Gotowe bibliografie tematyczne / African americans – history – drama

Gotowa bibliografia na temat „African americans – history – drama”

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Data publikacji: 25 lipca 2024

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Artykuły w czasopismach na temat "African americans – history – drama"

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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, i 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 (maj 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 (marzec 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 (listopad 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 (czerwiec 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 (5.09.2022): 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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Rozprawy doktorskie na temat "African americans – history – drama"

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Mavromatidou, Eleni. "The Role Of The (Postcolonial) Intellectual/Critic: Textualization Of History As Trauma: The African American And Modern Greek Paradigm". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213616340.

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Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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Foster, Benjamin Thomas. "HISTORICAL INTIMACY: CONTEMPORARY RECLAMATIONS OF AFRICAN AMERICAN HISTORY IN THE DRAMA, POETRY, AND FICTION OF SUZAN-LORI PARKS, NATASHA TRETHEWAY, AND COLSON WHITEHEAD". OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1066.

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Three contemporary authors – Suzan-Lori Parks, Natasha Trethewey, and Colson Whitehead – within the African American Literary Tradition explore relationships to history in light of a dominant rhetoric that represents African American history through a white, hegemonic lens. In Parks’ The America Play, Trethewey’s Bellocq’s Ophelia, and Whitehead’s The Intuitionist, these authors comment on historical representation through such symbols as iconic figures like Abraham Lincoln, photographs, and elevators as starting points to explore the possibility of an independent space for African American history. Rather than remarking on just the representation of the artifact, however, the authors enter a conversation on how history is remembered and experienced. Parks, Trethewey, and Whitehead each form their own expression on historical representation; in each case, their works address the ability, or inability, to achieve historical intimacy amidst a push back from hegemonic narratives in the public eye. Historical intimacy, as the leading concept of the dissertation, refers to developing a close proximity to history not as a mere representation but as lived experience. Parks sees historical insight developing only through brief moments of intimate contact, if at all. Trethewey imagines personal, even sensual, familiarity with the subjects of her poems as a way of breaking through social frames and learning to connect with the past. Whitehead works through paradoxes to dissolve representational patterns of discourse, like verticality, and reach for a post-rational space wherein both open historical possibility, which stresses self-reflexivity, and a foundation in a “real,” experienced history unlock the opportunity for the construction of an intimate history. Although no author presents historical intimacy as an achieved goal, their works suggest varying degrees of potential and connection.
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Hallstoos, Brian James. "Windy city, holy land: Willa Saunders Jones and black sacred music and drama". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/371.

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My dissertation argues that African Americans in the 20th-century connected lynching and other acts of racial violence with Christ's crucifixion, which in turn fostered hope and even interracial amity by linking his resurrection with racial uplift. To illustrate this dynamic, I focus on musician, dramatist, and church leader Willa Saunders Jones (1901-79) and her Passion play, which she wrote in Chicago during the 1920s. Over the course of six decades, Jones produced her play annually in churches and later large civic theaters. Growing in size and splendor, the play remained intimately tied with the Black church. It also bore the impress of Jones's cultural training in Little Rock, Arkansas and Chicago, the city to which her family fled after a transforming brush with racial violence. The rise of her Passion play depended upon her musical success, most notably as a choral director. By focusing on a single cultural product over time and through several disciplinary lenses, my study contributes new insights into the role of sacred music and drama within the African American community. Offering a brief overview of Jones and her play, my Introduction also articulates the dissertation's two central organizing concepts: the crucifixion trope and resurrection consciousness. Chapters One and Two explain why Americans, especially of African descent, made a link between the suffering of black men in America and the crucifixion of Christ (the crucifixion trope). Chapters Three and Four indicate why Jones considered sacred music and drama to be agents of racial uplift and interracial amity. The final chapter focuses on the theme of Christ's resurrection as a metaphor that animates certain responses to racial trauma (resurrection consciousness). In addition to a wide range of secondary sources, I draw upon personal interviews, court records, genealogical records, the Black press, visual images, song lyrics, correspondence, autobiographies, plays, playbills, school records, television footage, and church publications of the National Baptist Convention, USA. "Windy City, Holy Land" should be of special interest to scholars in African American Studies, American Studies, History, Religious Studies, Theatre Studies, and Women's Studies.
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De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage". Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.

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A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.

Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation.


Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Washington, Julius C. "Historic preservation, history, and the African American a discussion and framework for change /". Thesis, Atlanta, Georgia. : Georgia Institute of Technology, 1992. http://handle.dtic.mil/100.2/ADA252306.

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Thesis (Master of City Planning) Georgia Institute of Technology, March 1991.
"March 6, 1992." Description based on title screen as viewed on April 8, 2009. Includes bibliographical references (p. 124-126). Also available in print.
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Cosby, Bruce. "Technological politics and the political history of African-Americans". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1995. http://digitalcommons.auctr.edu/dissertations/AAI9543185.

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This dissertation is a critical study of technopolitical issues in the history of African American people. Langdon Winner's theory of technopolitics was used to facilitate the analysis of large scale technologies and their compatibility with various political ends. I contextualized the central technopolitical issues within the major epochs of African American political history: the Atlantic slave trade, the African artisans of antebellum America, and the American Industrial Age. Throughout this study I have sought to correct negative stereotypes and to show how "technological gauges" were employed to belittle people of African descent. This research also has shown that the mainstream notion that Africans had no part in the history of technology is false. This study identifies and analyses specific technologies that played a major role in the political affairs of Africans and African Americans. Those technologies included nautical devices, fort construction, and automatic guns in Africa, and hoes, plows, tractors, cotton gins, and the mechanical cotton pickers in America. The findings of this study suggested that African Americans have been disengaged and victimized by western technologies. This dissertation proposes how to overcome the oppressive uses of technology.
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Vaughn, Curtis L. "Freedom Is Not Enough| African Americans in Antebellum Fairfax County". Thesis, George Mason University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3671770.

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Prior to the Civil War, the lives of free African Americans in Fairfax County, Virginia were both ordinary and extraordinary. Using the land as the underpinning of their existence, they approached life using methods that were common to the general population around them. Fairfax was a place that was undergoing a major transition from a plantation society to a culture dominated by self-reliant people operating small farms. Free African Americans who were able to gain access to land were a part of this process allowing them to discard the mantle of dependency associated with slavery. Nevertheless, as much as ex-slaves and their progeny attempted to live in the mainstream of this rural society, they faced laws and stereotypes that the county's white population did not have to confront. African Americans' ability to overcome race-based obstacles was dependent upon using their labor for their own benefit rather than for the comfort and profit of a former master or white employer.

When free African Americans were able to have access to the labor of their entire family, they were more likely to become self-reliant, but the vestiges of the slave system often stymied independence particularly for free women. Antebellum Fairfax had many families who had both slave and free members and some families who had both white and African American members. These divisions in families more often adversely impacted free African American women who could not rely on the labor of an enslaved husband or the lasting attention of a white male. Moreover, families who remained intact were more likely to be able to care for children and dependent aging members, while free African American females who headed households often saw their progeny subjected to forced apprenticeships in order for the family to survive.

Although the land provided the economic basis for the survival of free African Americans, the county's location along the border with Maryland and the District of Columbia also played a role in the lives of the county's free African American population. Virginia and its neighbors remained slave jurisdictions until the Civil War, but each government wished to stop the expansion of slavery within its borders. Each jurisdiction legislated against movement of new slaves into their territory and attempted to limit the movement of freed slaves into their jurisdictions. Still, in a compact border region restricting such movement was difficult. African Americans used the differences of laws initially to petition for freedom. As they gained access to the court system, free African Americans expanded their use of the judiciary by bringing their grievances before the courts which sided with the African American plaintiffs with surprising regularity. Although freed slaves and their offspring had few citizenship rights, they were able to use movement across borders and the ability to gain a hearing for their grievances to achieve increasing autonomy from their white neighbors.

No one story from the archives of the Fairfax County Courthouse completely defines the experience of free African Americans prior to the Civil War, but collectively they chronicle the lives of people who were an integral part of changing Fairfax County during the period. After freedom, many African Americans left Fairfax either voluntarily or through coercion. For those who stayed, their lives were so inter-connected both socially and economically with their white neighbors that any history of the county cannot ignore their role in the evolution of Fairfax.

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Chapi, Aicha. "Towards a reading of Toni Morrison's fiction : African-American history, the arts and contemporary theory /". Thesis, Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19671441.

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Grimm, Kevin E. "Symbol of Modernity: Ghana, African Americans, and the Eisenhower Administration". Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1334240469.

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Książki na temat "African americans – history – drama"

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Sanders, Jeff. Readers theatre for African American history. Westport, Conn: Teachers Idea Press, 2008.

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Trudier, Harris, red. Reading contemporary African American drama: Fragments of history, fragments of self. New York: Peter Lang, 2007.

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Hill, Errol. A history of African American theatre. Cambridge: Cambridge University Press, 2003.

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Vysot͡sʹka, N. O. Na perekhresti t͡syvilizat͡siĭ: Afro-amerykansʹka drama i͡ak mulʹtykulʹturnyĭ fenomen. Kyïv: Kyïvsʹkyĭ derz͡h. linhvistychnyĭ universytet, 1997.

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Carrier, Naomi Mitchell. "Go down, Old Hannah": The living history of African American Texans. Austin: University of Texas Press, 2010.

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Anderson, Lisa M. Black feminism in contemporary drama. Urbana: University of Illinois Press, 2007.

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Andrews, Eula Banks. The psalms of slavery: A drama in song. Colorado Springs, Co (314 W. Willamette Ave, Colorado Springs 80905): E.B. Andrews, 1986.

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Walker, Phillip E. Can I speak for you brother?: A one-man play depicting Black leaders. Wyd. 2. Aiea, HI: That New Pub. Co., 1990.

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Jackson, Barbara Dean. Mighty African children move victoriouslyinto the twenty-first century! (New York?): B.D. Jackson, 1988.

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Beauty in Black performance: Plays for African American youth. Trenton NJ: Africa World Press, 2006.

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Części książek na temat "African americans – history – drama"

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Noel, A. Cazenave. "Violence-Centered Racial Control Systems and Mechanisms In U.S. History". W 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". W 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., i Carol L. Tieso. "How Might Equality be Achieved for African Americans?" W 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”". W 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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Al-Kuwari, Shaikha H. "History and Culture of Muslims in America". W Arab Americans in the United States, 25–42. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-7417-7_3.

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AbstractThis chapter offers a comprehensive review of the history of Muslims in America. The chapter will be divided into three sections. The first section reviews the history of Muslims in America, including African American Muslims, Arab American Muslims, and South Asian American Muslims, and their immigration history, as well as Islamic movements and the groups’ relationships. The second section of the chapter will discuss the significance of mosques in the lives of American Muslim immigrants. This section will include ethnographic observations related to the experience of visiting mosques and the dynamic political and religious roles of mosques in Dearborn, MI. The third section of the chapter addresses the culture and identity of American Muslim immigrants as they relate to family and marriage, gender roles, and identity formation.
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Polikoff, Alexander, Elizabeth Lassar i john a. powell. "Introduction". W 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 i john a. powell. "The Lack of Lift-Up". W 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 i john a. powell. "Cause and Effect". W 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 i john a. powell. "Conclusion". W 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 i Douglas Helms. "Contributions of African-Americans and the 1890 Land-Grant Universities to Soil Science and the Soil Survey". W 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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Streszczenia konferencji na temat "African americans – history – drama"

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Gitiaux, Xavier, i Huzefa Rangwala. "mdfa: Multi-Differential Fairness Auditor for Black Box Classifiers". W 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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SMITH, JENNIFER. "Placemaking through Storytelling: Remembering Sacred Spaces". W 2021 AIA/ACSA Intersections Research Conference. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.aia.inter.21.15.

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In an Alabama town there is a bottom-up movement to communicate under-represented, African-American history through a series of “sacred sites” in the landscape. This under- represented history includes: former slaves engaged in early city development, Black land owners, redlining practices, and racial injustice. History education presently does not have the capacity to fully discuss these truths, and there is a movement to make them apparent in our cities. Rosenwald Schools, lynching sites, cemeteries, and formerly segregated schools are considered sacred due to their significance in the African- American and simply, American experience. In The Power of Place Dolores Hayden argues that we are fascinated with the past when touring historic sites but miss opportunities to translate this to our neighborhoods imbued with place- making potential. She states, “If Americans were to find their own social history preserved in the public landscapes of their own neighborhoods and cities, then connection to the past might be different” (Hayden, 46). This connection to place and history exists for local African-American families and has potential to engage a collective city. While some histories are painful, all should be evident for united progress. As stated by a Community Remembrance Project member, “There can be no reconciliation and healing without remembering the past” (2021).
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Prazma, Charlene, Hao Li, Robert Y. Suruki, Wayne H. Anderson i 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". W 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 i 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". W 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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Macken, Jared. "The Ordinary within the Extraordinary: The Ideology and Architectural Form of Boley, an “All-Black Town” in the Prairie". W 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.63.

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In 1908, Booker T. Washington stepped off the Fort Smith and Western Railway train into the town of Boley, Oklahoma. Washington found a bustling main street home to over 2,500 African American citizens. He described this collective of individuals as unified around a common goal, “with the definite intention of getting a home and building up a community where they can, as they say, be ‘free.’” The main street was the physical manifestation of this idea, the center of the community. It was comprised of ordinary banks, store front shops, theaters, and social clubs, all of which connected to form a dynamic cosmopolitan street— an architectural collective form. Each building aligned with its neighbor creating a single linear street, a space where the culture of the town thrived. This public space became a symbol of the extraordinary lives and ideology of its citizens, who produced an intentional utopia in the middle of the prairie. Boley is one of more than fifty “All-Black Towns” that developed in “Indian Territory” before Oklahoma became a state. Despite their prominence, these towns’ potential and influence was suppressed when the territory became a state in 1907. State development was driven by lawmaker’s ambition to control the sovereign land of Native Americans and impose control over towns like Boley by enacting Jim Crow Laws legalizing segregation. This agenda manifests itself in the form and ideology of the state’s colonial towns. However, the story of the state’s history does not reflect the narrative of colonization. Instead, it is dominated by tales of sturdy “pioneers” realizing their role within the myth of manifest destiny. In contrast, Boley’s history is an alternative to this myth, a symbol of a radical ideology of freedom, and a form that reinforces this idea. Boley’s narrative begins to debunk the myth of manifest destiny and contrast with other colonial town forms. This paper explores the relationship between the architectural form of Boley’s main street and the town’s cultural significance, linking the founding community’s ideology to architectural spaces that transformed the ordinary street into a dynamic social space. The paper compares Boley’s unified linear main street, which emphasized its citizens and their freedom, with another town typology built around the same time: Perry’s centralized courthouse square that emphasized the seat of power that was colonizing Cherokee Nation land. Analysis of these slightly varied architectural forms and ideologies reorients the historical narrative of the state. As a result, these suppressed urban stories, in particular that of Boley’s, are able to make new contributions to architectural discourse on the city and also change the dominant narratives of American Expansion.
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