Black on White
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White on White/Black on Black is a unique contribution to the philosophy of race. The book explores how fourteen philosophers, seven white and seven black, philosophically understand the dynamics of the process of racialization. Combined, the contributions demonstrate different and similar conceptual trajectories of raced identities that emerge from within and across the racial divide. Each of the fourteen philosophers, who share a textual space of exploration, name blackness/whiteness, revealing significant political, cultural, and existential aspects of what it means to be black/white. Through the power of naming and theorizing whiteness and blackness, White on White/Black on Black dares to bring clarity and complexity to our understanding of race identity.
In this thought-provoking volume, David R. Roediger has brought together some of the most important black writers throughout history to explore the question: What does it really mean to be white in America? From folktales and slave narratives to contemporary essays, poetry, and fiction, black writers have long been among America's keenest students of white consciousness and white behavior, but until now much of this writing has been ignored. Black on White reverses this trend by presenting the work of more than fifty major figures, including James Baldwin, Derrick Bell, Ralph Ellison, W.E.B. Du Bois, bell hooks, Toni Morrison, and Alice Walker to take a closer look at the many meanings of whiteness in our society. Rich in irony, artistry, passion, and common sense, these reflections on what Langston Hughes called "the ways of white folks" illustrate how whiteness as a racial identity derives its meaning not as a biological category but as a social construct designed to uphold racial inequality. Powerful and compelling, Black on White provides a much-needed perspective that is sure to have a major impact on the study of race and race relations in America. From the Trade Paperback edition.
Recounts how the author, a grandson of the Spanish Communist Party secretary general in 1960s Moscow, was abandoned to a life of institutions and orphanages due to his cerebral palsy and endured a childhood rife with neglect, emotional mistreatment, and small pleasures. Winner of the 2003 Russian Booker Prize. Reprint.
John Fielder, Colorado's preeminent nature photographer, will publish his 50th Colorado book in fall, 2018. In the mold of Colorado's best-selling book of all time, Colorado 1870-2000, Fielder has chosen to represent his state exclusively in black and white. He edited 230 color images from his life's work in Colorado over the past 40 years, and rendered each in blacks, whites, and subtle tones of gray. Without the distraction of color, the viewer engages the shapes, textures, lines, and edges of this most scenic of states as never before. Divided into eight chapters, Fielder spares no subject endemic to his adopted state. From dramatic mountain reflections and wildlife galore, to 19th century mine building facades and ancestral Puebloan ruins, nothing has been left outƒƒ‚‚ƒ‚‚]ƒƒ‚‚ƒ‚‚€ƒƒ‚‚ƒ‚‚]except the color! Fielder has written captions for each of the 230 images in the book.
The first paperback edition of Dowell's humorous, violent and obsessive meditation on race relations.�"The most penetrating novel we have ever had about blacks and whites in the United States."--Edmund White�"Pyschological acuity, political insight, ferocious energy and authenticity of place."--New York Times Book Review
The ten major types of Black racism include illegal employment discrimination against Whites, Black-on-White crime and various types of casual racism that target Whites for harassment. Although Whites experience these forms of Black racism at work, in school and on the street, many Blacks pretend that Black racism does not exist, and do so for reasons they are careful to conceal from Whites. Both Black racism and the blanket denials that it exists are actually reflections of a covert mindset that legitimizes crimes and other forms of victimization of Whites. Most Whites know little about why this mindset developed, why it persists and who benefits from the conspiracy of silence that denies the existence and practice of Black-on-White racism. This second edition includes a new chapter on the bogus issue of reparations. It also includes the text of a state castle doctrine law that offers certain types of immunity when people defend themselves at home.
This book is about the fight for the independence of what was South West Africa around 1975 and events that took place at that time, which involved black on black, white on black and black on white violence. Thank god, sanity prevailed and the area today is quiet and peaceful, the people living in harmony. Readers can join Lieutenant Rolf DeBeer as he struggled to do his duty to his country while trying to retain his sanity and humanity. The book is also a police detective crime thriller, but to my best knowledge, no one was ever prosecuted. This book was based on fact, but I can prove none of it, the readers must judge for themselves.
White on Black is a compelling visual history of the development of European and American stereotypes of black people over the last two hundred years. Its purpose is to show the pervasiveness of prejudice against blacks throughout the western world as expressed in stock-in-trade racist imagery and caricature. Reproducing a wide range of illustrations--from engravings and lithographs to advertisements, candy wrappings, biscuit tins, dolls, posters, and comic strips--the book challenges the hidden assumptions of even those who view themselves as unprejudiced. Jan Nederveen Pieterse sets Western images of Africa and blacks in a chronological framework, including representations from medieval times, from the colonial period with its explorers, settlers, and missionaries, from the era of slavery and abolition, and from the multicultural societies of the present day. Pieterse shows that blacks have been routinely depicted throughout the West as servants, entertainers, and athletes, and that particular countries have developed their own comforting black stereotypes about blacks: Sambo and Uncle Tom in the United States, Golliwog in Britain, Bamboula in France, and Black Peter in the Netherlands. Looking at conventional portrayals of blacks in the nursery, in sexual arenas, and in commerce and advertising, Pieterse analyzes the conceptual roots of the stereotypes about them. The images that he presents have a direct and dramatic impact, and they raise questions about the expression of power within popular culture and the force of caricature, humor, and parody as instruments of oppression.
Perfect for babies! Share these high-contrast shapes with your baby—it’s never too early to read and explore together.
Any Charismatic Christian who reads these poems and prayers should be blessed. The poems on racism and dealing with identity issue should jerk my white Christian brothers and sisters to attention. The poems on abortion should have a similar affect on society as a whole. Most of the material here was written between 1981 and 1989 that is from when I was 16 to 24 years old. I was young and in some cases backslidden and angry with the Church. The racism I experienced as I grew up was real and was inside the Church and outside the Church. Finding who I was and to what I belonged was no easy task, but in all these challenges the Holy Spirit was the real helper and healer. So the prayers kept me sane. My sister almost went insane because of the racial conflicts she experience as a social worker among black and white social workers. Here is one solution to racism: The identity of the believer in the risen Messiah.
Following the deaths of Trayvon Martin and other black youths in recent years, students on campuses across America have joined professors and activists in calling for justice and increased awareness that Black Lives Matter. In this second edition of his trenchant and provocative book, George Yancy offers students the theoretical framework they crave for understanding the violence perpetrated against the Black body. Drawing from the lives of Ossie Davis, Frantz Fanon, Malcolm X, and W. E. B. Du Bois, as well as his own experience, and fully updated to account for what has transpired since the rise of the Black Lives Matter movement, Yancy provides an invaluable resource for students and teachers of courses in African American Studies, African American History, Philosophy of Race, and anyone else who wishes to examine what it means to be Black in America.
Living in a segregated society, white Americans learn about African Americans not through personal relationships but through the images the media show them. The Black Image in the White Mind offers the most comprehensive look at the intricate racial patterns in the mass media and how they shape the ambivalent attitudes of Whites toward Blacks. Using the media, and especially television, as barometers of race relations, Robert Entman and Andrew Rojecki explore but then go beyond the treatment of African Americans on network and local news to incisively uncover the messages sent about race by the entertainment industry-from prime-time dramas and sitcoms to commercials and Hollywood movies. While the authors find very little in the media that intentionally promotes racism, they find even less that advances racial harmony. They reveal instead a subtle pattern of images that, while making room for Blacks, implies a racial hierarchy with Whites on top and promotes a sense of difference and conflict. Commercials, for example, feature plenty of Black characters. But unlike Whites, they rarely speak to or touch one another. In prime time, the few Blacks who escape sitcom buffoonery rarely enjoy informal, friendly contact with White colleagues—perhaps reinforcing social distance in real life. Entman and Rojecki interweave such astute observations with candid interviews of White Americans that make clear how these images of racial difference insinuate themselves into Whites' thinking. Despite its disturbing readings of television and film, the book's cogent analyses and proposed policy guidelines offer hope that America's powerful mediated racial separation can be successfully bridged. "Entman and Rojecki look at how television news focuses on black poverty and crime out of proportion to the material reality of black lives, how black 'experts' are only interviewed for 'black-themed' issues and how 'black politics' are distorted in the news, and conclude that, while there are more images of African-Americans on television now than there were years ago, these images often don't reflect a commitment to 'racial comity' or community-building between the races. Thoroughly researched and convincingly argued."—Publishers Weekly "Drawing on their own research and that of a wide array of other scholars, Entman and Rojecki present a great deal of provocative data showing a general tendency to devalue blacks or force them into stock categories."—Ben Yagoda, New Leader Winner of the Frank Luther Mott Award for best book in Mass Communication and the Robert E. Lane Award for best book in political psychology.
Winner of the 2009 National Jewish Book Award in American Jewish Studies Recipient of the 2010 Guggenheim Fellowship in Humanities-Intellectual & Cultural History It has become an accepted truth: after World War II, American Jews chose to be silent about the mass murder of millions of their European brothers and sisters at the hands of the Nazis. In this compelling work, Hasia R. Diner shows the assumption of silence to be categorically false. Uncovering a rich and incredibly varied trove of remembrances—in song, literature, liturgy, public display, political activism, and hundreds of other forms—We Remember with Reverence and Love shows that publicly memorializing those who died in the Holocaust arose from a deep and powerful element of Jewish life in postwar America. Not only does she marshal enough evidence to dismantle the idea of American Jewish “forgetfulness,” she brings to life the moving and manifold ways that this widely diverse group paid tribute to the tragedy. Diner also offers a compelling new perspective on the 1960s and its potent legacy, by revealing how our typical understanding of the postwar years emerged from the cauldron of cultural divisions and campus battles a generation later. The student activists and “new Jews” of the 1960s who, in rebelling against the American Jewish world they had grown up in “a world of remarkable affluence and broadening cultural possibilities” created a flawed portrait of what their parents had, or rather, had not, done in the postwar years. This distorted legacy has been transformed by two generations of scholars, writers, rabbis, and Jewish community leaders into a taken-for-granted truth.
A meditation on race and identity from one of our most provocative cultural critics. A reckoning with the way we choose to see and define ourselves, Self-Portrait in Black and White is the searching story of one American family’s multigenerational transformation from what is called black to what is assumed to be white. Thomas Chatterton Williams, the son of a “black” father from the segregated South and a “white” mother from the West, spent his whole life believing the dictum that a single drop of “black blood” makes a person black. This was so fundamental to his self-conception that he’d never rigorously reflected on its foundations—but the shock of his experience as the black father of two extremely white-looking children led him to question these long-held convictions. It is not that he has come to believe that he is no longer black or that his kids are white, Williams notes. It is that these categories cannot adequately capture either of them—or anyone else, for that matter. Beautifully written and bound to upset received opinions on race, Self-Portrait in Black and White is an urgent work for our time.