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.

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.

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.

This thesis retraces the problem of the multiple integration of the African-American community into the great American society following the abolition of slavery in the United States in 1863 by President Abraham Lincoln. Emancipation formalized by the US Congress in 1865 after the end of the American Civil War (1861-1865), the country entered a historical era called Reconstruction. In fact, Reconstruction policy implied not only the reconstruction of the Southern States which had been ruined by this civil war, but also the interracial and social integration of the four million new freed people in the US "Melting-Pot". But faced with the opposition of the Southern whites, the part of the policy that concerned the Blacks had a mixed result or even a failure. ; Ce mémoire retrace la problématique de l'intégration multiple de la communauté africaine-américaine au sein de la grande société états-unienne suite à l'abolition de l'esclavage aux États-Unis en 1863 par le Président Abraham Lincoln. L'émancipation officialisée par le Congrès états-unien en 1865 après la fin de la Guerre de Sécession (1861-1865), le pays est entré dans une ère historique dite Reconstruction. En fait, la politique de Reconstruction impliquait non seulement la reconstruction des États du Sud qui furent ruinés par cette guerre civile, mais aussi l'intégration interraciale et sociale des quatre millions de nouveaux libres dans le « Melting-Pot » états-unien. Mais face à l'opposition des Blancs sudistes, le volet de ladite politique qui concernait les Noirs connut un résultat mitigé voire un échec.

This thesis retraces the problem of the multiple integration of the African-American community into the great American society following the abolition of slavery in the United States in 1863 by President Abraham Lincoln. Emancipation formalized by the US Congress in 1865 after the end of the American Civil War (1861-1865), the country entered a historical era called Reconstruction. In fact, Reconstruction policy implied not only the reconstruction of the Southern States which had been ruined by this civil war, but also the interracial and social integration of the four million new freed people in the US "Melting-Pot". But faced with the opposition of the Southern whites, the part of the policy that concerned the Blacks had a mixed result or even a failure. ; Ce mémoire retrace la problématique de l'intégration multiple de la communauté africaine-américaine au sein de la grande société états-unienne suite à l'abolition de l'esclavage aux États-Unis en 1863 par le Président Abraham Lincoln. L'émancipation officialisée par le Congrès états-unien en 1865 après la fin de la Guerre de Sécession (1861-1865), le pays est entré dans une ère historique dite Reconstruction. En fait, la politique de Reconstruction impliquait non seulement la reconstruction des États du Sud qui furent ruinés par cette guerre civile, mais aussi l'intégration interraciale et sociale des quatre millions de nouveaux libres dans le « Melting-Pot » états-unien. Mais face à l'opposition des Blancs sudistes, le volet de ladite politique qui concernait les Noirs connut un résultat mitigé voire un échec.

"L'histoire présentée dans cet ouvrage est celle de la migration telle que perçue et remémorée par les femmes et les hommes qui se sont déplacés, depuis 1900, à l'intérieur comme à l'extérieur du Burkina Faso, de même que par celles et ceux qui y sont retournés. Il s'agit en effet de l'un des systèmes migratoires les plus importants en Afrique de l'Ouest, le corridor Burkina Faso–Côte d'Ivoire figurant parmi les 10 corridors Sud-Sud les plus empruntés dans le monde. Cet ouvrage montre comment les contextes politiques et économiques propres à l'histoire du Burkina Faso ont créé, puis reproduit, un système migratoire de va-­et-vient entre l'économie familiale, surtout dans l'agriculture de subsistance, et l'économie capitaliste, surtout au Ghana et en Côte d'Ivoire et dans quelques villes burkinabè. Basé sur 2 enquêtes nationales effectuées par sondage auprès de plus de 20?000 migrants, il dresse le portrait des migrations non seulement de la population mossi, le groupe ethnique le plus important du Burkina Faso, mais également d'autres sociétés burkinabè, celles des hommes comme celles des femmes, à l'international comme à l'intérieur du pays. La mobilité burkinabè y est vue comme un système circulaire entre les champs et villages et les régions de production capitaliste ou, comme se plaisent à dire les auteurs, entre le mil et le franc."

International audience Most Blacks, especially in the South, were already plagued by racial discrimination and segregation when the Great Depression hit, and their low socio-economic status made them the first victims of the financial crisis. Because it did not sufficiently address the specific needs of the African-American population, Roosevelt's first New Deal not only failed to assist African-Americans, it often worsened their condition. However, due to a progressive turn in both the administration and the country at large, the New Deal began to have a more positive effect on the economic situation of African Americans.Roosevelt's popularity increased among Blacks, who shifted their political allegiance from the Republicans to the Democrats, even though the New Deal failed to address deeper issues pertaining to their inferior social and political status. By 1941, civil rights leaders adopted a more offensive strategy as they threatened to organize a mass demonstration in Washington to protest discrimination in war industries and segregation in the armed forces. This article aims at determining whether the Roosevelt years had a positive impact on Blacks, if they did offer them a "new deal".