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Nat Turner's Rebellion SOURCE
Nat Turner’s Rebellion (1831) / John Brown’s Raid (1859), and the U.S. Civil War (1861-65) PART ONE Nat Turner's Rebellion SOURCE: http://www.learnnc.org/lp/editions/nchist-newnation/4574 By L. Maren Wood and David Walbert Nat Turner’s rebellion was one of the largest slave rebellions ever to take place in the United States, and it played an important role in the development of antebellum slave society. The images from Nat Turner’s Rebellion — of armed black men roaming the country side slaying white men, women, and children — haunted white southerners and showed slave owners how vulnerable they were. Following the rebellion, whites throughout the South were determined to prevent any further slave insurrections, and they tightened the already harsh slave codes to keep African Americans, slave and free, in a subservient position. Nat Turner was born in 1800 into slavery in Southampton, Virginia, about twenty miles from the North Carolina border. Turner’s experience was typical of slaves on southern plantations. He had little freedom; he could not legally marry, travel without his master’s permission, own property, or earn money. He was forced to work long, hard hours in the fields for meager rations of food and clothing, and if he refused he faced the whip or other punishment. And, like many slaves, Turner was sold several times to different masters. Each time, he was forced to leave family and friends and move to a different plantation. It was this brutal, demeaning, system of slavery that Nat Turner sought to overthrow. He sought not only his own freedom, but to dismantle the entire system of slavery and liberate African Americans from white tyranny. -
Race and Membership in American History: the Eugenics Movement
Race and Membership in American History: The Eugenics Movement Facing History and Ourselves National Foundation, Inc. Brookline, Massachusetts Eugenicstextfinal.qxp 11/6/2006 10:05 AM Page 2 For permission to reproduce the following photographs, posters, and charts in this book, grateful acknowledgement is made to the following: Cover: “Mixed Types of Uncivilized Peoples” from Truman State University. (Image #1028 from Cold Spring Harbor Eugenics Archive, http://www.eugenics archive.org/eugenics/). Fitter Family Contest winners, Kansas State Fair, from American Philosophical Society (image #94 at http://www.amphilsoc.org/ library/guides/eugenics.htm). Ellis Island image from the Library of Congress. Petrus Camper’s illustration of “facial angles” from The Works of the Late Professor Camper by Thomas Cogan, M.D., London: Dilly, 1794. Inside: p. 45: The Works of the Late Professor Camper by Thomas Cogan, M.D., London: Dilly, 1794. 51: “Observations on the Size of the Brain in Various Races and Families of Man” by Samuel Morton. Proceedings of the Academy of Natural Sciences, vol. 4, 1849. 74: The American Philosophical Society. 77: Heredity in Relation to Eugenics, Charles Davenport. New York: Henry Holt &Co., 1911. 99: Special Collections and Preservation Division, Chicago Public Library. 116: The Missouri Historical Society. 119: The Daughters of Edward Darley Boit, 1882; John Singer Sargent, American (1856-1925). Oil on canvas; 87 3/8 x 87 5/8 in. (221.9 x 222.6 cm.). Gift of Mary Louisa Boit, Julia Overing Boit, Jane Hubbard Boit, and Florence D. Boit in memory of their father, Edward Darley Boit, 19.124. -
The Color Line in Ohio Public Schools, 1829-1890
THE COLOR LINE IN OHIO PUBLIC SCHOOLS, 1829-1890 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By LEONARD ERNEST ERICKSON, B. A., M. A, ****** The Ohio State University I359 Approved Adviser College of Education ACKNOWLEDGMENTS This dissertation is not the work of the author alone, of course, but represents the contributions of many persons. While it is impossible perhaps to mention every one who has helped, certain officials and other persons are especially prominent in my memory for their encouragement and assistance during the course of my research. I would like to express my appreciation for the aid I have received from the clerks of the school boards at Columbus, Dayton, Toledo, and Warren, and from the Superintendent of Schools at Athens. In a similar manner I am indebted for the courtesies extended to me by the librarians at the Western Reserve Historical Society, the Ohio State Library, the Ohio Supreme Court Library, Wilberforce University, and Drake University. I am especially grateful to certain librarians for the patience and literally hours of service, even beyond the high level customary in that profession. They are Mr. Russell Dozer of the Ohio State University; Mrs. Alice P. Hook of the Historical and Philosophical Society; and Mrs. Elizabeth R. Martin, Miss Prances Goudy, Mrs, Marion Bates, and Mr. George Kirk of the Ohio Historical Society. ii Ill Much of the time for the research Involved In this study was made possible by a very generous fellowship granted for the year 1956 -1 9 5 7, for which I am Indebted to the Graduate School of the Ohio State University. -
Jeanmichel Basquiat: an Analysis of Nine Paintings
JeanMichel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary. -
The Crisis, Vol. 1, No. 2. (December, 1910)
THE CRISIS A RECORD OF THE DARKER RACES Volume One DECEMBER, 1910 Number Two Edited by W. E. BURGHARDT DU BOIS, with the co-operation of Oswald Garrison Villard, J. Max Barber, Charles Edward Russell, Kelly Miller, VV. S. Braithwaite and M. D. Maclean. CONTENTS Along the Color Line 5 Opinion . 11 Editorial ... 16 Cartoon .... 18 By JOHN HENRY ADAMS Editorial .... 20 The Real Race Prob lem 22 By Profeaor FRANZ BOAS The Burden ... 26 Talks About Women 28 By Mn. J. E. MILHOLLAND Letters 28 What to Read . 30 PUBLISHED MONTHLY BY THE National Association for the Advancement of Colored People AT TWENTY VESEY STREET NEW YORK CITY ONE DOLLAR A YEAR TEN CENTS A COPY THE CRISIS ADVERTISER ONE OF THE SUREST WAYS TO SUCCEED IN LIFE IS TO TAKE A COURSE AT The Touissant Conservatory of Art and Music 253 West 134th Street NEW YORK CITY The most up-to-date and thoroughly equipped conservatory in the city. Conducted under the supervision of MME. E. TOUISSANT WELCOME The Foremost Female Artist of the Race Courses in Art Drawing, Pen and Ink Sketching, Crayon, Pastel, Water Color, Oil Painting, Designing, Cartooning, Fashion Designing, Sign Painting, Portrait Painting and Photo Enlarging in Crayon, Water Color, Pastel and Oil. Artistic Painting of Parasols, Fans, Book Marks, Pin Cushions, Lamp Shades, Curtains, Screens, Piano and Mantel Covers, Sofa Pillows, etc. Music Piano, Violin, Mandolin, Voice Culture and all Brass and Reed Instruments. TERMS REASONABLE THE CRISIS ADVERTISER THE NATIONAL ASSOCIATION for the ADVANCEMENT of COLORED PEOPLE OBJECT.—The National Association COMMITTEE.—Our work is car for the Advancement of Colored People ried on under the auspices of the follow is an organization composed of men and ing General Committee, in addition to the women of all races and classes who be officers named: lieve that the present widespread increase of prejudice against colored races and •Miss Gertrude Barnum, New York. -
Jim Crow Racism and the Mexican Americans of San Antonio, Texas
ORAL HISTORY AS A MEANS OF MORAL REPAIR: JIM CROW RACISM AND THE MEXICAN AMERICANS OF SAN ANTONIO, TEXAS by Rebecca Dominguez-Karimi A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2018 Copyright by Rebecca Dominguez-Karimi, 2017 ii ORAL HISTORY AS A MEANS OF MORAL REPAIR: JIM CROW RACISM AND THE MEXICAN AMERICANS OF SAN ANTONIO, TEXAS by Rebecca Dominguez-Karimi This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Sandra Norman, Comparative Studies Program, and has been approved by the members of her supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. SUPERVISORY COMMnTEE: ~~o..... .:i N1~"" Sandra Norman, Ph.D. ~~Susan Love Brown, Ph. 'S:"..,;ae~.~~o~ JosephinBeoku-Betts, Ph.D. Directo , mparative St ilies Pro? MiC11aeliOfSWclD.~-# Dean, Dorothy F. Schmidt College of Arts andn:ers . 5"", "Zo/g "~~2.~~ ' iii ACKNOWLEDGMENTS The author offers her sincerest thanks and gratitude to members of her committee (past and present-Dr. Robin Fiore, Dr. Marta Cruz-Janzen, Dr. Sandra Norman, Dr. Susan Love Brown, and Dr. Josephine Beoku-Betts) for their guidance, input, and support in bringing this manuscript to fruition. She wishes to especially thank her dissertation advisor, Dr. Sandra Norman, for her patience, advice, and inspiration during the composition of this manuscript. -
An Analysis of Internalized Racism in Art Created by Black Artists; Implications for Psychological Intervention
Pepperdine University Pepperdine Digital Commons Theses and Dissertations 2021 An analysis of internalized racism in art created by Black artists; implications for psychological intervention Mirjam Hatton Follow this and additional works at: https://digitalcommons.pepperdine.edu/etd Part of the Psychology Commons Pepperdine University Graduate School of Education and Psychology AN ANALYSIS OF INTERNALIZED RACISM IN ART CREATED BY BLACK ARTISTS; IMPLICATIONS FOR PSYCHOLOGICAL INTERVENTION A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Psychology by Mirjam Hatton April, 2021 Shelly P. Harrell, Ph.D. – Dissertation Chairperson This clinical dissertation, written by Mirjam Hatton under the guidance of a Faculty Committee and approved by its members, has been submitted to and accepted by the Graduate Faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PSYCHOLOGY Doctoral Committee: Shelly P. Harrell, Ph.D., Chairperson Thema Bryant-Davis, Ph.D. Jennifer Brown, Psy.D. TABLE OF CONTENTS Page LIST OF TABLES ......................................................................................................................... vi LIST OF FIGURES ..................................................................................................................... vii ACKNOWLEDGEMENTS ......................................................................................................... viii VITA ............................................................................................................................................. -
26103470.Pdf
92 DL6b Broderick, Francis L $>5,00 *EBo Du Bois, Megro leader lii a time of crisis. Stanford, Calif 0, Stanford University Press, 1959* 259p* MOV 10 1!75 WEF ,HJ1 STACKS 92 D816b Broderick, Francis L. W.E.B. Du Bois, Negro leader in a time of 1959. Photograph by Carl Van Vechten William Edward Burghardt DuBois W. 8. ft NEGRO LEADER IN A TIME OF CRISIS by Francis . Roderick STANFORD UNIVERSITY PRESS Stanford, California 1939 STANFORD UNIVERSITY PRESS STANFORD, CALIFORNIA 1959 by the Board of Trustees of the Leland Stanford Junior University All rights reserved Printed in the United States of America Library of Congress Catalog Card Number: 59-7422 PUBLISHED WITH THE ASSISTANCE OF THE FORD FOUNDATION To Mother and Dad W^TPORT OCT 29 1959 ACKNOWLEDGMENTS A study of the public career of a complex figure like William Edward Burghardt DuBois, who has put so much on the record and who has been a controversial figure for over half a century, of invites controversy at almost every chapter. It is not the job the historian to avoid controversy. It is his job to reconstruct the his past as accurately as his limitations permit, even when judg I done. ments contradict existing judgments. This is what have My intention has been neither to exalt nor to demean Dr. DuBois; it has been to understand him in the context of his time. My work has put me in debt to many people. At the head of the list is Dr. DuBois himself. Not only did he ease my way into sources of information, such as the Harvard archives, which other wise would have been unavailable; he also gave me unlimited access to his own voluminous papers. -
Painting Outside of the Lines: How Race Assignment Can Be Rethought Through Art
Gettysburg Social Sciences Review Volume 5 Issue 1 Article 10 2021 Painting Outside of the Lines: How Race Assignment can be Rethought Through Art Giovanni Mella-Velazquez Emory University Follow this and additional works at: https://cupola.gettysburg.edu/gssr Part of the African American Studies Commons, American Art and Architecture Commons, Caribbean Languages and Societies Commons, Contemporary Art Commons, Ethnic Studies Commons, Latina/o Studies Commons, Modern Art and Architecture Commons, Painting Commons, and the Social and Behavioral Sciences Commons Share feedback about the accessibility of this item. Recommended Citation Mella-Velazquez, Giovanni (2021) "Painting Outside of the Lines: How Race Assignment can be Rethought Through Art," Gettysburg Social Sciences Review: Vol. 5 : Iss. 1 , Article 10. Available at: https://cupola.gettysburg.edu/gssr/vol5/iss1/10 This open access article is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Painting Outside of the Lines: How Race Assignment can be Rethought Through Art Abstract For centuries art has been used to make us think about our own human experiences. Unfortunately, works usually reflect the era which they were painted in; this has led to various artists showing, maintaining, and therefore reinforcing racist thoughts in our cultures. Art can be used to create a new narrative for our race assignments and their meanings. The idea of loving one's roots has been prevalent in many cultures, but in art form a disconnect between history and the everyday experience can arise which could miss the mark in helping us redefine our own ace.r Therefore, artwork which empowers the present identity of marginalized people’s own race will have a greater appeal and connection to these people. -
RESEARCH DEGREES with PLYMOUTH UNIVERSITY Gold Griot
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Ross, Lucinda http://hdl.handle.net/10026.1/11135 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. RESEARCH DEGREES WITH PLYMOUTH UNIVERSITY Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art by Lucinda Ross A thesis submitted to Plymouth University In partial fulfilment for the degree of Doctor of Philosophy Humanities and Performing Arts Doctoral Training Centre May 2017 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Basquiat, Gold Griot, 1984 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Abstract Emerging from an early association with street art during the 1980s, the artist Jean-Michel Basquiat was largely regarded within the New York avant-garde, as ‘an exotic other,’ a token Black artist in the world of American modern art; a perception which forced him to examine and seek to define his sense of identity within art and within society. -
The Post-Black Aesthetic and Meanings of Blackness Through the Collage Narratives of Kara Walker and Fred Wilson
DePaul University Via Sapientiae College of Education Theses and Dissertations College of Education Spring 2012 The Post-Black Aesthetic and Meanings of Blackness through the Collage Narratives of Kara Walker and Fred Wilson William Hill Follow this and additional works at: https://via.library.depaul.edu/soe_etd Part of the Education Commons Recommended Citation Hill, William, "The Post-Black Aesthetic and Meanings of Blackness through the Collage Narratives of Kara Walker and Fred Wilson" (2012). College of Education Theses and Dissertations. 24. https://via.library.depaul.edu/soe_etd/24 This Thesis is brought to you for free and open access by the College of Education at Via Sapientiae. It has been accepted for inclusion in College of Education Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. DE PAUL UNIVERSITY The Post-Black Aesthetic and Meanings of Blackness through the Collage Narratives of Kara Walker and Fred Wilson M.A. THESIS SUBMITTED TO THE FACULTY OF THE DIVISION OF SOCIAL CULTURAL FOUNDATIONS IN EDUCATION IN CANDIDACY FOR THE MASTER OF ARTS DEGREE IN EDUCATION DEPARTMENT OF EDUCATION BY WILLIAM HILL CHICAGO, ILLINOIS APRIL 2012 TABLE OF CONTENTS Page INTRODUCTION 4 CHAPTER 1: LITERATURE REVIEW 19 CHAPTER 2.: KARA WALKER AND POSTMODERN METHODOLOGY 35 CHAPTER 3: FRED WILSON 54 CHAPTER 4: VISUAL PEDAGOGY 67 CONCLUSION 73 BIBLIOGRAPHY 76 2 LIST OF FIGURES FIGURES 1. “Darkytown Rebellion” 2001 35 36 2. “An Abbreviated Emancipation” (swan scene) 2002 43 3. “Successes”1998 44 45 4. “Allegory” 1993 45 46 5. “Endless Conundrum, An African Anonymous Adventuress” 2001 47 6. -
African American Lawyers in the Jim Crow South In
UNIVERSITY OF CALIFORNIA, SAN DIEGO Legal Subversives: African American Lawyers in the Jim Crow South A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by David Kenneth Pye Committee in charge: Professor Michael E. Parrish, Chair Professor Ross Frank Professor Michael Monteon Professor Eric Van Young Professor Daniel Widener 2010 Copyright David Kenneth Pye, 2010 All rights reserved. The Dissertation of David Kenneth Pye is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2010 iii TABLE OF CONTENTS Signature Page……………………………………………………………………………iii Table of Contents………………………………………………………………................iv Vita …………………………………..……………………………………………………v Abstract…………………………………………………………………………………...vi Chapter 1: Introduction……………………………………………………………………1 Chapter 2: Becoming an African American Lawyer…………………………………….18 Chapter 3: Before “Civil Rights” Was in Vogue………………………………………...61 Chapter 4: We People Darker Than Blue: Class and Status in Black America ………..125 Chapter 5: Things Fell Apart: The NAACP, Intra-Racial Interest Convergence and Brown v. Board of Education…………………………………………………………………..156 References………………………………………………………………………………201 iv VITA 1999 B.A. University of North Carolina at Chapel Hill 2001 M.A. University of Georgia 2010 Ph.D. University of California, San Diego PUBLICATIONS “Complex Relations: An African-American Lawyer Navigates Jim Crow Atlanta,” Georgia Historical Quarterly, Winter 2008. Review of Black, Brown, Yellow, and Left: Radical Activism in Los Angeles, by Laura Pulido, in The Journal of San Diego History, Fall 2009. Review of The Great Black Way: L.A. in the 1940s and the Lost African American Renaissance, by R.J. Smith, in The Journal of San Diego History, Summer 2008.