According to Matthew Arnold an open mind is one of the chief essentials for true literary criticism. One is impressed by the truthfulness of this statement when he seeks to evaluate Negro poetry. The term, Negro poetry, has several interpretations. In its most general sense, the one in which it is used in this paper, it means poetry written by Negroes on any subject. In a more restricted sense it refers to poetry that contains allusions, rhythms, sentiments and idioms more or less peculiar to the Negro. In its narrowest meaning it refers to poetry of racial protest and self-exhortation. It is the undue publicity of poetry of protest and race pride that has displeased many readers. As far as most Americans are concerned, the Negro has been appropriately called "the great American taboo." It is this race prejudice that confronts the critic. A Negro is inclined to praise too highly or, to avoid the accusation of favoritism, to condemn unjustly. The white critic is unconsciously influenced by a feeling of superiority. One of mixed blood is prejudiced toward one side or the other. An honest attempt, however, has been made in this paper to judge fairly the Negro poetry of the twentieth century.

The problem in this study was to examine the relationship of social-climate to the degree of desegregation in the public schools of Kentucky. This study attempted to determine the relationship of educational, economic and social characteristics of those school districts with bi-racial student bodies operating in Kentucky and the degree of desegregation experienced voluntarily by those districts during the period from 1955-56 school year through the 1963-64 school year.

This study is an analysis and interpretation of oral folk history preserved in the Florida Narratives, one state collection of ex-slave narratives from the larger Federal Writers' Project collection compiled in the 1930s. Fifty-four tales were extracted from this state collection and used as a basis for this study. These personal reminiscences, called memorates by folklorists, fell into two categories: slavery and the Civil war. The tales about slavery were compared to the theses and conclusions regarding slavery held by sociologists and The tales about the Civil War and emancipation were gathered by historians. The comparison revealed that there are many reasons these ex-slaves remembered and recounted these tales to collectors. The recording of history was not the primary purpose of these tales. The overriding factor in what was remembered and told about slavery and the Civil War appears to be how the tales functioned to contribute to the self-esteem of the narrators. Emphasis on the following subjects contributed to the dignity of the tale tellers: endurance of cruelty, punishment for excelling in and Indian Civil war, areas supposedly closed to slaves, identification with white ancestors, interpretation of slavery as the only issue of the identification with famous persons and regiments involved in the Civil War, participation in the Civil War effort, emancipation of slaves, administration of revenge or justice to former masters, and personalizing the narratives. Because of their function as ego-builders, the tales in the Florida Narratives cannot be viewed as an accurate or complete picture of slave life and the Civil War. It is evident that in many cases these personal reminiscences, or memorates, were fictionalized and distorted. The folk memory which distorts and fictionalizes, however, is also capable of amazing accuracy. Oral traditions, therefore, must be examined and interpreted individually to arrive at their accuracy and usefulness.

This dissertation studies the musical activities of the Venezuelan pianist and composer Teresa Carreño (1853-1917) during her formative years in Caracas. It examines the sources that pertain to her musical environment, early piano training, and first compositions in the context of the growth in Caracas of the practices of recreational sociability, the increasing influence of virtuosic music, and the tradition of private concert-making sponsored by devoted music amateurs. This study argues that Teresa Carreño’s musical upbringing occurred in a social and cultural context in which Enlightenment-framed ideologies of civilization and social progress, shaped in fundamental ways the perceptions of the value of music and women in society, and their role in the newly-founded republic. This study is aimed at reconstructing Teresa Carreño’s musical activities in Caracas as a means for elucidating the values, aspirations, and contradictions of Caracas’s musical culture and how these were articulated within the broader context of the nation-building process that was shaped and promoted by the progressive intelligentsia since the early nineteenth-century.

This research analyzed three Latina social media celebrities’ self-presentations on Instagram and focused on whether or not the content they published potentially challenges or simply perpetuates stereotypical tropes of Latinas found in mainstream media. This qualitative study took an Ideological Critical approach through a textual analysis that was informed by Feminist Theory. More specifically the research focused on: What were Latina social media celebrities self-presentations on Instagram that characterize what a Latina is? How were Latina social media celebrities self-presentations different from or similar to, mainstream stereotypical tropes for Latinas? Lastly, how do the Latina social media celebrities’ self-presentations compare and contrast, what type of themes emerged?

The What If Collection is a visual narrative that confronts white supremacy, the social, economic, and political ideology used to subjugate black civilization via colonial rule and enslavement in history and via structural racism today. Many white people have been socialized into a racial illiteracy that fosters white supremacy. This racial illiteracy fails to realize and understand the destructive effects of Western dominance on the rest of the world, particularly on past and present Africa and her diaspora. In response, utilizing discursive design, the collection constructs a counter-story that depicts a shift in the power structure in which the white oppressor is placed in the historical experience of the black oppressed. Moving forward from the past, a contemporary society is visualized where black people are the dominant force.

This dissertation explores the intellectual discourse on race in the early twentieth century, particularly from 1919 to 1958, examining how British and American eugenicists and Caribbean nationalists debated the limits of colonial politics in the British Caribbean using academic and scientific language. These discussions emerged in the aftermath of World War I, the economic crises that led to the Great Depression, the political and labor unrest in the British Caribbean, and consequences of the Second World War. The dissertation’s goal is to examine how residents of the British Caribbean understood, appropriated, and challenged some of the principles of eugenics, particularly those espousing ideas of white superiority. The dissertation has taken great consideration of both private and published sources from white and black intellectuals in the Anglophone Caribbean to document the dissemination of concepts of race, ethnicity, and identity in the region during the interwar period. Additionally, focusing on such critical areas as education and social policies, it explores whether eugenic ideas influenced the twentieth-century governance of British West Indian colonies.

This thesis works to establish a literary theory and cultural studies as a theoretical lens with which we can view harmful emerging pop culture phenomena like the so-called alt right. The premise is supposed in three parts, with the first being a simple introduction to the Pepe character and how he is grounded in literary studies through a comparison of Sherlock Holmes and his early fandom. The second part is a survey of the legacy of Jim Crow and I present the evidence that Pepe is very much Crow’s spiritual successor in their shared preoccupation with white anxiety. The third is a discussion of language in which I bridge the use of memes as language with how that language effectively communicates. Ultimately, Pepe the Frog is able to tap into the pop culture collective through a democratizing of language facilitated by digital spaces on the internet, and his proliferation is made readily viral by the racist language he speaks through ala Jim Crow era anxieties.

There is a tendency in education theory to place the focus on the consequences of racial hegemony (racism, Eurocentric education, low performance by racial minorities) and ignore that race is antecedent to these consequences. This dissertation explores the treatment of race within critical theory in education. I conduct a metaphysical analysis to examine the race concept as it emerges from the works of various critical theorists in education. This examination shows how some scholars affirm the scientifically discredited race concept by offering racial essentialist approaches for emancipatory education. I argue that one of consequences of these approaches is the further tightening of racial constraints on the student’s personal autonomy. This mandates that critical theorists gain a deeper understanding of race as a problem, conceptually, epistemically, ideologically, and existentially. I argue that critical theorists of education draw from work conducted in the philosophy of race by theorists such as K. Anthony Appiah, Jorge Gracia, Charles Mills, and Naomi Zack to gain insights on the metaphysics of race to better inform theory and praxis. I further recommend the creation of a critical philosophy of race in education to address and combat race as a problem and its consequences. I contend that the groundwork for philosophy of race in education must entail strategies that encourage and assist theorists and teachers to move toward the elimination of the race in society, while utilizing race only as heuristic tool to address its consequences. Additionally, I argue that a philosophy of race in education must advocate for an education for autonomy as a means to racial liberation for students.

This thesis aims to investigate the traces of multicultural implications in Joachim Heinrich Campe’s Robinson der Jüngere 1779/80. On one level, Campe’s adaptation of Defoe’s Robinson Crusoe appears to awaken or sustain potential colonial fantasies among its German readers. However, Campe’s Robinson der Jüngere does not follow colonial conventions, such as exhibited in Defoe, but instead depicts a society based much more on the concept of a common humanity shared by Europeans and Caribbean natives alike. It conceives of cooperation and exchange as a mutual gain for both parties. Robinson’s island functions as a kind of social testing ground offering opportunities for trial runs of Campe’s social-utopian concepts. In this way, the society Campe portrays offers an implicit critique of the colonial realities in his era as practiced by the European colonial powers. Thus, Robinson der Jüngere goes beyond the obvious pedagogical aim, inspired by Rousseau, to raise pious, self-sufficient and industrious citizens. Instead its underlying socio-political message deserves attention. In comparison with Defoe, Campe distances himself from practices of then-current colonial behavior, such as slavery and self-enrichment from exploiting natural resources. Among the indications that Campe was attempting to establish an ideal alternative to the colonialism of his era are his depictions of an amicable bond between Robinson and Freitag, the marriages of Europeans and natives and even the distinct wish of the Spaniards and Englishmen to remain in the ideal society Robinson had crafted on his island, rather than returning to Europe. The international success of Robinson der Jüngere suggests the lasting influence it had on generations of readers. In the analysis I present, Campe subliminally educates the listening children in the book and the reading public to become open-minded citizens of future societies.