Toward More Inclusive Public Spaces: Learning from the Everyday Experiences of Muslim Arab Women in New York City

2014 ◽  
Vol 46 (8) ◽  
pp. 1892-1907 ◽  
Author(s):  
Asal Mohamadi Johnson ◽  
Rebecca Miles
2020 ◽  
Vol 5 (4) ◽  
pp. 477-487
Author(s):  
Taylor M. Lampe ◽  
Sari L. Reisner ◽  
Eric W. Schrimshaw ◽  
Asa Radix ◽  
Raiya Mallick ◽  
...  

Author(s):  
Llana Barber

Chapter Seven traces Lawrence's transition to a Latino-majority city with the 2000 census, including the tremendous increase in immigration during the 1980s that led Lawrence to become home to the largest concentration of Dominicans in the United States outside of New York City. The city's Latino population came to define Lawrence's public culture in this period, and the long push for Latino political power in the city was ultimately successful in many ways. This chapter discusses the transnational activities that brought new vitality to Lawrence's economy and its public spaces, yet larger structural forces continued to create obstacles to Latinos finding in Lawrence the better life they pursued.


Author(s):  
Adam Meehan

Nathanael West was an author and screenwriter whose work spanned the decade of the 1930s. He was born Nathan Weinstein on 17 October 1903 in New York City; his decision to change his name at the age of twenty-two reflects a life-long ambivalence toward his Jewish ancestry. He is best known as a novelist whose work teems with characters suffering from psychological traumas stemming from the bleak atmosphere of Depression-era America. He died tragically and in relative obscurity with his wife Eileen in an automobile accident outside of El Centro, California in 1940. Miss Lonelyhearts (1933), his second novel, is widely considered his best work. Unlike his first novel, The Dream Life of Balso Snell (1931) — which was influenced by French surrealism and was highly experimental in style — Miss Lonelyhearts is rooted in the everyday challenges of the Great Depression. The title character, whose actual name is never given, works as an advice columnist for a newspaper in New York City. Although he and others see the job as trivial, the desperate letters from readers begin to take a heavy emotional toll, leading him on an ill-fated search for meaning. Although the book’s plot is tragic, it also features elements of black comedy, a pervasive element of West’s work.


2017 ◽  
Vol 28 (4) ◽  
pp. 353-373 ◽  
Author(s):  
Benjamin Bailey

In this article I evaluate competing discourses about the meaning of street remarks – the remarks men make to unacquainted women passing on the street – in 1000 comments posted to a YouTube video of street remarks recorded in New York City in 2014. One discourse prominent in the comments posted to the video defends the remarks as civil talk, highlighting the literal meanings of remarks such as ‘Have a nice evening’. A second, less frequent, discourse characterizes these encounters and utterances as sexual harassment, citing men’s ostensible sexual intentions and personal experience. I find that (a) difficulties in articulating the ways in which street remarks are injurious may veil their harm, thus contributing to the perpetuation of male domination of women in public spaces, and (b) the close juxtaposition of explicitly misogynistic comments with interpretations of the street remarks as civil casts doubt on the sincerity of such interpretations.


Author(s):  
Naomi Slipp

Walker Evans was an American photographer best known for his work for the Farm Security Administration during the American Depression. His documentary style, historically regarded as detached, is now viewed as characteristic of Evans’s own point of view. Born to an affluent family in St. Louis, Missouri, Evans studied literature at Williams College before moving to Paris in 1926. In 1928, Evans moved to New York City and began taking photographs, citing Eugène Atget as an influence. He was given a solo exhibition at the Julien Levy Gallery in 1932. He traveled to Havana in the following year. The photographs taken there reveal a country in the midst of a revolution, and were published in The Crime of Cuba (1933) alongside text by journalist Carleton Beals. Two years later, Evans began working for Fortune magazine, eventually contributing over four hundred images to the publication before his departure in 1965. Evans’s penetrating documentary images express an interest in the everyday lives of individuals, balancing senses of both intimacy and detachment. His photographs of the Depression are considered some of the most iconic images of that era.


2011 ◽  
Vol 16 (4) ◽  
pp. 270-284 ◽  
Author(s):  
Stephan Schmidt ◽  
Jeremy Nemeth ◽  
Erik Botsford

2014 ◽  
Vol 01 (09) ◽  
pp. 68
Author(s):  
Suzanne Nienaber ◽  
Reena Agarwal ◽  
Emily Young

2020 ◽  
Vol 14 (5) ◽  
pp. e0008249 ◽  
Author(s):  
Donna L. Tyungu ◽  
David McCormick ◽  
Carla Lee Lau ◽  
Michael Chang ◽  
James R. Murphy ◽  
...  

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