and events can be assembled from different studies, situations, and locations to bring out the meaning. At the core of the analysis, is the theoretical backdrop of intertextuality. This theory is important because when interpreting a text in connection to other texts and pre-texts, interpretation becomes interesting and flexible. Rewriting focusses on how a text is transformed through devices like imitation, repetition, allusion, satire and parody. Texts have no incorporated or unified meaning of their own; they are carefully related to the ongoing cultural and social developments. This theoretical position informs the conceptual praxis that this study maintains. The study indicates that Suzan-Lori Parks’ drama addresses issues that bear meaning to the historical, cultural and socio-political environment within which it grows. In its conclusion, the study demonstrates that not only black, but also white women are being criticized by the same people who place them in their shameful situations.

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Dunstan, Sarah Claire. „“Une Nègre de drame”: Jane Vialle and the Politics of Representation in Colonial Reform, 1945–1953“. Journal of Contemporary History 55, Nr. 3 (03.02.2020): 645–65. http://dx.doi.org/10.1177/0022009419873038.

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The French-Congolese Senator, Jane Vialle, was appointed as a French delegate to the United Nations in 1949. During her term she served on the Ad-Hoc Anti-Slavery committee as an expert on African colonial conditions and the status of African Women. Vialle's work on the international stage was an extension of her efforts towards reforming the political, social and economic rights of women at national and local levels, within the French Fourth Republic and the Oubangui-Chari region she represented in French West Africa. Despite her efforts, Vialle was frustrated with the glacial pace of reform in all three arenas, declaring to her friend and colleague, the African American historian and Pan-Africanist Rayford W. Logan, that she often felt she was being used as ‘une nègre de drame’. Logan believed the expression was the French equivalent of the American phrase ‘a showpiece or token negro’. Through the framework of Jane Vialle’s political career, this articles explores how the notion of representation and what it meant to be ‘une nègre de drame’ or, indeed, to be an authentic representative of one’s nation, race or gender intersected with Vialle’s reformist efforts in Oubangui-Chari, the French Fourth Republic and on the international stage.

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Rech, Nathalie. „Black Women's Domestic Labor at Angola (Louisiana State Penitentiary) during Jim Crow“. International Labor and Working-Class History 101 (2022): 44–63. http://dx.doi.org/10.1017/s0147547922000102.

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On September 19, 1922, Beulah M., a thirty-year-old cook, saved a “small child from a vicious cow on Angola.” This event occurred only a few months after her admission to the Louisiana State Penitentiary (LSP), where she was serving a life sentence for alleged murder. The infant was one of the many of the white prison staff's children raised on the penitentiary plantation nestled in a large meander of the Mississippi river. This happy-ending drama featuring a Black woman prisoner and a free white child arose from the “cohabitation” of free white households within the incarcerated population. The incident, quite unexpected in a carceral setting, prompted the penitentiary general manager to place Beulah M. on the “eligibility list” for parole and to grant her “full single good time for meritorious service,” which meant the possibility of an earlier release by a few months. Beulah's action might also have motivated authorities to assign her to be “servant” in the Camp D Captain's house in July 1923, and later to be a nurse in the nine-bedroom “Big House,” occupied by one of the penitentiary staff of higher rank. The peculiar nature of her alleged crime, the beating to death of her seven-year-old Black step-daughter, was apparently not perceived as a deterrent to entrust her to care for white children. Her courageous action toward a white child at Angola might even have been a compelling argument for her early pardon and discharge, which she received only after nine years at Angola, although her plea for a pardon had been rejected at least once before. Beulah M.'s story is the story of a coerced African American domestic laborer in white homes, rewarded for her perceived subservience to the Jim Crow order. It exemplifies one aspect of Black women's experiences of hard labor for the state of Louisiana during the first half of the twentieth century.

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Shotwell, Trent. „Book Review: History of African Americans: Exploring Diverse Roots“. Reference & User Services Quarterly 58, Nr. 4 (25.10.2019): 265. http://dx.doi.org/10.5860/rusq.58.4.7164.

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History of African Americans: Exploring Diverse Roots by Thomas J. Davis chronicles the remarkable past of African Americans from the earliest arrival of their ancestors to the election of President Barack Obama. This work was produced to recognize every triumph and tragedy that separates African Americans as a group from others in America. By distinguishing the rich and unique history of African Americans, History of African Americans: Exploring Diverse Roots provides an account of inspiration, courage, and progress. Each chapter details a significant piece of African American history, and the book includes numerous concise portraits of prominent African Americans and their contributions to progressing social life in the United States.

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Teel, S. C. „Beyond Victimization: African Americans“. OAH Magazine of History 10, Nr. 1 (01.09.1995): 17–22. http://dx.doi.org/10.1093/maghis/10.1.17.

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Newey, Katherine, Barbara Lewis und Paula R. Backscheider. „Reviews: Unknown London: Early Modernist Visions of the Metropolis, 1815–45., Resistance, Parody, and Double Consciousness in African American Theatre, 1895–1910., the Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender, and Class in African American Theatre, 1900–1940., African American Performance and Theater History: A Critical Reader., Women in British Romantic Theatre: Drama, Performance, and Society, 1790–1840“. Nineteenth Century Theatre and Film 30, Nr. 2 (November 2003): 87–99. http://dx.doi.org/10.7227/nctf.30.2.6.

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Wilson, Jackie Napolean. „African Americans In Early Photography“. Historian 57, Nr. 4 (01.06.1995): 713–20. http://dx.doi.org/10.1111/j.1540-6563.1995.tb01362.x.

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Cutler, Jody B., Richard J. Powell, Jock Reynolds, Juanita M. Holland und Adrienne L. Childs. „African Americans and American Art History“. Art Journal 59, Nr. 1 (2000): 101. http://dx.doi.org/10.2307/778087.

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KITLV, Redactie. „Book Reviews“. New West Indian Guide / Nieuwe West-Indische Gids 71, Nr. 1-2 (01.01.1997): 107–78. http://dx.doi.org/10.1163/13822373-90002619.

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-Peter Hulme, Polly Pattullo, Last resorts: The cost of tourism in the Caribbean. London: Cassell/Latin America Bureau and Kingston: Ian Randle, 1996. xiii + 220 pp.-Michel-Rolph Trouillot, Édouard Glissant, Introduction à une poétique du Divers. Montréal: Presses de l'Université de Montréal, 1995. 106 pp.-Bruce King, Tejumola Olaniyan, Scars of conquest / Masks of resistance: The invention of cultural identities in African, African-American, and Caribbean drama. New York: Oxford University Press, 1995. xii + 196 pp.-Sidney W. Mintz, Raymond T. Smith, The Matrifocal family: Power, pluralism and politics. New York: Routledge, 1996. x + 236 pp.-Raymond T. Smith, Michel-Rolph Trouillot, Silencing the past: Power and the production of history. Boston: Beacon, 1995. xix + 191 pp.-Michiel Baud, Samuel Martínez, Peripheral migrants: Haitians and Dominican Republic sugar plantations. Knoxville: University of Tennessee Press, 1995. xxi + 228 pp.-Samuel Martínez, Michiel Baud, Peasants and Tobacco in the Dominican Republic, 1870-1930. Knoxville; University of Tennessee Press, 1995. x + 326 pp.-Robert C. Paquette, Aline Helg, Our rightful share: The Afro-Cuban struggle for equality, 1886-1912. Chapel Hill: University of North Carolina Press, 1995. xii + 361 pp.-Daniel C. Littlefield, Roderick A. McDonald, The economy and material culture of slaves: Goods and Chattels on the sugar plantations of Jamaica and Louisiana. Baton Rouge: Louisiana State University Press, 1993. xiv + 339 pp.-Jorge L. Chinea, Luis M. Díaz Soler, Puerto Rico: desde sus orígenes hasta el cese de la dominación española. Río Piedras: Editorial de la Universidad de Puerto Rico, 1994. xix + 758 pp.-David Buisseret, Edward E. Crain, Historic architecture in the Caribbean Islands. Gainesville: University Press of Florida, 1994. ix + 256 pp.-Hilary McD. Beckles, Mavis C. Campbell, Back to Africa. George Ross and the Maroons: From Nova Scotia to Sierra Leone. Trenton NJ: Africa World Press, 1993. xxv + 115 pp.-Sandra Burr, Gretchen Gerzina, Black London: Life before emancipation. New Brunswick NJ: Rutgers University Press, 1995. xii + 244 pp.-Carlene J. Edie, Trevor Munroe, The cold war and the Jamaican Left 1950-1955: Reopening the files. Kingston: Kingston Publishers, 1992. xii + 242 pp.-Carlene J. Edie, David Panton, Jamaica's Michael Manley: The great transformation (1972-92). Kingston: Kingston Publishers, 1993. xx + 225 pp.-Percy C. Hintzen, Cary Fraser, Ambivalent anti-colonialism: The United States and the genesis of West Indian independence, 1940-1964. Westport CT: Greenwood, 1994. vii + 233 pp.-Anthony J. Payne, Carlene J. Edie, Democracy in the Caribbean: Myths and realities. Westport CT: Praeger, 1994. xvi + 296 pp.-Alma H. Young, Jean Grugel, Politics and development in the Caribbean basin: Central America and the Caribbean in the New World Order. Bloomington: Indiana University Press, 1995. xii + 270 pp.-Alma H. Young, Douglas G. Lockhart ,The development process in small island states. London: Routledge, 1993. xv + 275 pp., David Drakakis-Smith, John Schembri (eds)-Virginia Heyer Young, José Solis, Public school reform in Puerto Rico: Sustaining colonial models of development. Westport CT: Greenwood Press, 1994. x + 171 pp.-Carolyn Cooper, Christian Habekost, Verbal Riddim: The politics and aesthetics of African-Caribbean Dub poetry. Amsterdam: Rodopi, 1993. vii + 262 pp.-Clarisse Zimra, Jaqueline Leiner, Aimé Césaire: Le terreau primordial. Tübingen: Gunter Narr Verlag, 1993. 175 pp.-Clarisse Zimra, Abiola Írélé, Aimé Césaire: Cahier d'un retour au pays natal. With introduction, commentary and notes. Abiola Írélé. Ibadan: New Horn Press, 1994. 158 pp.-Alvina Ruprecht, Stella Algoo-Baksh, Austin C. Clarke: A biography. Barbados: The Press - University of the West Indies; Toronto: ECW Press, 1994. 234 pp.-Sue N. Greene, Glyne A. Griffith, Deconstruction, imperialism and the West Indian novel. Kingston: The Press - University of the West Indies, 1996. xxiii + 147 pp.-Donald R. Hill, Peter Manuel ,Caribbean currents: Caribbean music from Rumba to Reggae. Philadelphia: Temple University Press, 1995. xi + 272 pp., Kenneth Bilby, Michael Largey (eds)-Daniel J. Crowley, Judith Bettelheim, Cuban festivals: An illustrated anthology. New York: Garland Publishing, 1993. x + 261 pp.-Judith Bettelheim, Ramón Marín, Las fiestas populares de Ponce. San Juan: Editorial de la Universidad de Puerto Rico, 1994. 277 pp.-Marijke Koning, Eric O. Ayisi, St. Eustatius: The treasure island of the Caribbean. Trenton NJ: Africa World Press, 1992. xviii + 224 pp.-Peter L. Patrick, Marcyliena Morgan, Language & the social construction of identity in Creole situations. Los Angeles: Center for Afro-American studies, UCLA, 1994. vii + 158 pp.-John McWhorter, Tonjes Veenstra, Serial verbs in Saramaccan: Predication and Creole genesis. The Hague: Holland Academic Graphic, 1996. x + 217 pp.-John McWhorter, Jacques Arends, The early stages of creolization. Amsterdam/Philadelphia: John Benjamins, 1995. xv + 297 pp.

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Tyree, J. M. „The Wire: The Complete Fourth Season“. Film Quarterly 61, Nr. 3 (2008): 32–38. http://dx.doi.org/10.1525/fq.2008.61.3.32.

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Abstract An essay on the fourth season DVD boxed set of the politically uncompromising HBO series, The Wire (created by Ed Burns and David Simon), an urban crime drama of unprecedented complexity that is unusual in featuring a cast largely composed of African Americans.

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Durr, Marlese, und Wornie Reed. „African Americans: Essential Perspectives.“ Social Forces 74, Nr. 2 (Dezember 1995): 746. http://dx.doi.org/10.2307/2580510.

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Whitman, Mark, John Hope Franklin und Genna Rae McNeil. „African Americans and the Living Constitution.“ Journal of Southern History 62, Nr. 4 (November 1996): 798. http://dx.doi.org/10.2307/2211150.

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29

Walter, John C., Monroe Lee Billington und Roger D. Hardaway. „African Americans on the Western Frontier“. Western Historical Quarterly 30, Nr. 3 (1999): 372. http://dx.doi.org/10.2307/971380.

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30

Foote, Thelma Wills. „Music of African Americans in California“. Pacific Historical Review 69, Nr. 1 (01.02.2000): 89–95. http://dx.doi.org/10.2307/3641239.

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31

Howard-Hassmann, R. E. „Getting to Reparations: Japanese Americans and African Americans“. Social Forces 83, Nr. 2 (01.12.2004): 823–40. http://dx.doi.org/10.1353/sof.2005.0012.

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32

Knight, Frederick. „African Americans and Africa: A New History“. Journal of American History 107, Nr. 2 (01.09.2020): 438–39. http://dx.doi.org/10.1093/jahist/jaaa238.

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33

Malott, Curry Stephenson. „African Americans and Education: A Contested History“. Souls 12, Nr. 3 (20.08.2010): 197–215. http://dx.doi.org/10.1080/10999949.2010.499783.

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34

Brawley, Sean, und Chris Dixon. „Jim Crow Downunder? African American Encounters with White Australia, 1942––1945“. Pacific Historical Review 71, Nr. 4 (01.11.2002): 607–32. http://dx.doi.org/10.1525/phr.2002.71.4.607.

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Between 1941 and 1945, as the U.S. military machine sent millions of Americans——and American culture——around the world, several thousand African Americans spent time in Australia. Armed with little knowledge of Australian racial values and practices, black Americans encoutered a nation whose long-standing commitment to the principle of "White Australia" appeared to rest comfortably with the segregative policies commonly associated with the American South. Nonetheless, while African Americans did encounter racism and discrimination——practices often encouraged by the white Americans who were also stationed in Australia during the war——there is compelling evidence that their experiences were not always negative. Indeed, for many black Americans, Australians' apparent open-mindedness and racial views of white Britons and others with whom African Americans came into contact during the war. Making use of U.S. Army censors' reports and paying attention to black Americans' views of their experiences in Australia, this article not only casts light on an aspect of American-Australian relations that has hitherto recieved scant scholarly attention and reveals something about the African American experience, but also offers insights into race relations within the U.S. armed forces.

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Labode, Modupe. „“Defend Your Manhood and Womanhood Rights”“. Pacific Historical Review 84, Nr. 2 (2014): 163–94. http://dx.doi.org/10.1525/phr.2015.84.2.163.

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This article analyzes African Americans’ protest against the movie The Birth of a Nation in Denver in 1915 and the protest’s impact on the May 1916 municipal election, in which African Americans shifted their support from the Republican to the Democratic mayoral candidate. This essay contributes to the scholarship on African American activism during “the long civil rights movement” and the role of the idea of respectability in that activism. This essay first argues that protests against this film had political as well as cultural significance. African Americans’ political activism in the West furthers our knowledge of black activism in the early twentieth century. Finally, this essay contributes to understanding the local roots of African Americans’ shift from the Republican to the Democratic Party during the early twentieth century.

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Oneil Thomas, Dorell. „Beyond Disciplinary Drama: Federal Dollars, ESL Instruction for African Americans, and Public Memory“. College Composition & Communication 73, Nr. 1 (01.09.2021): 52–79. http://dx.doi.org/10.58680/ccc202131587.

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A 1969 English 101 class at the University of Wisconsin, where linguists used ESL pedagogy to teach Black American students, has dense connections to the Dartmouth Conference. This work recovers a matrix of related linguists who did not disclose their interest in defining who qualifies as a native English speaker.

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DjeDje, Jacqueline Cogdell. „APPALACHIAN BLACK FIDDLING: HISTORY AND CREATIVITY“. African Music: Journal of the International Library of African Music 11, Nr. 2 (01.12.2020): 77–101. http://dx.doi.org/10.21504/amj.v11i2.2315.

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Discussions on Appalachian music in the United States most often evoke images of instruments such as the fiddle and banjo, and a musical heritage identified primarily with Europe and European Americans, as originators or creators, when in reality, many Europeans were influenced or taught by African-American fiddlers. Not only is Appalachian fiddling a confluence of features that are both African- and European-derived, but black fiddlers have created a distinct performance style using musical aesthetics identified with African and African-American culture. In addition to a history of black fiddling and African Americans in Appalachia, this article includes a discussion of the musicking of select Appalachian black fiddlers.

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38

Nash, G. B. „African Americans in the Early Republic“. OAH Magazine of History 14, Nr. 2 (01.01.2000): 12–16. http://dx.doi.org/10.1093/maghis/14.2.12.

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39

Trotter, J. W. „African Americans and the Industrial Revolution“. OAH Magazine of History 15, Nr. 1 (01.09.2000): 19–23. http://dx.doi.org/10.1093/maghis/15.1.19.

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40

Kersten, A. E. „African Americans and World War II“. OAH Magazine of History 16, Nr. 3 (01.03.2002): 13–17. http://dx.doi.org/10.1093/maghis/16.3.13.

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41

Rowland, Lawrence S., und Amelia Wallace Vernon. „African Americans at Mars Bluff, South Carolina.“ Journal of Southern History 61, Nr. 3 (August 1995): 642. http://dx.doi.org/10.2307/2211935.

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42

Sernett, Milton C., Joe William Trotter Jr. und Eric Ledell Smith. „African Americans in Pennsylvania: Shifting Historical Perspectives.“ Journal of Southern History 65, Nr. 4 (November 1999): 846. http://dx.doi.org/10.2307/2587590.

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43

Alford, Kwame, Lawrence B. de Graaf, Kevin Mulroy und Quintard Taylor. „Seeking El Dorado: African Americans in California“. Western Historical Quarterly 33, Nr. 3 (2002): 365. http://dx.doi.org/10.2307/4144859.

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44

Hanson, Joyce A., Lawrence de Graaf, Kevin Mulroy und Quintard Taylor. „Seeking El Dorado: African Americans in California“. Journal of Southern History 68, Nr. 4 (November 2002): 1012. http://dx.doi.org/10.2307/3069860.

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45

Troltter, Joe W. „African Americans in the City“. Journal of Urban History 21, Nr. 4 (Mai 1995): 438–57. http://dx.doi.org/10.1177/009614429502100402.

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46

Fenton, Michele. „A Light in the Circle City: A History of Public Library Services to African Americans in Indianapolis, Indiana“. Libraries: Culture, History, and Society 6, Nr. 2 (01.09.2022): 258–77. http://dx.doi.org/10.5325/libraries.6.2.0258.

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ABSTRACT This article focuses on the history of public library services to African Americans in Indianapolis, Indiana. Early efforts in establishing libraries for African Americans include a deposit station placed by the Indianapolis Public Library in 1919 at the Flanner Guild Settlement, a social services agency for African Americans. It was not until 1922 that a branch for African Americans, the Paul Laurence Dunbar Branch, was established by the Indianapolis Public Library. The Dunbar Branch’s success spurred the creation of two additional African American branches, the George Washington Carver Branch and the Crispus Attucks Branch. At a combined operational history of fifty-two years, these three branches were instrumental in fostering a love for reading and an appreciation for literature in Indianapolis’s African American community.

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Omolafe, Alexander, Michele Mouttapa, Shari McMahan und Sora Park Tanjasiri. „We are Family“. Californian Journal of Health Promotion 8, Nr. 1 (01.12.2010): 88–97. http://dx.doi.org/10.32398/cjhp.v8i1.2034.

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This cross-sectional study sought to describe an association between family history of type-2 diabetes and the awareness of risk factors, perceived threat and physical activity levels in African Americans. With a prevalence of 11.8%, African Americans remain disproportionately affected by the epidemic of diabetes. A risk factor that cannot be modified, but is important and closely linked with diabetes expression, family history, can be a considerable tool in promoting behavior change and reducing the risk of developing the condition in African Americans. A self-report questionnaire was administered to 133 church going African Americans, with 55 of them with a positive family history of type-2 diabetes (41.4%) and 78 (58.6%) without. None of the participants had been previously been diagnosed with type-2 diabetes. The results from the study indicated that African Americans with positive family history had a greater knowledge of risk factors, were more likely to indicate that their concern about the disease influences their eating habits and physical activity, and engaged in significantly more physical activity than those with no family history.

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Phillips, Christopher, Jeffrey J. Crow, Paul D. Escott und Flora J. Hatley. „A History of African Americans in North Carolina.“ Journal of Southern History 60, Nr. 1 (Februar 1994): 180. http://dx.doi.org/10.2307/2210779.

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49

Fairclough, A. „Children of Fire: A History of African Americans“. Journal of American History 98, Nr. 4 (19.02.2012): 1136–37. http://dx.doi.org/10.1093/jahist/jar630.

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50

Mulroy, Kevin, und Murray R. Wickett. „Contested Territory: Whites, Native Americans, and African Americans in Oklahoma, 1865-1907“. Journal of American History 88, Nr. 4 (März 2002): 1547. http://dx.doi.org/10.2307/2700676.

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