1,720,965 research outputs found
Gay is (Not) Okay?: Queer Identities at an All-Women's Historically Black College
Get PDFThe homophobic climates of many Historically Black Colleges and Universities force students to hide their queer identities. This phenomenon is especially apparent at Spelman College, an all-women's historically Black college in Atlanta, Georgia. While a narrative exists in the media that all student identities are accepted at all-women's institutions, as well as all Black students accepted at Historically Black Colleges and Universities (HBCUs), in reality, students at these institutions choose to accept only some identities while excluding others. Unfortunately, the queer community encompasses many of these "unacceptable" identities to the student body. As a result, some queer students at HBCUs feel it is necessary to hide their identities to ensure their own safety, rather than risk being targeted and possibly facing backlash due to their sexual preferences. The present study intends to challenge the narrative of the heterosexual, cisgender norms of Spelman College. I will challenge the narrative by detailing the intricacies of the identity regulation that occurs for queer people. The identity regulation occurs after their introduction to the heteronormative culture, a culture that adheres to dominant heterosexual norms, existing at Spelman. This includes an introduction to "down-low" culture created by queer students who pretend to be straight in public. The identity regulation, I argue, is partly due to the trauma queer students experience as a result of the respectability politics imposed on students. I have designed a pilot study to investigate the creation of queer identities within Spelman’s intolerant ecosystem. My research interest is rather personal and stems from my own experiences of being queer at an all-women's historically Black college in the south. Before I got to Spelman, I thought I would be entering an inclusive environment, however when I arrived and observed the culture, it was a much different story. My experiences include being berated by aggressions such as "f*** gay people," receiving questions about why I choose to be attracted to women, and withholding disclosing my sexuality to my freshman year roommate for fear of rejection. Thus, my life has been more difficult than I imagined before attending Spelman. I am interested in finding out why homophobia still exists in a space originally designed to center all Black women and combat intolerance. Finally, I will offer solutions to the college to support queer students by investigating how the identities of queer individuals are formed and regulated at an all-women's HBCU
On and Off Screen: Race in Buddy Cop Films
Get PDFThe buddy cop film is a staple of American cinema. Known for its comradery, action, and comedy, this genre has maintained relevance for over fifty years with constant reboots and franchise continuations. Popular films include Lethal Weapon (1987), Men in Black (1997), and Rush Hour (1998)—all of which have spawned several series of at least three films. Each film stars a pair of interracial buddiesboth Lethal Weapon and Men in Black have a white and Black buddy while Rush Hour has a Black and Chinese buddy. Though the interracial buddy cop film offers many opportunities for racial commentary, films in this genre with buddies of the same race or with two characters from differing non-white races provide similar experiences related to racial issues, especially with the formation of racial stereotypes. To contextualize the importance of race in these films, and in the larger context of Hollywood, I provide an overview of Blacks in early film and theater. Specifically, the current study will: 1) examine the histories of Blacks in cinema and racism in Hollywood, 2) introduce buddy films, 3) provide a review of relevant literature, 4) conduct an analysis of seven buddy cop films, and 5) discuss the findings of this study as well as address the implications of buddy cop relationships as they relate to the current events of police brutality that disproportionately impact black males
Jody Blake — Le Tumulte Noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900-1930
Get PDFIntroduction
Get PDFThe Global Africana Review (GAR) is now in its third year of publication and remains an
example of our commitment to our goal of featuring student academic research conducted in the
Department of African, African American, and Diaspora Studies, which represents disciplines
that include Anthropology, Comparative Literature, Development Studies, Film, History, Human
Rights, Linguistics, Music, Political Science, and Public Policy
Art Criticism
No full textAnalog Original: v. ; 22 cm.If Art Criticism meets some of its editors’ hopes for it, we shall be able to claim the appearance of some art criticism, with subjects arising from the writers’ or editors’ decisions, rather than the art market’s. Articles on individual critics and on current groups and tendencies will lead towards the adequate history of art criticism so badly needed in relation to art and in relation to the literature of other disciplines. (L.A., D.B.K., Spring 1979)Archived web contentThis record was updated April 2013 by digitization and project advisers, Stephen Larese and Roland CoffeyDepartment of Art, Stony Brook University; Stony Brook University LibrariesGraziani, Ron, “Robert Smithson: An Esthetic Foreman in the Mining Industry (Part Two).”
Volkmar, Karl F., “A Natural Order: Observation and the Four Seasons.”
Regester, Charlene, “The Reading of a Still: The Evocation of Death in Dorothy Dandridge’s Photograph.”
Karoll, Elizabeth, “Francesco Clemente and a Memory of his Childhood.”
Emmer, C.E., “Kitsch Against Modernity.”
Mauzerall, Hope, “What’s the Matter with Matter? Problems in the Criticism of Greenberg, Fried, and Krauss.”
Laughlin, Tricia, “Tamara de Lempicka’s Women.”
Kuspit, Donald, “Using Art To Laugh Oneself Sick: Two Examples Of Punning in Early Avant-Garde Art.
The Case of the Race Movie Circuit: Charlene Regester
No full textClick on the first URL link below in the "External Files" section to play the authoritative published version of the streaming video accompanying this transcript.The second URL link provided below in the "External Files" section forwards to a second version of the streaming video file associated with this transcript. This streaming video, hosted on Indiana University's Avalon Media System, represents the efforts of the Black Film Center/Archive to ensure the long-term preservation of the digital file associated with this transcript
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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