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Beyond <i>The Chinese Connection</i> Cover

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Beyond <i>The Chinese Connection</i>

Contemporary Afro-Asian Cultural Production

Crystal S. Anderson

In Beyond The Chinese Connection, Crystal S. Anderson explores the cultural and political exchanges between African Americans, Asian Americans, and Asians over the last four decades. To do so, Anderson examines such cultural productions as novels (Frank Chin's Gunga Din Highway [1999], Ishmael Reed's Japanese By Spring [1992], and Paul Beatty's The White Boy Shuffle [1996]); films (Rush Hour 2 [2001], Unleashed [2005], and The Matrix trilogy [1999-2003],) and Japanese animation (Samurai Champloo [2004]), all of which feature cross-cultural conversations. In exploring the ways in which writers and artists use this transferral, Anderson traces and tests the limits of how Afro-Asian cultural production interrogates conceptions of race, ethnic identity, politics, and transnational exchange.

Ultimately, this book reads contemporary black/Asian cultural fusions through the recurrent themes established by the films of Bruce Lee, which were among the first--and certainly most popular--works to use this exchange explicitly. As a result of such films as Enter the Dragon (1973), The Chinese Connection (1972), and The Big Boss (1971), Lee emerges as both a cross-cultural hero and global cultural icon who resonates with the experiences of African American, Asian American and Asian youth in the 1970s. Lee's films and iconic imagery prefigure themes that reflect cross-cultural negotiations with global culture in post-1990 Afro-Asian cultural production.

Beyond Explicit Cover

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Beyond Explicit

Pornography and the Displacement of Sex

Helen Hester

Develops a novel characterization of the pornographic as a cultural concept.

Beyond the White Negro Cover

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Beyond the White Negro

Empathy and Anti-Racist Reading

Kimberly Chabot Davis

Critics often characterize white consumption of African American culture as a form of theft that echoes the fantasies of 1950s-era bohemians, or "White Negroes," who romanticized black culture as anarchic and sexually potent. In Beyond the White Negro, Kimberly Chabot Davis claims such a view fails to describe the varied politics of racial crossover in the past fifteen years.Davis analyzes how white engagement with African American novels, film narratives, and hip-hop can help form anti-racist attitudes that may catalyze social change and racial justice. Though acknowledging past failures to establish cross-racial empathy, she focuses on examples that show avenues for future progress and change. Her study of ethnographic data from book clubs and college classrooms shows how engagement with African American culture and pedagogical support can lead to the kinds of white self-examination that make empathy possible. The result is a groundbreaking text that challenges the trend of focusing on society's failures in achieving cross-racial empathy and instead explores possible avenues for change.

Beyond Trochenbrod Cover

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Beyond Trochenbrod

The Betty Gold Story

Few are familiar with one of the Holocaust’s most monstrous acts, the systematic murder of about 5,000 Jewish residents in a Nazioccupied Polish town, Trochenbrod, on August 11, 1942. Of the 33 who escaped death, only one person remains to describe these events—Betty Gold. Twelve-year-old Betty and her family hid inside a secret wall built by her father and, when it seemed safe, crept toward the forest, which became their home.

In part one of Beyond Trochenbrod, Gold provides a brief history of Trochenbrod, the only all-Jewish town to exist outside of biblical Israel, and describes a series of cherished childhood experiences before the arrival of Soviet and, later, Nazi occupiers. Part two centers on the family’s struggles against hunger, pain, despair, and the constant fear of being discovered while living in the forest. How the family survived against these and other threats is nothing short of miraculous. Their unlikely rescue, stay at a displaced persons camp, and journey to America are the subjects of part three. In the fourth and final part of her memoir, Gold recounts her difficult adjustment to her new home in Cleveland and discusses how her Trochenbrod experiences have transformed her life and the lives of others.

Man’s inhumanity is undeniable in Beyond Trochenbrod, but so is humanity’s capacity to prevail in spite of unimaginable odds.

Black Gun, Silver Star Cover

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Black Gun, Silver Star

The Life and Legend of Frontier Marshal Bass Reeves

Art T. Burton

In The Story of Oklahoma, Deputy U.S. Marshal Bass Reeves appears as one of “eight notable Oklahomans,” the “most feared U.S. marshal in the Indian country.” That Reeves was also an African American who had spent his early life as a slave in Arkansas and Texas made his accomplishments all the more remarkable. Black Gun, Silver Star tells Bass Reeves's story for the first time, sifting through fact and legend to discover the truth about one of the most outstanding peace officers in late-nineteenth-century America—and perhaps the greatest lawman of the Wild West era. 

Bucking the odds (“I’m sorry, we didn’t keep black people’s history,” a clerk at one of Oklahoma’s local historical societies answered to a query), Art T. Burton traces Reeves from his days of slavery to his soldiering in the Civil War battles of the Trans-Mississippi Theater to his career as a deputy U.S. marshal out of Fort Smith, Arkansas, beginning in 1875 when he worked under “Hanging Judge” Isaac C. Parker. Fluent in Creek and other southern Native languages, physically powerful, skilled with firearms, and a master of disguise, Reeves was exceptionally adept at apprehending fugitives and outlaws and his exploits were legendary in Oklahoma and Arkansas. Black Gun, Silver Star restores this remarkable figure to his rightful place in the history of the American West.

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Black Masculinity and the U.S. South

From Uncle Tom to Gangsta

RichT Richardson

This pathbreaking study of region, race, and gender reveals how we underestimate the South's influence on the formation of black masculinity at the national level. Many negative stereotypes of black men—often contradictory ones—have emerged from the ongoing historical traumas initiated by slavery. Are black men emasculated and submissive or hypersexed and violent? Nostalgic representations of black men have arisen as well: think of the philosophical, hardworking sharecropper or the abiding, upright preacher. To complicate matters, says Riché Richardson, blacks themselves appropriate these images for purposes never intended by their (mostly) white progenitors.


Starting with such well-known caricatures as the Uncle Tom and the black rapist, Richardson investigates a range of pathologies of black masculinity that derive ideological force from their associations with the South. Military policy, black-liberation discourse, and contemporary rap, she argues, are just some of the instruments by which egregious pathologies of black masculinity in southern history have been sustained. Richardson's sources are eclectic and provocative, including Ralph Ellison's fiction, Charles Fuller's plays, Spike Lee's films, Huey Newton's and Malcolm X's political rhetoric, the O. J. Simpson discourse, and the music production of Master P, the Cash Money Millionaires, and other Dirty South rappers.


Filled with new insights into the region's role in producing hierarchies of race and gender in and beyond their African American contexts, this new study points the way toward more epistemological frameworks for southern literature, southern studies, and gender studies.

Black Moses Cover

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Black Moses

The Story of Marcus Garvey and the Universal Negro Improvement Association

E. David Cronon; Foreward by John Hope Franklin

In the early twentieth century, Marcus Garvey sowed the seeds of a new black pride and determination. Attacked by the black intelligentsia and ridiculed by the white press, this Jamaican immigrant astonished all with his black nationalist rhetoric.  In just four years, he built the Universal Negro Improvement Association (UNIA), the largest and most powerful all-black organization the nation had ever seen.  With hundreds of branches, throughout the United States, the UNIA represented Garvey’s greatest accomplishment and, ironically, the source of his public disgrace.  Black Moses brings this controversial figure to life and recovers the significance of his life and work.

“Those who are interested in the revolutionary aspects of the twentieth century in America should not miss Cronon’s book. It makes exciting reading.”—The Nation

“A very readable, factual, and well-documented biography of Marcus Garvey.”—The Crisis, NAACP

“In a short, swiftly moving, penetrating biography, Mr. Cronon has made the first real attempt to narrate the Garvey story. From the Jamaican's traumatic race experiences on the West Indian island to dizzy success and inglorious failure on the mainland, the major outlines are here etched with sympathy, understanding, and insight.”—Mississippi Valley Historical Review (Now the Journal of American History).

“Good reading for all serious history students.”—Jet

“A vivid, detailed, and sound portrait of a man and his dreams.”—Political Science Quarterly

Black Officer in a Buffalo Soldier Regiment Cover

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Black Officer in a Buffalo Soldier Regiment

The Military Career of Charles Young

Brian G. Shellum

An unheralded military hero, Charles Young (1864–1922) was the third black graduate of West Point, the first African American national park superintendent, the first black U.S. military attaché, the first African American officer to command a Regular Army regiment, and the highest-ranking black officer in the Regular Army until his death. Black Officer in a Buffalo Soldier Regiment tells the story of the man who—willingly or not—served as a standard-bearer for his race in the officer corps for nearly thirty years, and who, if not for racial prejudice, would have become the first African American general. Brian G. Shellum describes how, during his remarkable army career, Young was shuffled among the few assignments deemed suitable for a black officer in a white man’s army—the Buffalo Soldier regiments, an African American college, and diplomatic posts in black republics such as Liberia. Nonetheless, he used his experience to establish himself as an exceptional cavalry officer. He was a colonel on the eve of the United States’ entry into World War I, when serious medical problems and racial intolerance denied him command and ended his career. Shellum’s book seeks to restore a hero to the ranks of military history; at the same time, it informs our understanding of the role of race in the history of the American military.

Black Print with a White Carnation Cover

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Black Print with a White Carnation

Mildred Brown and the Omaha Star Newspaper, 1938-1989

Amy Helene Forss

Mildred Dee Brown (1905–89) was the cofounder of Nebraska’s Omaha Star, the longest running black newspaper founded by an African American woman in the United States. Known for her trademark white carnation corsage, Brown was the matriarch of Omaha’s Near North Side—a historically black part of town—and an iconic city leader. Her remarkable life, a product of the Reconstruction era and Jim Crow, reflects a larger American history that includes the Great Migration, the Red Scare of the post–World War era, civil rights and black power movements, desegregation, and urban renewal.

Within the context of African American and women’s history studies, Amy Helene Forss’s Black Print with a White Carnation examines the impact of the black press through the narrative of Brown’s life and work. Forss draws on more than 150 oral histories, numerous black newspapers, and government documents to illuminate African American history during the political and social upheaval of the twentieth century. During Brown’s fifty-one-year tenure, the Omaha Star became a channel of communication between black and white residents of the city, as well as an arena for positive weekly news in the black community. Brown and her newspaper led successful challenges to racial discrimination, unfair employment practices, restrictive housing covenants, and a segregated public school system, placing the woman with the white carnation at the center of America’s changing racial landscape.

 

Black Superheroes, Milestone Comics, and Their Fans Cover

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Black Superheroes, Milestone Comics, and Their Fans

What do the comic book figures Static, Hardware, and Icon all have in common? Black Superheroes, Milestone Comics, and Their Fans gives an answer that goes far beyond "tights and capes," an answer that lies within the mission Milestone Media, Inc., assumed in comic book culture. Milestone was the brainchild of four young black creators who wanted to part from the mainstream and do their stories their own way. This history of Milestone, a "creator-owned" publishing company, tells how success came to these mavericks in the 1990s and how comics culture was expanded and enriched as fans were captivated by this new genre. Milestone focused on the African American heroes in a town called Dakota. Quite soon these black action comics took a firm position in the controversies of race, gender, and corporate identity in contemporary America. Characters battled supervillains and sometimes even clashed with more widely known superheroes. Front covers of Milestone comics often bore confrontational slogans like "Hardware: A Cog in the Corporate Machine is About to Strip Some Gears." Milestone's creators aimed for exceptional stories that addressed racial issues without alienating readers. Some competitors, however, accused their comics of not being black enough or of merely marketing Superman in black face. Some felt that the stories were too black, but a large cluster of readers applauded these new superheroes for fostering African American pride and identity. Milestone came to represent an alternative model of black heroism and, for a host of admirers, the ideal of masculinity. Black Superheroes gives details about the founding of Milestone and reports on the secure niche its work and its image achieved in the marketplace. Tracing the company's history and discussing its creators, their works, and the fans, this book gauges Milestone alongside other black comic book publishers, mainstream publishers, and the history of costumed characters. Jeffrey A. Brown is an assistant professor of popular culture at Bowling Green State University. He has been published in Screen, Cinema Journal, African American Review, Journal of Popular Culture, Discourse, and Journal of Popular Film and Television.

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