Relevant bibliographies by topics / African Americans – History and criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'African Americans – History and criticism'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "African Americans – History and criticism"

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Balfour, Lawrie. "The Appeal of Innocence: Baldwin, Walzer, and the Bounds of Social Criticism." Review of Politics 61, no. 3 (1999): 373–402. http://dx.doi.org/10.1017/s0034670500028898.

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Racial innocence persists not only in American public life but in its democratic theory as well. An unwillingness to confront the implications of American racial history diminishes theorists' capacity to respond to the exclusion and dehumanization of African Americans in the post-civil rights era. Reading James Baldwin's social critical essays against Michael Walzer's writings on the practice of social criticism, this essay shows how a theorist whose work equips him to grapple with questions of racial injustice nonetheless evades them by constructing three sorts of boundaries: between members and nonmembers, between social critics and certain relations of power, and between the “core” of a people's experience and the brutalities of their history.
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Budick, Emily Miller. "Some Thoughts on the Mutual Displacements/Appropriations/Accommodations of Culture in Several Fictions by Toni Morrison, Cynthia Ozick, and Grace Paley." Prospects 20 (October 1995): 387–404. http://dx.doi.org/10.1017/s0361233300006128.

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InPlaying in the Dark, Toni Morrison sets out to chart a new “geography” in literary criticism, to provide a “map” for locating what she calls the “Africanist” presence in the American literary tradition. The assumption of Americanist critics, she argues, has been that “traditional, canonical American literature is free of, uninformed, and unshaped by the fourhundred-year-old presence of, first, Africans and then, African Americans in the United States. It assumes that this presence — which shaped the body politic, the Constitution, and the entire history of the culture — has had no significant place or consequence in the origin and development of that culture's literature.” For Morrison, recording the Africanist presence produces nothing less than an absolute revision of our notion of what constitutes the American literary tradition.
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Warren, Kenneth W. "Back to Black: African American Literary Criticism in the Present Moment." American Literary History 34, no. 1 (February 1, 2022): 369–79. http://dx.doi.org/10.1093/alh/ajab082.

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Abstract For more than a century, scholars of Black literature have sought to align a critical project focused on identifying and celebrating Black distinctiveness with a social project aimed at redressing racial inequality. This commitment to Black distinctiveness announces itself as a project on behalf of “the race” as a whole, but has always been, and remains, a project and politics guided in the first instance by the needs and outlook of the Black professional classes. Over the first half of the twentieth century, this cultural project achieved some real successes: politically, it helped discredit the moral and intellectual legitimacy of the Jim Crow order that in various ways affected all Black Americans; culturally, it placed Black writers in the vanguard of a modernist project predicated on multicultural pluralism. Since the 1970s the limitations of this project, culturally and politically, have become increasingly evident. Blind to the class dimension of their efforts, literary scholars continue to misrepresent the historical/political nature of the project of Black distinction as a property of cultural texts themselves. Overestimating the efficacy of race-specific social policies, these scholars disparage the universalist social policies that would most effectively benefit a majority of Black Americans.
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Panova, Olga. "Phillis Wheatley in American Literary History and African American Literary Criticism." Literature of the Americas, no. 4 (2018): 8–40. http://dx.doi.org/10.22455/2541-7894-2018-4-8-40.

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Price, Sally. "Patchwork history : tracing artworlds in the African diaspora." New West Indian Guide / Nieuwe West-Indische Gids 75, no. 1-2 (January 1, 2001): 5–34. http://dx.doi.org/10.1163/13822373-90002556.

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Essay on interpretations of visual art in societies of the African diaspora. Author relates this to recent shifts in anthropology and art history/criticism toward an increasing combining of art and anthropology and integration of art with social and cultural developments, and the impact of these shifts on Afro-American studies. To exemplify this, she focuses on clothing (among Maroons in the Guianas), quilts, and gallery art. She emphasizes the role of developments in America in these fabrics, apart from just the African origins.
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Segovia, Miguel A., and W. Lawrence Hogue. "The African American Male, Writing, and Difference: A Polycentric Approach to African American Literature, Criticism, and History." African American Review 38, no. 4 (2004): 737. http://dx.doi.org/10.2307/4134437.

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Waligora-Davis, Nicole. "The African American Male, Writing, and Difference: A Polycentric Approach to African American Literature, Criticism, and History (review)." Biography 26, no. 4 (2003): 750–55. http://dx.doi.org/10.1353/bio.2004.0028.

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Sanders, Leslie. "THE POLITICS OF REPRESENTATION: SOME RECENT AFRICAN-AMERICAN LITERARY CRITICISM." Canadian Review of American Studies 21, no. 2 (September 1990): 247–60. http://dx.doi.org/10.3138/cras-021-02-10.

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Elam Jr., Harry J. "Making History." Theatre Survey 45, no. 2 (November 2004): 219–25. http://dx.doi.org/10.1017/s0040557404000171.

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These three quotes will serve as a starting point as I enter into this discussion of the import and role of theatre history. While I make a case for theatre history generally, my examples and thesis are drawn from African American theatre history most specifically. My argument is for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism as well as the need to theorize history or, as Walter Benjamin suggests, to “rub history against the grain.” Rubbing history against the grain means that we must interrogate the past in order to inform the present, remaining cognizant of the material conditions that not only shape theatrical production but the historical interpretations of production. It implies a need to work against conventional historical narratives and the ways in which history has been told in the past.
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So, Richard Jean, and Edwin Roland. "Race and Distant Reading." PMLA/Publications of the Modern Language Association of America 135, no. 1 (January 2020): 59–73. http://dx.doi.org/10.1632/pmla.2020.135.1.59.

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This essay brings together two methods of cultural‐literary analysis that have yet to be fully integrated: distant reading and the critique of race and racial difference. It constructs a reflexive and critical version of distant reading—one attuned to the arguments and methods of critical race studies—while still providing data‐driven insights useful to the writing of literary history and criticism, especially to the history and criticism of postwar African American fiction, in particular James Baldwin's Giovanni's Room. Because race is socially constructed, it poses unique challenges for a computational analysis of race and writing. Any version of distant reading that addresses race will require a dialectical approach. (RJS and ER)
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Dissertations / Theses on the topic "African Americans – History and criticism"

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Robinson, Heather Lindsey. "Ours is the Kingdom of Heaven: Racial Construction of Early American Christian Identities." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849673/.

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This project interrogates how religious performance, either authentic or contrived, aids in the quest for freedom for oppressed peoples; how the rhetoric of the Enlightenment era pervades literatures delivered or written by Native Americans and African Americans; and how religious modes, such as evoking scripture, performing sacrifices, or relying upon providence, assist oppressed populations in their roles as early American authors and speakers. Even though the African American and Native American populations of early America before the eighteenth century were denied access to rights and freedom, they learned to manipulate these imposed constraints--renouncing the expectation that they should be subordinate and silent--to assert their independent bodies, voices, and spiritual identities through the use of literary expression. These performative strategies, such as self-fashioning, commanding language, destabilizing republican rhetoric, or revising narrative forms, become the tools used to present three significant strands of identity: the individual person, the racialized person, and the spiritual person. As each author resists the imposed restrictions of early American ideology and the resulting expectation of inferior behavior, he/she displays abilities within literature (oral and written forms) denied him/her by the political systems of the early republican and early national eras. Specifically, they each represent themselves in three ways: first, as a unique individual with differentiated abilities, exceptionalities, and personality; second, as a person with distinct value, regardless of skin color, cultural difference, or gender; and third, as a sanctified and redeemed Christian, guaranteed agency and inheritance through the family of God. Furthermore, the use of religion and spirituality allows these authors the opportunity to function as active agents who were adapting specific verbal and physical methods of self-fashioning through particular literary strategies. Doing so demonstrates that they were not the unrefined and unfeeling individuals that early American political and social restrictions had made them--that instead they were intellectually and morally capable of making both physical and spiritual contributions to society while reciprocally deserving to possess the liberties and freedoms denied them.
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Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.

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Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).
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Taylor, Juko Tana. "Misrecognized and Misplaced: Race Performed in African American Literature, 1900-2015." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984162/.

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In my dissertation, I explore the ways in which racial identity is made complex through various onlookers' misrecognition of race. This issue is particularly important considering the current state of race relations in the United States, as my project offers a literary perspective and account of the way black authors have discussed racial identity formation from the turn of the century through the start of the twenty-first century. I highlight many variations of misrecognition and racial performance as a response to America's obsession with race.
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Erickson, Stacy M. "Animals-as-Trope in the Selected Fiction of Zora Neale Hurston, Alice Walker, and Toni Morrison." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2227/.

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In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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CHINCOLI, Veronica. "Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)." Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.

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Defence date: 15 April 2019
Examining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'
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Wolfe, Andrea P. "Black mothers and the nation : claiming space and crafting signification for the black maternal body in American women's narratives of slavery, reconstruction, and segregation, 1852-2001." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1560845.

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“Black Mothers and the Nation” tracks the ways that texts produced by United States women throughout the nineteenth and twentieth centuries position the black maternal body as subversive to the white patriarchal power structure for which it labored and that has acted in many ways to abject it from the national body. This study points to the ways in which the black mother’s subversive potential has been repeatedly, violently, and surreptitiously circumscribed in some quarters even as it succeeds in others. Several important thematic threads run throughout the chapters of this study, sometimes appearing in clear relationship to the texts discussed and sometimes underwriting their analysis in less obvious ways: the functioning of the black maternal body to both support the construction of and undermine white womanhood in slavery and in the years beyond; the reclamation of the maternal body as a site of subversion and nurturance as well as erotic empowerment; the resistance of black mother figures to oppressive discourses surrounding their bodies and reproduction; and, finally, the figurative and literal location of the black mother in a national body politic that has simultaneously used and abjected it over the course of centuries. Using these lenses, this study focuses on a grouping of women’s literature that depicts slavery and its legacy for black women and their bodies. The narratives discussed in this study explore the intersections of the issues outlined above in order to get at meaningful expressions of black maternal identity. By their very nature as representations of historical record and regional and national realities, these texts speak to the problematic placement of black maternal bodies within the nation, beginning in the antebellum era and continuing through the present; in other words, these slavery, Reconstruction, and segregation narratives connect personal and physical experiences of maternity to the national body.
The subordination of embodied power : sentimental representations of the black maternal body in Harriet Beecher Stowe's Uncle Tom's cabin and Harriet Jacobs's Incidents in the life of a slave girl -- Recuperating the body : the black mother's reclamation of embodied presence and her reintegration into the black community in Pauline Hopkins's Contending forces and Toni Morrison's Beloved -- The narrative power of the black maternal body : resisting and exceeding visual economies of discipline in Margaret Walker's Jubilee and Sherley Anne Williams's Dessa Rose -- Mapping black motherhood onto the nation : the black maternal body and the body politic in Lillian Smith's Strange fruit and Alice Randall's The wind done gone -- Michelle Obama in context.
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Department of English
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Ciobanu, Jennifer Odom. ""The Wider View": Engaging a New Generation of Singers through African-American Art Song." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31528/.

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Through studying the poetry and its context, the lives of the poets and composers, and the musical choices which emerged from these combined influences, students of the "Millennial" generation may experience a deeper connection to art song and its role in defining and reflecting national character. Not yet a part of the traditional canon of American art song, the songs of African-American composers are of particular value in this regard, offering teachers, students, and recitalists less frequently-performed repertoire to explore. Representing a broad spectrum of literary and cultural influences, these songs are just as diverse, multi-faceted, and full of variety as any other body of art song repertoire and richly contribute to the past and present life of the genre. Going beyond the music and the words can only reinforce the study of technique and enrich the studio experience, while at the same time providing a multicultural learning environment which more accurately reflects the America in which these same students will become the singers and voice teachers of tomorrow.
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Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Books on the topic "African Americans – History and criticism"

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Toomer, Jean. Jean Toomer: Selected essays and literary criticism. Knoxville: University of Tennessee Press, 1996.

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Toomer, Jean. Jean Toomer: Selected essays and literary criticism. Knoxville: University of Tennessee Press, 1996.

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Hord, Fred L. Reconstructing memory: Black literary criticism. Chicago: Third World Press, 1991.

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Chaotic justice: Rethinking African American literary history. Chapel Hill: University of North Carolina Press, 2009.

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Ward, Jerry Washington, and Maryemma Graham. The Cambridge history of African American literature. Cambridge, UK: Cambridge University Press, 2011.

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1928-, Hatch James Vernon, ed. A history of African American theatre. Cambridge: Cambridge University Press, 2003.

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Arnett, Ervin Hazel, ed. African American literary criticism, 1773 to 2000. New York: Twayne, 1999.

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The African American male, writing and difference: A polycentric approach to African American literature, criticism, and history. Albany: State University of New York Press, 2003.

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Joyce, Joyce Ann. Warriors, conjurers and priests: Defining African-centered literary criticism. Chicago: Third World Press, 1994.

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Lift every voice: The history of African-American music. Lanham, Md: Rowman & Littlefield Publishers, 2008.

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Book chapters on the topic "African Americans – History and criticism"

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Noel, A. Cazenave. "Violence-Centered Racial Control Systems and Mechanisms In U.S. History." In Killing African Americans, 80–121. New York : Routledge, Taylor & Francis Group, 2018. | Series: New critical viewpoints on society series: Routledge, 2018. http://dx.doi.org/10.4324/9780429507045-3.

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Coleman, Robin R. Means. "African Americans and Broadcasting." In A Companion to the History of American Broadcasting, 389–412. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118646151.ch18.

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Robbins, Janice I., and Carol L. Tieso. "How Might Equality be Achieved for African Americans?" In Engaging with History in the Classroom, 49–65. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003234937-5.

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Loue, Sana. "African Americans: History and Experience as the “Other”." In SpringerBriefs in Social Work, 1–13. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-9002-9_1.

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Clavero, Bartolomé. "The Rule of Law and the Legal Treatment of Native Americans." In The Rule of Law History, Theory and Criticism, 443–66. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5745-8_13.

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Polikoff, Alexander, Elizabeth Lassar, and john a. powell. "Introduction." In A Brief History of the Subordination of African Americans in the U.S., 1–2. New York : Routledge Taylor & Francis, 2020. | Series: Routledge advances in American history; vol 15: Routledge, 2020. http://dx.doi.org/10.4324/9780367823511-1.

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Polikoff, Alexander, Elizabeth Lassar, and john a. powell. "The Lack of Lift-Up." In A Brief History of the Subordination of African Americans in the U.S., 3–5. New York : Routledge Taylor & Francis, 2020. | Series: Routledge advances in American history; vol 15: Routledge, 2020. http://dx.doi.org/10.4324/9780367823511-2.

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Polikoff, Alexander, Elizabeth Lassar, and john a. powell. "Cause and Effect." In A Brief History of the Subordination of African Americans in the U.S., 6–92. New York : Routledge Taylor & Francis, 2020. | Series: Routledge advances in American history; vol 15: Routledge, 2020. http://dx.doi.org/10.4324/9780367823511-3.

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Polikoff, Alexander, Elizabeth Lassar, and john a. powell. "Conclusion." In A Brief History of the Subordination of African Americans in the U.S., 93–96. New York : Routledge Taylor & Francis, 2020. | Series: Routledge advances in American history; vol 15: Routledge, 2020. http://dx.doi.org/10.4324/9780367823511-4.

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Mays, M. Dewayne, Horace Smith, and Douglas Helms. "Contributions of African-Americans and the 1890 Land-Grant Universities to Soil Science and the Soil Survey." In Profiles in the History of the U.S. Soil Survey, 169–89. Ames, Iowa, USA: Iowa State Press, 2008. http://dx.doi.org/10.1002/9780470376959.ch6.

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Conference papers on the topic "African Americans – History and criticism"

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Gitiaux, Xavier, and Huzefa Rangwala. "mdfa: Multi-Differential Fairness Auditor for Black Box Classifiers." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/814.

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Machine learning algorithms are increasingly involved in sensitive decision-making processes with adversarial implications on individuals. This paper presents a new tool, mdfa that identifies the characteristics of the victims of a classifier's discrimination. We measure discrimination as a violation of multi-differential fairness. Multi-differential fairness is a guarantee that a black box classifier's outcomes do not leak information on the sensitive attributes of a small group of individuals. We reduce the problem of identifying worst-case violations to matching distributions and predicting where sensitive attributes and classifier's outcomes coincide. We apply mdfa to a recidivism risk assessment classifier widely used in the United States and demonstrate that for individuals with little criminal history, identified African-Americans are three-times more likely to be considered at high risk of violent recidivism than similar non-African-Americans.
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Prazma, Charlene, Hao Li, Robert Y. Suruki, Wayne H. Anderson, and Hector G. Ortega. "Subgroup Analysis As A Method For Biomarker Identification: Association Of CHI3L1 In A Subset Of African Americans With Prior History Of Exacerbation." In American Thoracic Society 2011 International Conference, May 13-18, 2011 • Denver Colorado. American Thoracic Society, 2011. http://dx.doi.org/10.1164/ajrccm-conference.2011.183.1_meetingabstracts.a6377.

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Purrington, Kristen S., Julie J. Ruterbusch, Mark Manning, Michael S. Simon, Jennifer Beebe-Dimmer, and Ann G. Schwartz. "Abstract C042: Family history of cancer among African Americans with breast, prostate, lung, and colorectal cancers in the Detroit Research on Cancer Survivors cohort." In Abstracts: Twelfth AACR Conference on the Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved; September 20-23, 2019; San Francisco, CA. American Association for Cancer Research, 2020. http://dx.doi.org/10.1158/1538-7755.disp19-c042.

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Reports on the topic "African Americans – History and criticism"

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Afsaruddin, Asma. NEGOTIATING VIRTUE AND REALPOLITIK IN ISLAMIC GOOD GOVERNANCE. IIIT, October 2020. http://dx.doi.org/10.47816/01.002.20.

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These words of John Lewis represent a scathing criticism of the contemporary failures of the United States, the oldest and possibly most vibrant democratic nation-state in the world. The words also express a deep disappointment that the principles of equality and justice enshrined in the US constitution have been honored more in the breach when they pertain to African-Americans, many of whose ancestors arrived on these shores long before those of their Euro-American compatriots.
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