Perceptions of Race and Gender Identity Functions: What Are the Positive and Negative Aspects of Being an African American Male?

2006 ◽  
Author(s):  
Mabel Ribas ◽  
Isis Settles
Keyword(s):  
African American ◽  
Gender Identity ◽  
African American Male ◽  
Race And Gender ◽  
And Gender

Making Youth Matter

2018 ◽  
Vol 11 (2) ◽  
pp. 70-93
Author(s):  
Celeste Hawkins
Keyword(s):  
African American ◽  
African American Students ◽  
African American Male ◽  
Research Study ◽  
Educational Experiences ◽  
Male Students ◽  
African American Male Students ◽  
American Students ◽  
And Gender ◽  
K 12

This article focuses on findings from a subgroup of African-American male students as part of a broader qualitative dissertation research study, which explored how exclusion and marginalization in schools impact the lives of African-American students. The study focused on the perspectives of youth attending both middle and high schools in Michigan, and investigated how students who have experienced forms of exclusion in their K–12 schooling viewed their educational experiences. Key themes that emerged from the study were lack of care, lack of belonging, disrupted education, debilitating discipline, and persistence and resilience. These themes were analyzed in relation to their intersectionality with culture, ethnicity, race, class, and gender.

Impoliteness in hip-hop music

2021 ◽  
Author(s):  
Panagiotis Delis
Keyword(s):  
African American ◽  
Black Male ◽  
Hip Hop ◽  
Selection Process ◽  
White Male ◽  
White Female ◽  
Race And Gender ◽  
The Social ◽  
Determining Factors ◽  
And Gender

Abstract The aim of this paper is to examine the functionality of impoliteness strategies as rhetorical devices employed by acclaimed African American and White hip-hop artists. It focuses on the social and artistic function of the key discursive element of hip-hop, namely aggressive language. The data for this paper comprise songs of US African American and White performers retrieved from the November 2017 ‘TOP100 Chart’ for international releases on Spotify.com. A cursory look at the sub-corpora (Black male/ Black female/ White male/ White female artists’ sub-corpus) revealed the prominence of the ‘use taboo words’ impoliteness strategy. The analysis of impoliteness instantiations by considering race and gender as determining factors in the lyrics selection process unveiled that both male groups use impoliteness strategies more frequently than female groups. It is also suggested that Black male and White female singers employ impoliteness to resist oppression, offer a counter-narrative about their own experience and self (re)presentation and reinforce in group solidarity.

Blackface Minstrelsy and the Reception of Elizabeth Taylor Greenfield

2021 ◽  
Vol 15 (3) ◽  
pp. 305-320
Author(s):  
Julia J. Chybowski
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Social Class ◽  
Gender Roles ◽  
Black Swan ◽  
Social Hierarchies ◽  
Race And Gender ◽  
Blackface Minstrelsy ◽  
And Gender

AbstractThis article explores blackface minstrelsy in the context of Elizabeth Taylor Greenfield's singing career of the 1850s–1870s. Although Greenfield performed a version of African American musicality that was distinct from minstrel caricatures, minstrelsy nonetheless impacted her reception. The ubiquity of minstrel tropes greatly influenced audience perceptions of Greenfield's creative and powerful transgressions of expected race and gender roles, as well as the alignment of race with mid-nineteenth-century notions of social class. Minstrel caricatures and stereotypes appeared in both praise and ridicule of Greenfield's performances from her debut onward, and after successful US and transatlantic tours established her notoriety, minstrel companies actually began staging parody versions of Greenfield, using her sobriquet, “Black Swan.” These “Black Swan” acts are evidence that Greenfield's achievements were perceived as threats to established social hierarchies.

Adolescents’ Internalizing Behaviors after Extreme Violence Exposure: A Comparison of Race and Gender for African American and Asian American Youth

2009 ◽  
Vol 90 (2) ◽  
pp. 145-152 ◽  
Author(s):  
Wan-Yi Chen
Keyword(s):  
African American ◽  
Community Violence ◽  
Asian American ◽  
Violence Exposure ◽  
African American Adolescents ◽  
Internalizing Behaviors ◽  
Race And Gender ◽  
Asian American Adolescents ◽  
Minority Adolescents ◽  
And Gender

This study compares African American and Asian American adolescents in their rates of extreme community violence exposure and consequent internalizing behaviors. Using information from a national longitudinal survey this study found substantial violence exposure rates for both groups. Also, gender differences in exposure rates and adolescent reports of internalizing behaviors after violence exposure were detected. Male African American adolescents had the highest exposure rate, while female Asian American adolescents reported the highest level of internalizing behaviors. These findings suggest further research is needed to better understand the effect of violence exposure on various ethnic minority adolescents. Moreover, social workers and other professionals involved in adolescent services could use these results to improve outreach methods to vulnerable adolescents.

Autochthonomous Transfigurations of Race and Gender in Twenty-First-Century Transnational Genocide Testimonial Narratives

2020 ◽  
pp. 76-106
Author(s):  
Myriam J. A. Chancy
Keyword(s):  
Gender Identity ◽  
First Century ◽  
Race And Gender ◽  
Modes Of Representation ◽  
Twenty First Century ◽  
And Gender

This chapter explores depictions and representations of the genocide of Rwanda in order to examine how “autochthonomy” and “lakou consciousness” make themselves manifest in global/transnational contexts. What each of the representations reveals is a partial exposure of a silence that appears to be symptomatic of trauma. The chapter relies on Pierre Bourdieu’s twin-concepts of the “unthinkable” and “unnameable” and how these concepts might be of further use in understanding the representation of the implicit “silence” of trauma. The chapter ultimately argues that artists who consciously emulate African Diasporic aesthetics in their representations of genocide also engage counter-hegemonic modes of representation that are explicitly and increasingly feminist regardless of the producer’s gender identity.

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