Jack Johnson Versus Jim Crow Author(S): DEREK H

Total Page:16

File Type:pdf, Size:1020Kb

Jack Johnson Versus Jim Crow Author(S): DEREK H Jack Johnson versus Jim Crow Author(s): DEREK H. ALDERMAN, JOSHUA INWOOD and JAMES A. TYNER Source: Southeastern Geographer , Vol. 58, No. 3 (Fall 2018), pp. 227-249 Published by: University of North Carolina Press Stable URL: https://www.jstor.org/stable/10.2307/26510077 REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/10.2307/26510077?seq=1&cid=pdf- reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of North Carolina Press is collaborating with JSTOR to digitize, preserve and extend access to Southeastern Geographer This content downloaded from 152.33.50.165 on Fri, 17 Jul 2020 18:12:03 UTC All use subject to https://about.jstor.org/terms Jack Johnson versus Jim Crow Race, Reputation, and the Politics of Black Villainy: The Fight of the Century DEREK H. ALDERMAN University of Tennessee JOSHUA INWOOD Pennsylvania State University JAMES A. TYNER Kent State University Foundational to Jim Crow era segregation and Fundacional a la segregación Jim Crow y a discrimination in the United States was a “ra- la discriminación en los EE.UU. era una “política cialized reputational politics,” that constructed reputacional racializada,” que no solo construyó African Americans as not only inferior, but as vil- a los afroamericanos como inferiores sino tam- lainous threats to the normative order, leading to bién como amenazas villanías al status quo, algo the lynching of thousands of African Americans. que contribuyó a los linchamientos de miles de While black villainy is a destructive force within afroamericanos. Mientras que la villanía es una society, we explore it is as basis for anti-racist pol- fuerza destructiva dentro de la sociedad, en el pre- itics, when appropriated by African Amer icans. sente artículo lo exploramos como posible fuente There is a long history in African American folk- de una política anti-racista, cuando se apropia lore of celebrating the black outlaw who freely por los afroamericanos. Hay una larga historia moves about and boldly violates moral and legal en el folklórico afroamericano de celebrar el pro- norms. Early 20th century American boxer Jack scrito afroamericano quien se mueve libremente Johnson, who reigned as world heavy champion y quien rompe las normas morales y legales. El from 1908 to 1915, illustrates this complex and boxeador americano Jack Johnson del sigo XX, contested process of vilifying black bodies and quien dominó como campeón mundial del boxeo reputations during the Jim Crow era. Our paper pesado del 1908 al 1915, ilustra este contestado offers a critical, contextualized biographical y complejo proceso de vilificar el cuerpo negro y analysis of Johnson, situating his struggles within las reputaciones de la era del Jim Crow. Nuestro the wider historical geography of violent US race artículo ofrece un análisis biográfica crítica con- relations and paying close attention to the contro- textualizada de Johnson, situando su desempeño versial place he held within the white and black dentro de la geografía histórica de las relaciones public imaginaries. Importantly, the African raciales violentas de los EE.UU. y prestando at- American fighter appropriated and manipulated ención al lugar controversial que tuvo dentro del Jim Crow villainy to challenge a white racist soci- imaginario público de los blancos y los negros. ety and a conservative black establishment while El luchador afroamericano apropió y manipuló also claiming the right to live on his own terms. la villanía de la era Jim Crow para desafiar una southeastern geographer, 58(3) 2018: pp. 227–249 This content downloaded from 152.33.50.165 on Fri, 17 Jul 2020 18:12:03 UTC All use subject to https://about.jstor.org/terms 228 alderman et al. sociedad racista blanca y un establecimiento con- being written about Jeffries, Johnson and servador negro mientras reclamaba el derecho de the ways this fight was a proxy for larger vivir de sus propios términos. questions about race and white supremacy in the United States (Johnson 1927). keywords: Boxing, critical race theory, The Johnson versus Jeffries bout, billed Jack Johnson, reputational politics, sports at the time and still remembered today by geography many boxing aficionados as “the Fight of palabras claves: Boxeo, teoría crítica de the Century,” was broadcast by the new la raza, Jack Johnson, política reputacional, “wire services” throughout the United geografía deportiva States in what was perhaps the first nation- ally broadcast sporting event in Amer ica. Given the buildup and the racialized poli- introduction tics that surrounded the fight, the air was In searing desert heat on 4 July 1910 in electric, as Johnson appeared to toy with Reno, Nevada, Jack Johnson retained his Jeffries, ultimately knocking him out of the title as world heavyweight boxing cham- fight in the 14th round Johnson ( 1927). pion. The first African American to ever win Johnson’s victory touched off a spate the heavyweight championship, Johnson of riots throughout the United States as pummeled and humiliated Jim Jeffries, whites, angered at the outcome, took out touted at the time as “the Great White their frustrations on African Americans Hope”, who had come out of retirement in communities large and small (Hie tala specifically for the purpose of winning the 2002). At the same time, segments of title back from Johnson ( Hietala 2002). the black community were emboldened Ever since Johnson had won the world by the fact that an African American held heavyweight title from Tommy Burns in the world boxing championship and the Sydney, Australia, in 1908 white people defiant ayw in which Johnson visibly trans- the world over had searched for a white gressed and arrogantly mocked the conven- fighter who could best Jack Johnson in the tions of white supremacist America. In the ring (Kent 2005). The search for “the Great words of noted historian John Blassing ame White Hope” had landed at the feet of Jim (1975, p. 5): “Privately and publicly many Jeffries, a former heavyweight champion blacks applauded Johnson’s exploits be- and farmer from California, who many at cause he defied all of the degrading cus- the time considered the greatest fighter in toms of America. He was rich when most the history of boxing. Initially reluctant to blacks were poor; free to do as he chose enter the ring, it was only after the famous when most blacks were circumscribed; author Jack London, and other commenta- and braggadocious [sic] when many blacks tors had begged Jef fries out of retirement were forced to bear their oppression in si- that he decided to fight Johnson for the lence” for fear of violent reprisals. title (Kent 2005). The buildup to the fight To understand the significance of the was immense with hundreds of reporters fight it is important to note that the box- from around the world in 110° F temper- ing ring of the late 19th and early 20th atures covering the weeklong festivities centuries was, in many respects, a micro- leading up to the fight and scores of stories cosm of US society. Championship fights This content downloaded from 152.33.50.165 on Fri, 17 Jul 2020 18:12:03 UTC All use subject to https://about.jstor.org/terms Jack Johnson versus Jim Crow 229 were, for the most part, all-white affairs Johnson’s lopsided victory over Jeffries and the segregated boxing ring mirrored shattered the myths of black deference America’s preoccupation with keeping and inferiority. Johnson tortured his African Americans “in their place” and on opponents—especially Jeffries and Burns— the outside of the US racial hierarchy. Jack publically marking and mocking them, and Johnson, for many whites, was the embod- finally vanquishing them. Johnson would i ment of the new-found threats that perme- rule the heavyweight division for seven ated the US in the years after the end of the years, until 1915, when he lost the title to Civil War. As African Americans struggled Jess Willard—another fighter billed as a to establish themselves after the end of “the Great White Hope”—by way of slavery and as whites increasingly under- knockout in round 25 of a 45 round bout. mined the civil rights gains of black peo- Bederman (1995, p. 42) contends that by ple, the nation was entering the Jim Crow annihilating Jeffries and so many others be- era of extended racial crisis. The intensely fore Willard, Johnson implicitly challenged racist American society within which Jack the ways hegemonic discourses of civiliza- Johnson fought his opponents—which tion built powerful notions of manhood out included “Great White Hopes” such as of race. Johnson’s victory symbolized the Jeffries as well as the wider hostile white potential of black Americans to resist racial community outside the ring—was not oppression and, perhaps, to inspire some to incidental to a single boxing match but fight for racial justice (Mumford 1997, p. 6). foundational to how the sport of boxing Within the fight’s white supremacist and Johnson’s career and reputation came environment there was a clear racial di- to be understood and represented within vision of the boxers in terms of heroism America. and villainy. Jeffries was portrayed by the Thus the national spectacle of the white establishment as courageous, disci- Johnson versus Jeffries fight was not just plined, civilized and solid, while Johnson a sporting event, but it also served to test was “yellow,” savage, a braggart and a white attitudes and superiority on a grand drinker.
Recommended publications
  • President's Message
    President’s Message his is perhaps the most exciting academic year ever on Hofstra’s campus, as we prepare to host the third and final presidential debate of the 2008 Telection season on October 15, and again present Educate ’08, our unprecedented series of lectures, conferences, exhibitions and events focused on the presidency, history, politics and social issues. For the fall Educate ’08 series, we host nationally known figures such as Robert Rubin and Paul O’Neill, George Stephanopoulos, Dee Dee Myers and Ari Fleischer, Mario Cuomo and the Council on Foreign Relations’ Richard Haass, and many other scholars, journalists and policymakers. The Center for Civic Engagement presents its sixth Day of Dialogue, with nearly 50 sessions on critical issues of the day for Democracy in Performance, a live performance featuring actors portraying historic figures. Many of our academic departments and centers, such as the Peter S. Kalikow Center for the Study of the American Presidency, the National Center for Suburban Studies, and Hofstra Entertainment, will also present events with a presidential theme. The Hofstra Cultural Center’s popular Joseph G. Astman International Concert Series features All American Music, while the Hofstra Cultural Center joins the Hofstra University Museum in presenting a reunion of the directors of Hofstra’s series of renowned presidential conferences for On the Record: A Hofstra Presidential Conference Retrospective. In addition to our exciting political series, the Hofstra Cultural Center and the academic departments continue to present a variety of lectures, concerts, dramatic performances and events that will engage and delight the entire Hofstra and surrounding communities.
    [Show full text]
  • Heavyweight Champion Jack Johnson: His Omaha Image, a Public Reaction Study
    Nebraska History posts materials online for your personal use. Please remember that the contents of Nebraska History are copyrighted by the Nebraska State Historical Society (except for materials credited to other institutions). The NSHS retains its copyrights even to materials it posts on the web. For permission to re-use materials or for photo ordering information, please see: http://www.nebraskahistory.org/magazine/permission.htm Nebraska State Historical Society members receive four issues of Nebraska History and four issues of Nebraska History News annually. For membership information, see: http://nebraskahistory.org/admin/members/index.htm Article Title: Heavyweight Champion Jack Johnson: His Omaha Image, A Public Reaction Study Full Citation: Randy Roberts, “Heavyweight Champion Jack Johnson: His Omaha Image, A Public Reaction Study,” Nebraska History 57 (1976): 226-241 URL of article: http://www.nebraskahistory.org/publish/publicat/history/full-text/NH1976 Jack_Johnson.pdf Date: 11/17/2010 Article Summary: Jack Johnson, the first black heavyweight boxing champion, played an important role in 20th century America, both as a sports figure and as a pawn in race relations. This article seeks to “correct” his popular image by presenting Omaha’s public response to his public and private life as reflected in the press. Cataloging Information: Names: Eldridge Cleaver, Muhammad Ali, Joe Louise, Adolph Hitler, Franklin D Roosevelt, Budd Schulberg, Jack Johnson, Stanley Ketchel, George Little, James Jeffries, Tex Rickard, John Lardner, William
    [Show full text]
  • Abstract Rereading Female Bodies in Little Snow-White
    ABSTRACT REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISIBILITY By Dianne Graf In this thesis, the circumstances and events that motivate the Queen to murder Snow-White are reexamined. Instead of confirming the Queen as wicked, she becomes the protagonist. The Queen’s actions reveal her intent to protect her physical autonomy in a patriarchal controlled society, as well as attempting to prevent patriarchy from using Snow-White as their reproductive property. REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISffiILITY by Dianne Graf A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Master of Arts-English at The University of Wisconsin Oshkosh Oshkosh WI 54901-8621 December 2008 INTERIM PROVOST AND VICE CHANCELLOR t:::;:;:::.'-H.~"""-"k.. Ad visor t 1.. - )' - i Date Approved Date Approved CCLs~ Member FORMAT APPROVAL 1~-05~ Date Approved ~~ I • ~&1L Member Date Approved _ ......1 .1::>.2,-·_5,",--' ...L.O.LJ?~__ Date Approved To Amanda Dianne Graf, my daughter. ii ACKNOWLEDGEMENTS Thank you Dr. Loren PQ Baybrook, Dr. Karl Boehler, Dr. Christine Roth, Dr. Alan Lareau, and Amelia Winslow Crane for your interest and support in my quest to explore and challenge the fairy tale world. iii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 1 CHAPTER I – BRIEF OVERVIEW OF THE LITERARY FAIRY TALE AND THE TRADITIONAL ANALYSIS OF THE FEMALE CHARACTERS………………..………………………. 3 CHAPTER II – THE QUEEN STEP/MOTHER………………………………….. 19 CHAPTER III – THE OLD PEDDLER WOMAN…………..…………………… 34 CHAPTER IV – SNOW-WHITE…………………………………………….…… 41 CHAPTER V – THE QUEEN’S LAST DANCE…………………………....….... 60 CHAPTER VI – CONCLUSION……………………………………………..…… 67 WORKS CONSULTED………..…………………………….………………..…… 70 iv 1 INTRODUCTION In this thesis, the design, framing, and behaviors of female bodies in Little Snow- White, as recorded by Wilhelm and Jacob Grimm will be analyzed.
    [Show full text]
  • Into the Woods Character Descriptions
    Into The Woods Character Descriptions Narrator/Mysterious Man: This role has been cast. Cinderella: Female, age 20 to 30. Vocal range top: G5. Vocal range bottom: G3. A young, earnest maiden who is constantly mistreated by her stepmother and stepsisters. Jack: Male, age 20 to 30. Vocal range top: G4. Vocal range bottom: B2. The feckless giant killer who is ‘almost a man.’ He is adventurous, naive, energetic, and bright-eyed. Jack’s Mother: Female, age 50 to 65. Vocal range top: Gb5. Vocal range bottom: Bb3. Browbeating and weary, Jack’s protective mother who is independent, bold, and strong-willed. The Baker: Male, age 35 to 45. Vocal range top: G4. Vocal range bottom: Ab2. A harried and insecure baker who is simple and loving, yet protective of his family. He wants his wife to be happy and is willing to do anything to ensure her happiness but refuses to let others fight his battles. The Baker’s Wife: Female, age: 35 to 45. Vocal range top: G5. Vocal range bottom: F3. Determined and bright woman who wishes to be a mother. She leads a simple yet satisfying life and is very low-maintenance yet proactive in her endeavors. Cinderella’s Stepmother: Female, age 40 to 50. Vocal range top: F#5. Vocal range bottom: A3. The mean-spirited, demanding stepmother of Cinderella. Florinda And Lucinda: Female, 25 to 35. Vocal range top: Ab5. Vocal range bottom: C4. Cinderella’s stepsisters who are black of heart. They follow in their mother’s footsteps of abusing Cinderella. Little Red Riding Hood: Female, age 18 to 20.
    [Show full text]
  • Jack Kerouac's Poetics: Repetition, Language, and Narration in Letters from 1947 to 1956
    Department of English Jack Kerouac’s Poetics: Repetition, Language, and Narration in Letters from 1947 to 1956 Nicholas Charles Baldwin Master’s Thesis Transnational Creative Writing Spring, 2019 Supervisor: Adnan Mahmutovic Baldwin 2 Abstract Despite the fame the prolific impressionistic, confessional poet, novelist, literary iconoclast, and pioneer of the Beat Generation, Jack Kerouac, has acquired since the late 1950’s, his written letters are not recognized as works of literature. The aim of this thesis is to examine the different ways in which Kerouac develops and employs the poetics he is most known for in the letters he wrote to friends, family, and publishers before becoming a well-known literary figure. In my analysis of Kerouac’s poetics, I analyze 20 letters from Selected Letters, 1940-1956. These letters were written before the publication of his best-known literary work, On The Road. The thesis attempts to highlight the characteristics of Kerouac’s literary control in his letters and to demonstrate how the examination of these poetics: repetition, language, and narration merits the letters’ treatment as works of artistic literature. Likewise, through the scrutiny of my first novella, “Trails” it then illustrates how the in-depth analysis of Kerouac’s letters improved my personal poetics, which resemble the poetics featured in the letters. Keywords: Poetics; Letter Writing; Impressionism; Confessional; Repetition; Language; Vertical and Circular-Narration; Jack Kerouac; 1947-1956 Baldwin 3 For My Parents From the late 1940’s until the middle 1950’s Jack Kerouac (1922-1969), relatively unknown to the public as an author, was writing novels, poems, and letters extensively.
    [Show full text]
  • Harry Wills and the Image of the Black Boxer from Jack Johnson to Joe Louis
    Harry Wills and the Image of the Black Boxer from Jack Johnson to Joe Louis B r i a n D . B u n k 1- Department o f History University o f Massachusetts, Amherst The African-American press created images o f Harry Will: that were intended to restore the image o f the black boxer afterfack fohnson and to use these positive representations as effective tools in the fight against inequality. Newspapers high­ lighted Wills’s moral character in contrast to Johnsons questionable reputation. Articles, editorials, and cartoons presented Wills as a representative o f all Ameri­ cans regardless o f race and appealed to notions o f sportsmanship based on equal opportunity in support o f the fighter's efforts to gain a chance at the title. The representations also characterized Wills as a race man whose struggle against boxings color line was connected to the larger challengesfacing all African Ameri­ cans. The linking o f a sportsfigure to the broader cause o f civil rights would only intensify during the 1930s as figures such as Joe Louis became even more effec­ tive weapons in the fight against Jim Crow segregation. T h e author is grateful to Jennifer Fronc, John Higginson, and Christopher Rivers for their thoughtful comments on various drafts of this essay. He also wishes to thank Steven A. Riess, Lew Erenberg, and Jerry Gems who contribu:ed to a North American Society for Sport History (NASSH) conference panel where much of this material was first presented. Correspondence to [email protected]. I n W HAT WAS PROBABLY T H E M O ST IMPORTANT mixed race heavyweight bout since Jim Jeffries met Jack Johnson, Luis Firpo and Harry Wills fought on September 11, 1924, at Boyle s Thirty Acres in Jersey City, New Jersey.
    [Show full text]
  • Sunshine State
    SUNSHINE STATE A FILM BY JOHN SAYLES A Sony Pictures Classics Release 141 Minutes. Rated PG-13 by the MPAA East Coast East Coast West Coast Distributor Falco Ink. Bazan Entertainment Block-Korenbrot Sony Pictures Classics Shannon Treusch Evelyn Santana Melody Korenbrot Carmelo Pirrone Erin Bruce Jackie Bazan Ziggy Kozlowski Marissa Manne 850 Seventh Avenue 110 Thorn Street 8271 Melrose Avenue 550 Madison Avenue Suite 1005 Suite 200 8 th Floor New York, NY 10019 Jersey City, NJ 07307 Los Angeles, CA 9004 New York, NY 10022 Tel: 212-445-7100 Tel: 201 656 0529 Tel: 323-655-0593 Tel: 212-833-8833 Fax: 212-445-0623 Fax: 201 653 3197 Fax: 323-655-7302 Fax: 212-833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com CAST MARLY TEMPLE................................................................EDIE FALCO DELIA TEMPLE...................................................................JANE ALEXANDER FURMAN TEMPLE.............................................................RALPH WAITE DESIREE PERRY..................................................................ANGELA BASSETT REGGIE PERRY...................................................................JAMES MCDANIEL EUNICE STOKES.................................................................MARY ALICE DR. LLOYD...........................................................................BILL COBBS EARL PICKNEY...................................................................GORDON CLAPP FRANCINE PICKNEY.........................................................MARY
    [Show full text]
  • Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films.
    [Show full text]
  • Royalty Notice
    Royalty Notice A royalty fee must be paid to Contemporary Drama Service, PO Box 7710, Colorado Springs, CO 80933-7710 in advance of any performance of this play. The applicable royalty fee for this play is listed in our catalog or may be determined by calling our customer service department at 719-594-4422. The royalty must be paid whether the play is presented for charity or profit and whether or not admission is charged. A play is considered performed each time it is acted before an audience, except for rehearsals when only cast and production crew are present. When this play is performed, each cast member must have their own script copy purchased from us. It is a violation of copyright law to copy or reproduce any part of this play in any manner. The right of performance is not transferable, and performance without advance permission constitutes copyright infringement punishable by law. All other rights, including professional or equity performance, TV, radio, film, videotape and recording, are reserved. Fees for these rights will be quoted on request. On any programs, playbills or advertising for productions of this play the following information must appear: 1. The full name of the play and the playwright. 2. This notice: “Produced by special arrangement with Contemporary Drama Service, Colorado Springs, Colorado.” Copyright © MMXI Meriwether Publishing Ltd. Printed in the United States of America All Rights Reserved WHOS AFRAID OF THE BIG BAD PRINCE Who’s Afraid of the Big Bad Prince A two-act fairy tale parody/mystery by Craig Sodaro Meriwether Publishing Ltd.
    [Show full text]
  • Gender and Fairy Tales
    Issue 2013 44 Gender and Fairy Tales Edited by Prof. Dr. Beate Neumeier ISSN 1613-1878 About Editor Prof. Dr. Beate Neumeier Gender forum is an online, peer reviewed academic University of Cologne journal dedicated to the discussion of gender issues. As English Department an electronic journal, gender forum offers a free-of- Albertus-Magnus-Platz charge platform for the discussion of gender-related D-50923 Köln/Cologne topics in the fields of literary and cultural production, Germany media and the arts as well as politics, the natural sciences, medicine, the law, religion and philosophy. Tel +49-(0)221-470 2284 Inaugurated by Prof. Dr. Beate Neumeier in 2002, the Fax +49-(0)221-470 6725 quarterly issues of the journal have focused on a email: [email protected] multitude of questions from different theoretical perspectives of feminist criticism, queer theory, and masculinity studies. gender forum also includes reviews Editorial Office and occasionally interviews, fictional pieces and poetry Laura-Marie Schnitzler, MA with a gender studies angle. Sarah Youssef, MA Christian Zeitz (General Assistant, Reviews) Opinions expressed in articles published in gender forum are those of individual authors and not necessarily Tel.: +49-(0)221-470 3030/3035 endorsed by the editors of gender forum. email: [email protected] Submissions Editorial Board Target articles should conform to current MLA Style (8th Prof. Dr. Mita Banerjee, edition) and should be between 5,000 and 8,000 words in Johannes Gutenberg University Mainz (Germany) length. Please make sure to number your paragraphs Prof. Dr. Nilufer E. Bharucha, and include a bio-blurb and an abstract of roughly 300 University of Mumbai (India) words.
    [Show full text]
  • Indian Child Welfare Act: Keeping Our Children Connected to Our Community
    FL OJJDP Hearing_Cover.ai 1 4/9/2014 5:08:34 PM AttorneyAttorney General’s Advisory Committee on American Indian/Alask a Nativeative Children Exposed to Violence Briefing Materials Hearing #3: April 16-17, 20142014 - Ft. Lauderdale, Florida Theme: American Indian Children Exposed to Violence in the Community Hyatt Regency Pier Sixty-Six Panorama Ballroom The Tribal Law and Policy Institute www.tlpi.org is providing technical assistance support for the Attorney General’s Task Force on American Indian and Alaska Native Children Exposed to Violence including: (1) assisting the Task Force to conduct public hearings and listening sessions, (2) providing primary technical writing services for the final report, and (3) providing all necessary support for the Task Force and the public hearings. Table of Contents Agenda ............................................................................................................................................. 1 Day 1: Wednesday, April 16, 2014 ............................................................................................................ 1 Day 2: Thursday, April 17, 2014 ................................................................................................................ 7 Panel #1: Tribal Leader's Panel: Overview of Violence in Tribal Communities……………………………………..11 Potential Questions for Panelists ............................................................................................................ 15 Written Testimony for Brian Cladoosby ................................................................................................
    [Show full text]
  • James Earl Jones
    James Earl Jones One of the most distinguished living African-American actors, James Earl Jones is as well known for his rich, rumbling baritone as his imposing physical presence. He was born on January 17, 1931, in Arkabutla, Mississippi. His father, Robert Earl Jones, was a prizefighter who turned to acting. His mother, Ruth, was a maid and former schoolteacher. Robert Jones left his family not long after Jones's birth, and the child was adopted and raised on a Michigan farm by his maternal grandparents. Jones developed a strong stutter as a youth and, out of embarrassment, rarely talked until he was 15. A high school English teacher took an interest in him when he learned that Jones wrote poetry. He helped him overcome his stutter and win a scholarship to the University of Michigan, where he went in 1949. Jones started as a premed student and then switched to drama. He graduated magna cum laude in 1953 and served a stint in the army. After his service time, Jones moved to New York City to pursue an acting career and for a time was reunited with his father, another struggling actor. Together they waxed floors for money to live on while auditioning for plays. Jones began getting small parts in Off-Broadway shows but did not land his first role on Broadway until 1957. His career got a big boost when he was invited to join the New York Shakespeare Festival, which performed Shakespeare's plays each summer in Central Park. Jones was impressive in such leading Shakespearean roles as Othello, King Lear, and Oberon, the king of the fairies in A Midsummer Night's Dream.
    [Show full text]