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Autore: Grafiati

Pubblicato: 26 luglio 2024

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1

Witte, Shelbibie, e Shanedra Nowell. "NWP Voices: Youth-Driven Inquiry into the Tulsa Race Massacre". English Journal 112, n. 2 (1 novembre 2022): 96–99. http://dx.doi.org/10.58680/ej202232180.

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2

Johnson, Hannibal B. "Tulsa, Then and Now: Reflections on the Legacy of the 1921 Tulsa Race Massacre". Great Plains Quarterly 40, n. 3 (2020): 181–85. http://dx.doi.org/10.1353/gpq.2020.0031.

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3

Franklin, Jimmie L., e Tim Madigan. "The Burning: Massacre, Destruction, and the Tulsa Race Riot of 1921". Journal of Southern History 70, n. 1 (1 febbraio 2004): 188. http://dx.doi.org/10.2307/27648376.

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4

Sodaro, Amy. "Race, memory and implication in Tulsa’s Greenwood Rising". Memory Studies 15, n. 6 (30 novembre 2022): 1378–92. http://dx.doi.org/10.1177/17506980221134677.

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This article analyses the new Greenwood Rising museum in Tulsa, Oklahoma, which tells the largely forgotten story of the 1921 Tulsa Race Massacre. Greenwood Rising is influenced by the broader global proliferation of memorial museums created to confront historical violence vis-à-vis today’s ‘politics of regret’ and works to centre slavery and racial inequality in American history as well as in contemporary society, representing a new intervention in the mnemonic struggles over slavery and its legacies in the United States. In its adherence to global memorial ethics, Greenwood Rising also places (White) visitors in the position of what Michael Rothberg has theorized as the ‘implicated subject’. However, Greenwood Rising has been highly controversial among Tulsa’s African American community, many of whom see the museum as a ‘symbolic gesture’ intended to obscure ongoing racism and replace material reparations. This controversy raises questions about the limits of memory in the face of ongoing injustice and highlights tensions between increasingly globalized ethics of remembrance and local mnemonic struggles.

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5

Hill, Karlos K. "Community-Engaged History: A Reflection on the 100th Anniversary of the 1921 Tulsa Race Massacre". American Historical Review 126, n. 2 (31 maggio 2021): 670–84. http://dx.doi.org/10.1093/ahr/rhab193.

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Abstract How does scholarship live in the world, connected to real-world issues? Why should historians embrace community-engaged history as a means to effect social change? This essay addresses these questions by chronicling one historian’s efforts to align his scholarly expertise with addressing the polarizing legacies of the 1921 Tulsa Race Massacre, one of the deadliest outbreaks of anti-Black violence in American history.

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Davidson, Ben. "The 1921 Tulsa Race Massacre: A Photographic History by Karlos K. Hill". Journal of Southern History 88, n. 2 (maggio 2022): 418–19. http://dx.doi.org/10.1353/soh.2022.0098.

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7

Teague, Hollie A. "The 1921 Tulsa Race Massacre: A Photographic History by Karlos K. Hill". Southwestern Historical Quarterly 125, n. 4 (aprile 2022): 526–27. http://dx.doi.org/10.1353/swh.2022.0049.

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8

Ph. D., DPA, Earnest N. Bracey,. "The Tulsa Race Massacre, White Supremacy and the Destruction of Black Wall Street". World Journal of Education and Humanities 3, n. 2 (29 marzo 2021): p36. http://dx.doi.org/10.22158/wjeh.v3n2p36.

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Some might think about what happened in Tulsa, Oklahoma, in 1921, as unimportant; but the destruction of “Black Wall Street,” or the gem of the Black Greenwood District, was uncalled for. After all, segregation, white supremacy and white mob rule was the order of the day at this time. Furthermore, those who have tried to omit this incident from history or the historical record insult the intelligence of all Americans. But this “cover-up” is the repressive nature of sinister white supremacy. The destruction of “Black Wall Street” has been described as one of the most heinous crimes in American history. So can something like this racist incident happen again? Keep in mind that those heartless individuals who perpetuated the assault on the Black Greenwood community, obviously, didn’t care about the humanity of Black Tulsans. Of course, there was nothing dignified about this crime; therefore, what happened can never be rationalized or justified.Finally, as a nation, we must come to terms with this tragedy through reconciliation, atonement and reparations, without sweeping what happened under the rug, or pretending that this incident never occurred; or that it is not important, particularly during these polarizing times in our history.

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9

Wells, Brandy Thomas. "Digital Greenwood: Foregrounding Black Women Business Owners, Community Activism, and the Tulsa Race Massacre". Great Plains Quarterly 43, n. 3 (giugno 2023): 311–32. http://dx.doi.org/10.1353/gpq.2023.a918409.

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Abstract: African American women helped make Historic Greenwood into the thriving community popularly known as “Black Wall Street.” Despite their rich and varied contributions as business owners and operators and church and community activists, their experiences are frequently ignored in historical and contemporary narratives. Women of Black Wall Street ( WBWS ), a digital humanities project released for the centennial commemoration in May 2021, reifies this by tracking and analyzing the social, intellectual, and economic contributions of Black women in Greenwood. Through this project, my student research team and I restore the visibility of Black women in the community, including writers like Mary Jones Parrish, who provided the first written account of the massacre, and Blanche M. Woodford, whose newspaper articles about Black Wall Street were read throughout the country. Using historical research and digital methods and tools, WBWS features contextual essays, biographies of ten Green-wood women, maps of their homes and businesses, and interviews with contemporary female business owners in the district. In this article, I discuss the site and the importance of bringing Historic Greenwood’s overlooked women online and to the public. I present how the project transforms the Black Wall Street story and joins digital recovery projects that bring forth the full humanity of marginalized people.

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10

Quealy-Gainer, Kate. "The Burning: Black Wall Street and the Tulsa Race Massacre of 1921 by Tim Madigan". Bulletin of the Center for Children's Books 74, n. 10 (2021): 430. http://dx.doi.org/10.1353/bcc.2021.0308.

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11

Stefanopoulou, Evdokia. "Politicizing the superhero genre: The case of Watchmen (HBO, 2019)". CINEJ Cinema Journal 10, n. 1 (19 dicembre 2022): 224–48. http://dx.doi.org/10.5195/cinej.2022.509.

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The HBO limited television series Watchmen (2019) represents a politically engaged superhero television show, marking a shift in recent efforts to render the genre more inclusive in terms of gender and race. Specifically, in mixing fictional and real events surrounding racial violence, such as the 1921 Tulsa massacre, Watchmen inscribes the potential of the superhero genre to tackle prescient political issues and social anxieties, that became even more poignant in the wake of the 2020 George Floyd protests. The present paper explores Watchmen’s deep resonances with contemporary social and political issues, not only at the level of representations, but also at the series’ production context, and argues that the show marks a key moment in the politicization of the superhero genre.

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12

Gillespie, Michael Boyce. "Thinking about Watchmen: with Jonathan W. Gray, Rebecca A. Wanzo, and Kristen J. Warner". Film Quarterly 73, n. 4 (2020): 50–60. http://dx.doi.org/10.1525/fq.2020.73.4.50.

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Michael Boyce Gillespie leads a roundtable with scholars Jonathan W. Gray, Rebecca A. Wanzo, and Kristen Warner to discuss issues of medium, genre, fandom, and African American history in the highly regarded HBO series Watchmen. Characterizing the HBO series as a disobedient adaptation that modifies, extends, and redirects the world making of its source material—the famed twelve-issue comic-book series of the same name, written by Alan Moore and drawn by Dave Gibbons (1986–87)—Gillespie et al. explore the ways in which Watchmen remediates American history, starting with the Tulsa Race Massacre of 1921 that serves as the historical and ideological trigger that sets the series in motion. In a wide-ranging conversation that encompasses subjects including fan fiction, adaptation, cultural mythology, and black superheroes, the authors argue for Watchmen's significance as some of the most consequential television of the century so far.

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Durham, Justin D., Adon F. G. Rosen e Scott D. Gronlund. "Blame framing and prior knowledge influence moral judgments for people involved in the Tulsa Race Massacre among a combined Oklahoma and UK sample". Frontiers in Psychology 15 (21 febbraio 2024). http://dx.doi.org/10.3389/fpsyg.2024.1251238.

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IntroductionHow an event is framed impacts how people judge the morality of those involved, but prior knowledge can influence information processing about an event, which also can impact moral judgments. The current study explored how blame framing and self-reported prior knowledge of a historical act of racial violence, labeled as Riot, Massacre, or Event, impacted individual’s cumulative moral judgments regarding the groups involved in the Tulsa Race Massacre (Black Tulsans, the Tulsa Police, and White Tulsans).Methods and resultsThis study was collected in two cohorts including undergraduates attending the University of Oklahoma and individuals living in the United Kingdom. Participants were randomly assigned to a blame framing condition, read a factual summary of what happened in Tulsa in 1921, and then responded to various moral judgment items about each group. Individuals without prior knowledge had higher average Likert ratings (more blame) toward Black Tulsans and lower average Likert ratings (less blame) toward White Tulsans and the Tulsa Police compared to participants with prior knowledge. This finding was largest when what participants read was framed as a Massacre rather than a Riot or Event. We also found participants with prior knowledge significantly differed in how they made moral judgments across target groups; those with prior knowledge had lower average Likert ratings (less blame) for Black Tulsans and higher average Likert ratings (more blame) for White Tulsans on items pertaining to causal responsibility, intentionality, and punishment compared to participants without prior knowledge.DiscussionFindings suggest that the effect of blame framing on moral judgments is dependent on prior knowledge. Implications for how people interpret both historical and new events involving harmful consequences are discussed.

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14

Albright, Alex, Jeremy Cook, James Feigenbaum, Laura Kincaide, Jason Long e Nathan Nunn. "After the Burning: The Economic Effects of the 1921 Tulsa Race Massacre". SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3880218.

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15

"Redreaming Dreamland: 21 Writers & Artists Reflect on the Tulsa Race Massacre Centennial". World Literature Today 95, n. 2 (2021): 40. http://dx.doi.org/10.7588/worllitetoda.95.2.0040.

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16

"Redreaming Dreamland: 21 Writers & Artists Reflect on the Tulsa Race Massacre Centennial". World Literature Today 95, n. 2 (2021): 40–41. http://dx.doi.org/10.1353/wlt.2021.0160.

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17

Stephenson, Gail S. "Were It not for Tulsa: How the 1921 Tulsa Race Massacre Influenced the Desegregation of the American Educational System". SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3898908.

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18

Shilling, PresleyTaylor, e Jeffrey M. Byford. "The Burning of Black Wall Street: A Case Study on the Tulsa Race Massacre". Social Studies, 21 febbraio 2024, 1–10. http://dx.doi.org/10.1080/00377996.2024.2313478.

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19

Bene, Emma, e Stephanie M. Robillard. "Reading the Tulsa Race Massacre: a study exploring a white reader’s shifts in stance across genres of historical text". English Teaching: Practice & Critique, 22 agosto 2023. http://dx.doi.org/10.1108/etpc-05-2022-0064.

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Purpose Using a discourse analytic approach, the purpose of this paper is to examine how genre impacts white readers when reading about historic acts of racial violence. Specifically, this study explores one white high school student’s stance-taking as she read an informational text and an eyewitness narrative about the Tulsa Race Massacre. Design/methodology/approach This study used discourse analysis (Gee, 1999) and the think-aloud method (Pressley and Afflerbach, 1996) to explore the white student’s interactions with genres of historical texts. The authors coupled iterative coding and memoing with discourse analysis to analyze the stances she adopted while reading. Findings The findings illustrate that the informational text allowed for a distancing from the racialized violence in the text, whereas the narrative created an opportunity for more connection to those who experienced the violence. Originality/value While genre and reader response has long been explored in English Education research, little research has examined the impact of genre on reading historical texts. This study demonstrates the influence that genre may have on white readers’ emotional responses and stance-taking practices when reading about historic acts of racial violence.

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20

Cohen, J. Laurence. "SUPERMAN AS THE MEASURE OF ALL THINGS: BLACK GODS AND WHITE SAVIOURS IN WATCHMEN AND DOOMSDAY CLOCK". Literature & Theology, 6 settembre 2023. http://dx.doi.org/10.1093/litthe/frad025.

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Abstract While the groundbreaking graphic novel Watchmen (1986) responded to Cold War paranoia with a nihilistic critique of a benevolent God, recent spinoffs have taken radically different approaches to race and Christology in the Trump Era. Alan Moore and Dave Gibbons’ original Watchmen has spawned two unlikely and unauthorised—by Moore, at least—quasi-sequels in different media: HBO’s limited TV series Watchmen (2019), created by Damon Lindelof, and Geoff Johns and Gary Frank’s graphic novel Doomsday Clock (2020). Like estranged siblings, HBO’s Watchmen and Doomsday Clock take the same source material in opposite directions. HBO’s Watchmen explores themes of racial justice by foregrounding 1921’s Tulsa Massacre and vesting Black characters with divine power. In contrast, Doomsday Clock departs from the original Watchmen’s cynicism about cultural and political change, embodying its message of hope and renewal in a white saviour. This article contributes to the growing body of literature examining how pop culture circulates Christological concepts by exploring the racial and theological significance of two of DC Comics’ most iconic characters—Superman and Dr Manhattan. I examine how Black theologians conceptualise Christology, discuss the deistic portrayal of Dr Manhattan in the original Watchmen, analyse the character’s incarnational iteration in the television series, and contrast this with how moral influence Christology underpins the relationship between Superman and Dr Manhattan in Doomsday Clock to show that superhero comics in particular, and pop culture more broadly, are crucial sites of Christological imagination and negotiation over race.

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