Suchergebnisse

In the early 1980s, crack cocaine appeared in the drug market. Not only did it provide enormous benefits for gang members, as most of them were drug dealers, but it was also considered as particularly addictive. Since crack is a cheaper form of cocaine, its use was widespread among the marginalized people, including the African American underclass. The pervasiveness of crack and the growing national concern incited Ronald Reagan to launch a war on drugs so as to control social deviance, which is a part of the delinquent subculture. This initiative has taken many forms from the militarization of police to mass incarceration. However, as crack is said to be mostly used and sold by the African American underclass, the war on drugs had a particular effect on them. ; Le crack, une version moins chère que la cocaïne, fait son entrée sur le marché de la drogue au début des années 1980. Elle est l'une des ressources principales des gangs et prend une place considérable dans les ghettos américains. De plus, elle est aussi principalement consommée par les individus les plus marginalisés, dont l'underclass afro-américaine. Ce mémoire a alors pour but d'étudier la lutte antidrogue lancée par le président Ronald Reagan. Ce dernier va mener une guerre particulièrement punitive afin de contrôler la déviance sociale inhérente à la sous-culture de la délinquance. Cette guerre contre la drogue est alors rythmée par la militarisation de la police et marque également le début de l'incarcération de masse, des mesures qui touchent particulièrement l'underclass afro-américaine.

In the early 1980s, crack cocaine appeared in the drug market. Not only did it provide enormous benefits for gang members, as most of them were drug dealers, but it was also considered as particularly addictive. Since crack is a cheaper form of cocaine, its use was widespread among the marginalized people, including the African American underclass. The pervasiveness of crack and the growing national concern incited Ronald Reagan to launch a war on drugs so as to control social deviance, which is a part of the delinquent subculture. This initiative has taken many forms from the militarization of police to mass incarceration. However, as crack is said to be mostly used and sold by the African American underclass, the war on drugs had a particular effect on them. ; Le crack, une version moins chère que la cocaïne, fait son entrée sur le marché de la drogue au début des années 1980. Elle est l'une des ressources principales des gangs et prend une place considérable dans les ghettos américains. De plus, elle est aussi principalement consommée par les individus les plus marginalisés, dont l'underclass afro-américaine. Ce mémoire a alors pour but d'étudier la lutte antidrogue lancée par le président Ronald Reagan. Ce dernier va mener une guerre particulièrement punitive afin de contrôler la déviance sociale inhérente à la sous-culture de la délinquance. Cette guerre contre la drogue est alors rythmée par la militarisation de la police et marque également le début de l'incarcération de masse, des mesures qui touchent particulièrement l'underclass afro-américaine.

The photographic work of Gordon Parks (1912-2006) reflects the many ways in which the African American community evolved and changed during the 20th century. Taking as a starting point the concept of visibility – as tackled by George Didi-Huberman in his essay Peuples exposés, peoples figurants or Nicholas Mirzoeff in his book The Right to Look -- this thesis will question the interweaving of aesthetics and politics in Parks's monumental and eclectic photographic output. Parks's work finds its roots in the black Chicago Renaissance of the late 1930s, and then evolved under the supervision of Roy Stryker at the Farm Security Administration (FSA) during the Great Depression. For the next two decades, Parks's vision expanded as he worked for Life magazine, where he was the first African American to join the staff of photographers in 1949. If the photograph's own visibility in American and African American cultural and artistic history cannot be understated, this dissertation will try to go beyond the image of Parks as a pioneer of black photography or as a "Renaissance Man", as he was often portrayed in mainstream media. We shall strive to bring to light the ambiguities in Parks's photography which stemmed from his anchoring in different cultural spheres. His own dealings with racism and segregation as well as his knowledge of classical Western painting gave his photographic representations of the African American experience a powerful resonance. The fact that Parks chose to have his vision broadcasted on media outlets with catered mainly to a white audience, like Life magazine, generated tensions to which particular attention will be paid in this dissertation. ; L'oeuvre photographique de Gordon Parks (1912-2006) reflète les nombreuses évolutions et transformations de la communauté africaine-américaine au XXe siècle. En prenant comme point de départ de la réflexion le concept de visibilité, tel que théorisé, notamment, par Georges Didi-Huberman dans Peuples exposés, peuples figurants ou Nicholas Mirzoeff dans The ...

The photographic work of Gordon Parks (1912-2006) reflects the many ways in which the African American community evolved and changed during the 20th century. Taking as a starting point the concept of visibility – as tackled by George Didi-Huberman in his essay Peuples exposés, peoples figurants or Nicholas Mirzoeff in his book The Right to Look -- this thesis will question the interweaving of aesthetics and politics in Parks's monumental and eclectic photographic output. Parks's work finds its roots in the black Chicago Renaissance of the late 1930s, and then evolved under the supervision of Roy Stryker at the Farm Security Administration (FSA) during the Great Depression. For the next two decades, Parks's vision expanded as he worked for Life magazine, where he was the first African American to join the staff of photographers in 1949. If the photograph's own visibility in American and African American cultural and artistic history cannot be understated, this dissertation will try to go beyond the image of Parks as a pioneer of black photography or as a "Renaissance Man", as he was often portrayed in mainstream media. We shall strive to bring to light the ambiguities in Parks's photography which stemmed from his anchoring in different cultural spheres. His own dealings with racism and segregation as well as his knowledge of classical Western painting gave his photographic representations of the African American experience a powerful resonance. The fact that Parks chose to have his vision broadcasted on media outlets with catered mainly to a white audience, like Life magazine, generated tensions to which particular attention will be paid in this dissertation. ; L'oeuvre photographique de Gordon Parks (1912-2006) reflète les nombreuses évolutions et transformations de la communauté africaine-américaine au XXe siècle. En prenant comme point de départ de la réflexion le concept de visibilité, tel que théorisé, notamment, par Georges Didi-Huberman dans Peuples exposés, peuples figurants ou Nicholas Mirzoeff dans The ...

The photographic work of Gordon Parks (1912-2006) reflects the many ways in which the African American community evolved and changed during the 20th century. Taking as a starting point the concept of visibility – as tackled by George Didi-Huberman in his essay Peuples exposés, peoples figurants or Nicholas Mirzoeff in his book The Right to Look -- this thesis will question the interweaving of aesthetics and politics in Parks's monumental and eclectic photographic output. Parks's work finds its roots in the black Chicago Renaissance of the late 1930s, and then evolved under the supervision of Roy Stryker at the Farm Security Administration (FSA) during the Great Depression. For the next two decades, Parks's vision expanded as he worked for Life magazine, where he was the first African American to join the staff of photographers in 1949. If the photograph's own visibility in American and African American cultural and artistic history cannot be understated, this dissertation will try to go beyond the image of Parks as a pioneer of black photography or as a "Renaissance Man", as he was often portrayed in mainstream media. We shall strive to bring to light the ambiguities in Parks's photography which stemmed from his anchoring in different cultural spheres. His own dealings with racism and segregation as well as his knowledge of classical Western painting gave his photographic representations of the African American experience a powerful resonance. The fact that Parks chose to have his vision broadcasted on media outlets with catered mainly to a white audience, like Life magazine, generated tensions to which particular attention will be paid in this dissertation. ; L'oeuvre photographique de Gordon Parks (1912-2006) reflète les nombreuses évolutions et transformations de la communauté africaine-américaine au XXe siècle. En prenant comme point de départ de la réflexion le concept de visibilité, tel que théorisé, notamment, par Georges Didi-Huberman dans Peuples exposés, peuples figurants ou Nicholas Mirzoeff dans The ...

This article examines the career of educator Booker T. Washington in the context of transatlantic relationships between African Americans and l'Etat independant du Congo. While Washington is best known for his work in the US, this article suggests that his work related to Africa -- notably his involvement with the Congo Reform Association -- was consistent with his own domestic program, and was part of widespread early 20th century African American interest in contemporary Africa. This shared interest casts a new light on the complex connexions between African American leaders such as B. T. Washington, W. E. B. Du Bois, W. Sheppard and M. Garvey. Adapted from the source document.

Printed ephemera. ; Electronic reproduction. ; Mode of access: Internet. ; 44

Gambling is now a legitimate sector of the entertainment industry. In the 1990s, opposition emerged in North America but failed to build a social movement on a large scale. This book specifically examines one of these coalitions in Vancouver, Cana-da. The local anti-gambling movement is analyzed as an expression of civic and political engagement. The study focuses specifically on the process of denouncing gambling practices and their conversion into a "public issue." The author analyzes a highly relevant current social debate.

The major purpose of the article is to shed light on the contribution of literature to the American abolitionist movement .The article shall be an attempt to reveal the major roots of black radicalism as well as the background of their ideological project and radical movement in the American society .In fact, the Americans and since the Revolution, have adopted a set of principles like the necessity of applying justice, freedom, and equality that became later the major ideals of the American society and that made the Americans feel themselves exceptional in founding the true democratic society in which every individual can enjoy freedom, equality ,and justice .The abolitionist movement came out to apply the theory of the "self evident truths" on the African American people. Black writers saw in literature an appropriate tool to foster and argue for radical abolitionism. Self revelation was a window through which the reading public could feel the plight of the African Americans in the USA society.

International audience ; Following the waves of protest that rocked American society during the 1960s, and in order to address the enduring inequalities, the United States adopted a series of multicultural policies and programs aimed at promoting cultural diversity and greater social justice. From then on, the concept of multiculturalism gained considerable currency in national political discourses, the mainstream media and academic circles, becoming thereby a progressive approach to addressing race-based issues of which the American society had great difficulty grappling with. Despite the hopes multicultural programs raised among racial and ethnic minorities, and even if the figures at the time seemed to reflect a more inclusive welfare state, it appeared, as early as the 1980s, that America had not yet entered into a post-civil rights era. Yet, neo-conservatives undertook to dismantle key social programs related to multiculturalism, and instead subscribed to the ideal of an American society organized solely on the basis of social justice regardless of colour, "race" or ethnic origin. The article primarily examines the theoretical and political issues raised by multiculturalism and Critical Race Theory in the field of education – the first accused of reproducing at another level patterns of racial domination or serving as an instrument for the deracialization of American society, the second, in reaction to the perceived limits of multiculturalism and neoliberal policies, seeks to unveil the institutional and discursive mechanisms that contribute to the perpetuation of racial inequalities. ; Del multiculturalismo a la Teoría Racial Crítica. Reflexiones sobre la educación y los procesos de desracialización de la experiencia afroamericanaTras las olas de protesta que hicieron tambalear la sociedad estadounidense durante los 60, y ante la persistente desigualdad, los Estados Unidos han adoptado una serie de políticas y programas multiculturales destinados a promover la diversidad cultural y una mayor justicia ...

International audience ; Following the waves of protest that rocked American society during the 1960s, and in order to address the enduring inequalities, the United States adopted a series of multicultural policies and programs aimed at promoting cultural diversity and greater social justice. From then on, the concept of multiculturalism gained considerable currency in national political discourses, the mainstream media and academic circles, becoming thereby a progressive approach to addressing race-based issues of which the American society had great difficulty grappling with. Despite the hopes multicultural programs raised among racial and ethnic minorities, and even if the figures at the time seemed to reflect a more inclusive welfare state, it appeared, as early as the 1980s, that America had not yet entered into a post-civil rights era. Yet, neo-conservatives undertook to dismantle key social programs related to multiculturalism, and instead subscribed to the ideal of an American society organized solely on the basis of social justice regardless of colour, "race" or ethnic origin. The article primarily examines the theoretical and political issues raised by multiculturalism and Critical Race Theory in the field of education – the first accused of reproducing at another level patterns of racial domination or serving as an instrument for the deracialization of American society, the second, in reaction to the perceived limits of multiculturalism and neoliberal policies, seeks to unveil the institutional and discursive mechanisms that contribute to the perpetuation of racial inequalities. ; Del multiculturalismo a la Teoría Racial Crítica. Reflexiones sobre la educación y los procesos de desracialización de la experiencia afroamericanaTras las olas de protesta que hicieron tambalear la sociedad estadounidense durante los 60, y ante la persistente desigualdad, los Estados Unidos han adoptado una serie de políticas y programas multiculturales destinados a promover la diversidad cultural y una mayor justicia social. El concepto de multiculturalismo se hizo entonces cada vez más popular a través del discurso político nacional, los medios de comunicación y el mundo académico, estableciéndose así como un enfoque progresivo para abordar la cuestión racial que la sociedad estadounidense estaba teniendo grandes dificultades para comprender. A pesar de las esperanzas planteadas por esta política de reconocimiento, e incluso si las encuestas parecían reflejar entonces un estado de bienestar más inclusivo, parece, desde principios de la década de 1980, que Estados Unidos no había entrado por completo en un periodo posterior a las luchas por los derechos civicos. Sin embargo, los neoconservadores se habían comprometido a desmantelar los programas de multiculturalismo, suscribiéndose al ideal de una sociedad estadounidense organizada únicamente sobre la base de la justicia social independientemente de la raza u origen étnico. Este artículo analiza las cuestiones teóricas y políticas planteadas por el multiculturalismo y la Teoria Racial Crítica en el campo de la educación - el primero acusado de reproducir a otro nivel el patrón de dominación racial o incluso de ser un instrumento de la desracialización de la sociedad estadounidense, el segundo, en respuesta a las limitaciones percibidas de las políticas multiculturales liberales y neoliberales, busca exponer los mecanismos institucionales y discursivos que contribuyen a la perpetuación de las desigualdades raciales. ; À la suite des vagues de contestation qui ébranlèrent la société américaine au cours des années 1960 et face aux inégalités persistantes, les États-Unis ont adopté toute une série de politiques et de programmes multiculturels visant à promouvoir la diversité culturelle et une plus grande justice sociale. Le concept de multiculturalisme connut alors une popularité croissante à travers les discours politiques nationaux, les médias et le monde académique, s'imposant de ce fait comme une approche progressive pour aborder la problématique raciale dont la société américaine éprouvait beaucoup de difficultés à se saisir. En dépit des espoirs suscités par cette politique de reconnaissance et même si les sondages semblent alors refléter un État-providence plus inclusif, il apparaît, dès le début des années 1980, que l'Amérique n'était pas intégralement entrée dans une ère post-droits civiques. Pour autant, les néoconservateurs avaient entrepris de démanteler les programmes issus du multiculturalisme, en souscrivant à l'idéal d'une société américaine organisée uniquement sur la base d'une justice sociale sans égard à la « race » ou à l'origine ethnique. Cet article s'intéresse aux enjeux théoriques et politiques soulevés par le multiculturalisme et la Critical Race Theory dans le domaine de l'éducation – le premier accusé de reproduire à un autre niveau le schéma de la domination raciale voire d'être un instrument de déracialisation de la société américaine ; le second, en réaction aux limites perçues des politiques multiculturelles libérales et néolibérales, s'attache à dévoiler les mécanismes institutionnels et discursifs qui contribuent à la perpétuation des inégalités raciales.

The daily representation of African-Americans' African origins has long been a dilemma. Among the expressions which nowadays make visible these origins, kente cloth has become an emblematic sign representing an African past. Since the 1990s and the emergence of Afrocentric discourses which celebrate Africans-Americans' unity with Africa, kente has become an inexorable reference. Like a renewed oath of interdependence between the African-American identity and its African roots, wearing kente for community meetings illustrates a desire to enhance these roots and, sometimes, to define them following radical Afrocentric interpretations. This article explores the role of kente in rediscovering an African heritage and questions the impact of Afrocentrisms on popular representations of the past of African-Americans. Adapted from the source document.