Kategoria BISAC: Biography & Autobiography >> Cultural, Ethnic & Regional - General

In "Confronting the Color Line," Alan Anderson and George Pickering examine the hopes and strategies, the frustrations and internal conflicts, the hard-won successes and bitter disappointments of the civil rights movement in Chicago. The scene of a protracted local struggle to force equality in education and open housing for blacks, the city also became the focus of national attention in the summer of 1966 as Martin Luther King, Jr. and the Southern Christian Leadership Conference challenged the entrenched political machine of Mayor Richard J. Daley. The failure of King's campaign--a...

In this compelling new study, Debra Walker King considers fragments of experience recorded in oral histories and newspapers as well as those produced in twentieth-century novels, films, and television that reveal how the black body in pain functions as a rhetorical device and as political strategy. King's primary hypothesis is that, in the United States, black experience of the body in pain is as much a construction of social, ethical, and economic politics as it is a physiological phenomenon.

As an essential element defining black experience in America, pain plays many roles. It is used...

In this compelling new study, Debra Walker King considers fragments of experience recorded in oral histories and newspapers as well as those produced in twentieth-century novels, films, and television that reveal how the black body in pain functions as a rhetorical device and as political strategy. King's primary hypothesis is that, in the United States, black experience of the body in pain is as much a construction of social, ethical, and economic politics as it is a physiological phenomenon.

As an essential element defining black experience in America, pain plays many roles. It is used...

If the 1930s was the Swing Era, then the years from 1937 on might well be called the Jump Era. That summer Count Basie recorded "Jumping at the Woodside," and suddenly jump tunes seemed to be everywhere. Along with the bouncy beat came a new dance step -- the high-flying aerials of the jitterbuggers -- and the basketball games that took place in the dance halls of African America became faster, higher, and flashier. Duke Ellington and a cast of hundreds put the buoyant spirit of the era on stage with their 1941 musical revue, Jump for Joy, a title that captured the momentum and direction...