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Temple University Press
Outstanding Academic Title, Choice, 1995 "What makes Lane's approach unique is that he weaves together different perspectives on the nature of school into a very colorful but informative and lucid tapestry that seeks the outer limits of free expression within the boundaries of the school context, always with an eye toward promoting the goal of inculcation of values, a worthy end for students and school officials alike." â€”Samuel M. Davis, Allen Post Professor of Law, University of Georgia *In a 1969 landmark case, the U.S. Supreme Court ruled that the suspension of student for protesting the Vietnam War violated the First Amendment. *In 1972, the U.S. court of appeals upheld the suspension of black high school students for protesting the playing of "Dixie" at a pep rally. *In 1986, a U.S. district court ruled that the suspension of a student for directing a vulgar gesture at one of his school teachers in a fast-food restaurant was unconstitutional. On what grounds do public school students merit First Amendment protection? These three examples illustrate the broad range of litigation that has attempted to answer this question. Robert Wheeler Lane reviews the obstacles of this important issue and suggests a mix of protection and autonomy for students. Pulling together evidence about the aims of public education, the changing legal status of children, and the values underlying freedom of expression, Lane debates the relationship between constitutional litigation and the dual pursuits of academic excellence and classroom order. Ultimately, utilizing both lower court and Supreme Court decisions, he finds that independent student expression deserves considerable constitutional protection; student expression assisted by school officials (such as school-funded student newspapers) should be subject to some control; and nonstudent expression (such as a school's selection of library books) should be left largely to the school's discretion. His conclusions suggest that in forging First Amendment protection for public school students, strongly held positions need not be extreme.
The original essays in this volume use qualitative research methods to expose the multiple contexts within which the problems of bioethics arise, are defined and debated, and ultimately resolved. In a provocative concluding essay, one contributor asks his fellow ethnographers to reflect on the ethical problems of ethnography.
African American Urban Experiences In Film
In Black City Cinema, Paula Massood shows how popular films reflected the massive social changes that resulted from the Great Migration of African Americans from the rural South to cities in the North, West, and Mid-West during the first three decades of the twentieth century. By the onset of the Depression, the Black population had become primarily urban, transforming individual lives as well as urban experience and culture.Massood probes into the relationship of place and time, showing how urban settings became an intrinsic element of African American film as Black people became more firmly rooted in urban spaces and more visible as historical and political subjects. Illuminating the intersections of film, history, politics, and urban discourse, she considers the chief genres of African American and Hollywood narrative film: the black cast musicals of the 1920s and the "race" films of the early sound era to blaxploitation and hood films, as well as the work of Spike Lee toward the end of the century. As it examines such a wide range of films over much of the twentieth century, this book offers a unique map of Black representations in film.
Many white Communists spoke out, but black Communists took the lead in organizing public protests and legal responses. As this surprising book makes clear, they were acting at the direction of the Communist International (Comintern), which had directed them to address the "Negro problem." Now, with the opening of formerly inaccessible Communist party archives, this collection of primary documents reveals the little-known but major roles played by black Communists in the case of "the Scottsboro Boys."
African American Writers between the Nation and the World
Focusing on literature produced between the Harlem Renaissance and the Black Arts Movement (1930-1970), in Black Regions of the Imagination explores how Zora Neale Hurston, Richard Wright, Chester Himes and James Baldwin consistently represent black Americans within both national and international settings. The book sets forth "the region" as a way to make sense of the paradigmatic anti-national narrative concerns of these black writers who set about to both document and re-imagine a set of "homegrown" racial experiences within a more worldly framework. In the writings of the selected authors one sees the constant coupling of national and international settings and concerns, disallowing the privileging of the national or the international in an attempt to escape the ever-marginalizing parochialism dictated by mid-20th century American segregation. Moreover, ethnography is the stylistic optic utilized by these writers to represent issues of proximity and distance implied by the simultaneous presentation of the national and international. Through the employment of ethnographic techniques such as participant-observation, thick description, and an attention to the social significance of American cultural practices (namely racism), these mid-20th century black Americans signify on blackness in new ways.
Ritual Performance In The African Diaspora
Generating a new understanding of the past—as well as a vision for the future—this path-breaking volume contains essays written by playwrights, scholars, and critics that analyze African American theatre as it is practiced today.Even as they acknowledge that Black experience is not monolithic, these contributors argue provocatively and persuasively for a Black consciousness that creates a culturally specific theatre. This theatre, rooted in an African mythos, offers ritual rather than realism; it transcends the specifics of social relations, reaching toward revelation. The ritual performance that is intrinsic to Black theatre renews the community; in Paul Carter Harrison's words, it "reveals the Form of Things Unknown" in a way that "binds, cleanses, and heals."