Suchergebnisse

This study examined the association of alcohol use with the persistence and desistance of serious violent offending among African American and Caucasian young men from adolescence into emerging adulthood. Five violence groups were defined: nonviolent, late‐onsetters, desisters, persisters, and one‐time offenders. We examined alcohol use trajectories for these groups spanning 12 through 24/25 years of age using a four‐piecewise linear growth model s 12–14, 14–18, 18–21, and 21–24/25 years of age. The persisters and desisters reported the highest levels of drinking at 13 years of age. From 14 to 18 years old, however, the late‐onsetters showed a higher rate of increase in drinking, compared with the persisters and desisters. Starting at 18 years of age, the desisters' drinking trajectory started to resemble that of the nonviolent group, who showed the highest rate of increase in drinking during emerging adulthood. By 24/25 years of age, the persisters could not be distinguished from the late‐onsetters, but they were lower than the nonviolent and one‐timer groups in terms of their drinking. At 24/25 years old, the desisters were not significantly different from the other violence groups, although they seemed most similar to the nonviolent and one‐timer groups. We found no evidence that the association between drinking and violence differed for African Americans and Caucasians. The findings suggest that yearly changes in alcohol use could provide important clues for preventing violent offending.

Through the lens of structural violence, Black feminism and critical family history, this paper explores how societal structures informed by white supremacy shaped the lives of three generations of rural African American women in a family in Florida during the middle to the late twentieth century. Specifically, this study investigates how disparate funding, segregation, desegregation, poverty and post-desegregation policies shaped and limited the achievement trajectories among these women. Further, an oral historical examination of their lives reveals the strategies they employed despite their under-resourced and sometimes alienating schooling. The paper highlights the experiences of the Newman family, descendants of captive Africans in the United States that produced three college-educated daughters and a granddaughter despite structural barriers that threatened their progress. Using oral history interviews, archival resources and first-person accounts, this family's story reveals a genealogy of educational achievement, barriers and agency despite racial and gendered limitations in a Southern town. The findings imply that their schooling mirrors many of the barriers that other Blacks face. However, this study shows that community investment in African American children, plus teachers that affirm students, and programs such as Upward Bound, help to advance Black students in marginalized communities. Further, these women's lives suggest that school curriculums need to be anti-racist and public policies that affirm each person regardless of the color of their skin. A simple solution that requires the structural violence of whiteness be eliminated from the schooling spheres.

The aim of the paper is to explore political messages of African Americans' emancipation from white oppression in blues and hip hop songs. Using discourse analysis and Mill's method of induction combined with the most similar system design two hypotheses are formed. 1) songs in blues era (1910-1950) have an implicit and hidden discourse of emancipation, while songs from hip hop era (1979-1996) have explicit and direct discourse of emancipation and 2) variable responsible for such variation is political context, or in other words, existence of racist Jim Crow that denied African Americans their constitutional rights and which were subsequently eliminated via Civil Rights movement. Results, apart from strengthening the notion that music and politics can be intertwined, confirm two presupposed hypotheses but also signal further research directions of the topic, such as investigating emancipation in jazz or contemporary hip hop, and analyzing impact musicians can have on political attitudes or policy decisions. ; Cilj rada jest istražiti političke poruke sa sadržajem emancipacije Afroamerikanaca od opresije bijelaca u bluesu i hip hopu. Koristeći diskurzivnu analizu i Millovu induktivnu metodu u kombinaciji sa dizajnom najsličnijih sustava oformljene su dvije hipoteze. 1) pjesme u blues eri (1910-1950) imaju implicitan diskurs emancipacije, dok pjesme iz hip hop ere (1979-1996) posjeduju eksplicitan diskurs emancipacije i 2) varijabla koja je odgovorna za tu varijaciju jest politički kontekst, odnosno postojanje rasističkih Jim Crow zakona temeljem kojih su Afroamerikancima uskraćena njihova ustavna prava te koji su postupno uništeni naporima Pokreta za građanska prava. Rezultati, osim što osnažuju ideju da glazba i politika mogu biti međusobno povezane, potvrđuju dvije pretpostavljene hipoteze te predlažu daljnje istraživačke smjerove u kojima tema može ići, poput istraživanja emancipacije u jazzu ili suvremenom hip hopu i analiziranja učinaka koji glazbenici mogu imati na političke stavove ili policy odluke.

The aim of the paper is to explore political messages of African Americans' emancipation from white oppression in blues and hip hop songs. Using discourse analysis and Mill's method of induction combined with the most similar system design two hypotheses are formed. 1) songs in blues era (1910-1950) have an implicit and hidden discourse of emancipation, while songs from hip hop era (1979-1996) have explicit and direct discourse of emancipation and 2) variable responsible for such variation is political context, or in other words, existence of racist Jim Crow that denied African Americans their constitutional rights and which were subsequently eliminated via Civil Rights movement. Results, apart from strengthening the notion that music and politics can be intertwined, confirm two presupposed hypotheses but also signal further research directions of the topic, such as investigating emancipation in jazz or contemporary hip hop, and analyzing impact musicians can have on political attitudes or policy decisions. ; Cilj rada jest istražiti političke poruke sa sadržajem emancipacije Afroamerikanaca od opresije bijelaca u bluesu i hip hopu. Koristeći diskurzivnu analizu i Millovu induktivnu metodu u kombinaciji sa dizajnom najsličnijih sustava oformljene su dvije hipoteze. 1) pjesme u blues eri (1910-1950) imaju implicitan diskurs emancipacije, dok pjesme iz hip hop ere (1979-1996) posjeduju eksplicitan diskurs emancipacije i 2) varijabla koja je odgovorna za tu varijaciju jest politički kontekst, odnosno postojanje rasističkih Jim Crow zakona temeljem kojih su Afroamerikancima uskraćena njihova ustavna prava te koji su postupno uništeni naporima Pokreta za građanska prava. Rezultati, osim što osnažuju ideju da glazba i politika mogu biti međusobno povezane, potvrđuju dvije pretpostavljene hipoteze te predlažu daljnje istraživačke smjerove u kojima tema može ići, poput istraživanja emancipacije u jazzu ili suvremenom hip hopu i analiziranja učinaka koji glazbenici mogu imati na političke stavove ili policy odluke.

The study depicts the procedure of writing a constructivist dissertation by reporting side by side the story of HIV-infected African American women's reproductive health decision-making. The context of these women served as the framework from which the dissertation was written. The article describes how these women and their stakeholders experience HIV/AIDS and how they make their reproductive health decisions. These women's perceptions and psychosocial factors are examined to understand what they view as important to them as women and as mothers. The article addresses how to teach doctoral students to complete doctoral research using the constructivist paradigm for research. Implications for social work education and practice are discussed.

Artists: Radcliffe Bailey, Mel Chin, Marie Cochran, Ellen Driscoll, Alfredo Jaar, Jin Soo Kim, Joe Lewis, Glenn Ligon, May Sun, Francesc Torres, Carrie May Weems; Sharon Farmer, Winston Kennedy, Michael Platt, Dennis Mario Rivera. ; Brochure to accompany an exhibition organized by the High Museum of Art and National Black Arts Festival, and originally presented at the High Museum of Art in 1994; supplemented in Washington by works by local artists. ; Mode of access: Internet. ; 4

Throughout the history and development of literature, many people have been writing about human rights in various shapes and forms. Probably the most researched and discussed are African-American and women rights, especially in the U.S. The main point of this thesis is to portray the hardships of African-American women by presenting their sides of the stories. That will be done by comparing four different pieces of literature/art: a speech ˝Ain´t I A Woman?˝, a poem ˝Still I Rise˝, a novel The Help, and a movie Hidden Figures. The authors of these works are very political in their trying to present their characters as subordinated in two ways: as being women and as being members of African-American community. The aim is to showcase the inequality that African-American women had to face each day due to both their race and gender throughout the past century in American society, starting from Sojourner Truth´s speech and ending with the very recent product of 21st century cinematography.

Throughout the history and development of literature, many people have been writing about human rights in various shapes and forms. Probably the most researched and discussed are African-American and women rights, especially in the U.S. The main point of this thesis is to portray the hardships of African-American women by presenting their sides of the stories. That will be done by comparing four different pieces of literature/art: a speech ˝Ain´t I A Woman?˝, a poem ˝Still I Rise˝, a novel The Help, and a movie Hidden Figures. The authors of these works are very political in their trying to present their characters as subordinated in two ways: as being women and as being members of African-American community. The aim is to showcase the inequality that African-American women had to face each day due to both their race and gender throughout the past century in American society, starting from Sojourner Truth´s speech and ending with the very recent product of 21st century cinematography.

Been -- I. Boy man : -- Train -- Nan -- Wet -- Be -- II. Black abundance : -- Meager -- Contraction -- Hulk -- Gumption -- III. Home worked : -- Fantastic -- Disaster -- Already -- Soon -- IV. Addict Americans : -- Greens -- Terrors -- Seat belts -- Promises -- Bend.