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"From reparations to the prison industrial complex and redlining, there are a lot of high-level concepts to systemic racism that are hard to digest. At a time where everyone is inundated with information on structural racism, it can be hard to know where to start or how to visualize the disenfranchisement of BIPOC Americans. In Systemic Racism 101, you will find infographic spreads alongside explanatory text to help you visualize and truly understand societal, economic, and structural racism-along with what we can do to change it. Starting from the discovery of America in 1492, through the Civil Rights movement, all the way to the criminal justice reform today, this book has everything you need to know about the continued fight for equality"--

Cover -- Title Page -- Dedication -- Contents -- Introduction by Edwidge Danticat -- Foreword by Jacqueline Woodson -- Preface by the Author -- CHAPTER I HERITAGE -- THE AFRICAN MASTERS, 1900s-1970s -- CHAPTER II WITH A CERTAIN EYE -- THE COLONIAL STUDIO, 1870-1957 -- CHAPTER III DRESSING AND UNDRESSING, 1900-1940 -- CHAPTER IV CLOTHES FOR A NEW NATION -- INDEPENDENCE AND POST-INDEPENDENCE, 1957-1970s -- Postnote -- Acknowledgments -- Bibliography -- Additional Image Credits -- Permissions -- Index -- eCopyright.

This Is What Democracy Looked Like, the first illustrated history of printed ballot design, illuminates the noble but often flawed process at the heart of our democracy. An exploration and celebration of US ballots from the nineteenth and early twentieth centuries, this visual history reveals unregulated, outlandish, and, at times, absurd designs that reflect the explosive growth and changing face of the voting public. The ballots offer insight into a pivotal time in American history-a period of tectonic shifts in the electoral system-fraught with electoral fraud, disenfranchisement, scams, and skullduggery, as parties printed their own tickets and voters risked their lives going to the polls

This dissertation is a study of Mexican devotional images and their importance in the society that produced them. I trace the changes and continuities in the ways that Mexicans experienced the sacred over a long arc of history, with a focus on the nineteenth century, a time when Mexico transitioned from a colonial society into a modern republic. The study encompasses devotional practices such as pilgrimages and processions, but focuses especially on the material culture of popular piety. Specifically, it examines two art forms--ex-votos and children's funerary portraits--to show how devotional practice shaped relationships to the institutional church both before and after independence, as well as to the emergent liberal state in the nineteenth century. I use these images to explore the worldviews of people who left little in the way of written records, but whose visual output was both prolific and expressive of their perceptions about the relationship between humans and the divine.Through the study of the material culture of devotion, I demonstrate not only the continued centrality of Catholic holy beings to Mexican mentalities after independence, but also explore a changing world, one that we can loosely characterize as "modernizing." "Modernizing" was evident in several spheres: in the urban landscape, in transportation, in politics, the economy, in technology, and in the institutional church. In this context it is easy to imagine that forms of religious expression might also change, but traditional religiosity--with its processions, pilgrimages, and other saint-oriented devotional practices--not only survived but flourished in the nineteenth century. This particularly Catholic accommodation with modernity is most visible in an increase in ex-votos left at shrines, but also in the augmented negotiations over the proper role of religion in public life. I explore the reasons for these phenomena and conclude that despite the apparent paradox of continuing and increased "traditional" religious practices in a secularizing world, affirmations of traditional Catholicism were in fact a way of assimilating the modern world for both the institutional church and for laypeople. Finally, I address the complex negotiations between the church and the state as political institutions from the colonial period to the mid-twentieth century, and the ways that their ideologies and actions both shaped and were shaped by popular culture. Using Mikhail Bakhtin's model of circularity for describing the interactions between elite and popular cultures, I look beyond simple dichotomies and suggest how the transmission of culture and ideas is multidirectional and multidimensional. I use visual cultural production--especially ex-voto paintings--as a barometer of religious mentalities, and, by extension, as a measure of the intersections between religion and politics in a period of important historical changes.

Using visual sociology to study institutional racism at Virginia universities -- Jim Crow racism on campus : post-Civil War Reconstruction to World War II (1890-1942) -- Academic culture and race perspectives at Howard University before World War II (1914-1941) -- Resistance to racial integration at Virginia colleges after World War II (1945-2000) -- Social movement activism at Howard University and Virginia colleges -- Conclusion and future questions : the case for reparations.

Cover -- Dedication -- Copyright Information -- Title Page -- Contents -- Introduction A Rich Pageant of Protest and Resistance -- Chapter 1 From Pueblo Revolt to Underground Railroad -- Early American Resistance, 1492-1865 -- Chapter 2 Chucking Tea for Liberty -- Boston Tea Party, 1773 -- Chapter 3 An Early Stand for Black Civil Rights -- New Orleans Massacre, 1866 -- Chapter 4 The Days the Trains Stood Still -- The Great Railroad Strike, 1877 -- Chapter 5 A Grand Parade for Women's Voting Rights -- The Woman Suffrage Procession, 1913 -- Chapter 6 A Rally to Inspire Fear -- The Ku Klux Klan, 1925 -- Chapter 7 Marching for Change during the Great Depression -- The Hunger Marches and the Bonus March, 1932 -- Chapter 8 A Street Fight against Political Corruption -- The Battle of Athens, 1946 -- Chapter 9 Rosa Parks Refuses to Give Up Her Seat -- The Montgomery Bus Boycott, 1955 -- Chapter 10 Youth on the Front Lines -- The Birmingham Children's Crusade, 1963 -- Chapter 11 They Had a Dream -- March on Washington for Jobs and Freedom, 1963 -- Chapter 12 "¡Huelga!" -- Delano Grape Strike and Boycott (1965-1970) -- Chapter 13 Burning Draft Cards, Levitating the Pentagon -- Early Vietnam Invasion Protests, 1964-1967 -- Chapter 14 Season of the Flower Children -- The Summer of Love, 1967 -- Chapter 15 "No More Miss America" -- The Miss America Protest, 1968 -- Chapter 16 Fists Raised for Black Power -- Free Huey Rallies, 1968-1970 -- Chapter 17 Chaos in Chicago -- Democratic National Convention Protests, 1968 -- Chapter 18 Rioting for Gay Liberation -- The Stonewall Riots, 1969 -- Chapter 19 Taking the Rock -- The Occupation of Alcatraz, 1969 -- Chapter 20 A Revolt Behind Bars -- The Attica Prison Uprising, 1971 -- Chapter 21 An Occupation Full of Echoes -- Wounded Knee Incident, 1973 -- Chapter 22 Save the Humans -- Nuclear Freeze Rally, 1982.

Abstract
This picture-type analysis of front covers of the German magazine Der Spiegel starts from the premise that the magazine's front covers convey history narratives that might play an important role in history education. Pupils can learn from them which history narratives dominate public discourse or cultural memory. The article provides a quantitative overview of the frequency with which Der Spiegel visually or verbally frames current political events in a historical context. Knowledge of this framing process can be used to teach how the media use history events to pursue "memory politics" or "politics for the past." Some front covers, which refer to historical events, serve to legitimate or delegitimate current policies or politicians. Others show the extent to which Der Spiegel is involved in coming to terms with the National Socialist past.

The broad perspectives of the tradition and culture of the grass-field region of Cameroon as perceived through palace relics or artifacts and sculptures, embody much more than visual history and a synoptic recapitulation of the cosmology of the people. Often appreciated basically from their face values, palace artifacts serve as historiography and associated material for the representation of societal lore and mores. This is to say artifacts are more or less historical/ literary, as well as archeological representations begging for a critical attention beyond their surface fascination. In essence, grass field palace arts underscore the crucial place of signs and symbols in the articulation of cultural and traditional practices that characterize a people in space and time. Through the compact and systematic use of codes, the extensive and intensive zoomorphic symbols effectively capture the values and beliefs embedded in the politically stratified cultural systems. This paper is thus premised on the hypothetical assumption that grass field palace artifacts, together with their precast motifs, recapitulate the collective world views of the people. The objects and their associated paraphernalia speak to the dynamism of their cultural insights. In this regards, the pictographic representations do not only define the depth and scope of the people's public informative medium, but also point to the hidden power of the indigenous knowledge systems. Significantly, this paper underpins both the value and the need to formulate policies for the protection and preservation of the complex practices and depth of indigenous systems. Our analyses are anchored against the theories of structural functionalism as propounded by Bronislaw Malinowski and also the theory of social semiotics by Hodge and Kress.