Recent scholarship on black transnationalism and diaspora in the early twentieth century has largely focused on migration to the urban centers of the US North and Western Europe. “Mapping the Global Black South: Aesthetics, Labor, and Diaspora” revises this discourse by exploring the movement of people, cultural practices, and ideas between the US South and the Caribbean as an alternative network of African diasporic affiliation. According to Caribbean theorist Édouard Glissant, “the Plantation system” created a “rhythm of economic production” and a “style of life” that links the US South to the Caribbean and parts of Latin America. Building on Glissant’s geographic frame, this dissertation establishes the plantation—a fundamentally modern form of labor organization—as the figural and literal organizing principle of “the global black south”: a matrix of diasporic articulation, subject formation, and knowledge and cultural production. Through close readings of works by Booker T. Washington, Claude McKay, Zora Neale Hurston, and Jean Price-Mars, this study examines how African American and Caribbean writers and intellectuals mobilized aesthetics—literature, music, photographs, and performance—to imagine alternative futures within and against the legacy of the plantation. By drawing on theories of the plantation in Caribbean and New Southern Studies, “Mapping the Global Black South” makes critical interventions in the field of African American Studies, where the plantation is almost exclusively regarded as a metonym for slavery and anti-modernity. In Caribbean Studies, by contrast, scholars have proposed a more nuanced rendering of the plantation as the genesis of black modern life and culture, and in New Southern Studies, it has been reconceived as the link that tethers the US South to the global south (based on similar patterns of underdevelopment). Through an interdisciplinary and multimedia methodology, then, this study interrogates the paradox of the plantation as at once local and global, fecund and barren, static and fungible—as a site of agricultural production that animates the flow of global capital, on the one hand, and a modern technology of power that exploits the land and the bodies forced to work it, on the other. In so doing, it establishes the plantation as a matrix of global black south cultures that revises traditional understandings of black modernity and creates new systems of connectivity and legibility for contemporary scholarship. Moreover, in reconsidering the plantation as a crucible of black modernity, “Mapping the Global Black South” reconstructs the historical significance of the Tuskegee Institute—a former plantation turned industrial school—as a nodal point of black diasporic affiliation and a model for resolving one of the fundamental predicaments of New World blackness: the problem of free labor. Given that slavery was a system of coerced and exploitative labor, the greatest challenge of emancipation throughout the global black south was transforming a mass of formerly enslaved persons into autonomous workers. Thus, by the turn of the twentieth century, black artists and intellectuals from across the region began to embrace (and adapt) Booker T. Washington’s vision of an agrarian and industrial future (by way of Tuskegee) as a strategy for racial uplift and self-determination. Whereas Washington’s reformism is commonly reduced to a foil for W.E.B. Du Bois’ radicalism, this dissertation resituates Washington within a hemispheric framework to reconsider how his theories contribute to a more capacious epistemology of the “plantation” in African American Studies. “Mapping the Global Black South” is thus organized around two interrelated concerns: the plantation as an alternative framework of black transnationalism and a site of cultural production that evinces the persistence of black life within structures of social death; and Tuskegee’s significance as a symbol of modernity and a nodal point of diasporic articulation at the turn of the twentieth century. In so doing, it illuminates how the plantation shaped the new futures that emerged in the US South and the Caribbean in the aftermath of slavery.

This dissertation provides a history of the white supremacist police-state in Nairobi beginning with the excursions of European-led caravans and ending with the institutionalizing of the municipal entity known as the township of Nairobi. It argues that the town was not an entity in which white supremacist and colonial violence occurred but that it was itself an effect white supremacy. It presents the invasion of whiteness into the Nairobi region as an invasion of a new type of power: white supremacist police power. Police power is reflected in the flogging of indigenous peoples by explorers, settlers and administrators and the emergence of new institutions including the constabulary, the caravan, the “native location” and the punitive expedition. It traces the transformation of the figure of the indigenous other as “hostile native,” “raw native,” “native,” “criminal-African” and finally “African.” The presence of whiteness, the things of whiteness, and bodies racialized as white in this settler-colonial society were corrosive and destructive elements to indigenous life and were foundational to the construction of the first open-air prison in the East African Hinterland.

Mess to the Press is a narrative of the life of Alexander Murray Palmer Haley (Alex Haley), the author and twenty-year United States Coast Guard veteran who wrote his way into annals of the nation’s literary, journalistic, and military histories. While the Pulitzer Prize-winning Haley is best known for authoring The Autobiography of Malcolm X (1965) and the genealogical epic Roots (1976), this study archives and considers over two decades of writerly practices that precede publication of these seminal texts. More specifically, the narrative history presented here—charted from a complex network of archival materials and oral histories that span oceans and continents—critically examines Haley’s origins as a master storyteller, a griot of sorts, whose literary and journalistic contributions subverted the forms, functions, and outlets of traditional narrative accounts for his mid-twentieth-century audiences. Drawing on stories told within and across government documents, special collections, oral histories, periodicals, physical artifacts, and retired Coast Guard members’ personal letters and photographs, the researcher employed historiographical methods to examine the following questions: (1) How does Haley become a writer? (2) How does Haley come to recognize, develop, hone, and share his writing as an active duty Coast Guard member (1939-1959) at a time when African American service members endured the realities of a segregated service while fighting for Democracy and Civil Rights on both home and warfronts? and (3) To what extent do literacy practices, skills, and experiences from Haley’s Coast Guard service emerge in his early post-Coast Guard retirement research, writing, and journalism? As this study traces Haley’s journey from scrubbing pots in a shipboard galley to composing galley proofs for some of the country’s best-selling periodicals, the reader is asked to consider how this revisionist account is less of a traditional critical literary biography and more of an autobiographical assemblage. Textual and material analysis of periodicals, special collections holdings, and oral histories navigated by its female, active-duty Coast Guard author works to navigate and expose the roots of Haley’s early writing life and journalistic journey.

Burford discusses his development as a painter while earning his MFA at the University of Iowa. He emphasizes that he wanted to paint in a style understandable to layman and critic alike and came to be known as a figurative artist. Three black and white photos of the oil paintings laid in. The two paintings "Circus workers" and "Reclining figures" depict African American men, the third "Vigilantes" shows two hooded Ku Klux Klan-like figures.

No description available.

Thesis (D. Min.)--Ashland Theological Seminary, 2005. / Abstract. Includes bibliographical references (leaves 201-206).

Degree awarded (2003): EdDHRD, Counseling, Human and Organizational Studies, George Washington University / ABSTRACT OF DISSERTATION<p>The Effect of Patient Race upon Physicians Colorectal Cancer Screening: A Retrospective Medical Record Review and Physician Pattern Variable Analysis<p>There is a significant disparity in the health status of African-Americans and whites in the United States. Studies have revealed that African-Americans have higher mortality rates from colorectal cancer than whites. Differences in colorectal cancer screening of African-Americans compared to whites may account for a proportion of the excess mortality. This study evaluated internal medicine resident physicians colorectal cancer screening practices in African-American and white patients. Additionally, an analysis of physicians pattern variable orientation was performed to determine if there was a relationship between physicians orientation and adherence to colorectal cancer screening guidelines.<p>A retrospective review of medical records from January 2002 through March 2002 was conducted to assess internal medicine resident physicians performance of colorectal cancer screening. Univariate analysis revealed that there were statistically significant differences in the rate at which physicians performed rectal examinations (p=0.0039), fecal occult blood testing (p=0.0006) and colonic examinations (p<0.0001) in African-American compared to white patients. Multivariate analysis, evaluating patient race, patient gender, patient age and physician gender, demonstrated that patient race was the only factor significant for not performing colorectal cancer screening tests.<p>Physicians perspectives about the medical profession and the delivery of medical services were assessed by evaluating pattern variable orientations. Integrative, value and motivational orientations of the physicians were determined by using semi-structured interviews. All of the physicians had a self-orientation (integrative pattern variable), a universalistic-achievement orientation (value pattern variables) and a specificity orientation (motivational pattern variable). However, the physicians differed in their affectivity-affective neutrality orientation (motivational pattern variable). All of the physicians who had an affective orientation toward their patients adhered to colorectal cancer screening recommendations. The physicians who expressed affective neutrality toward their patients did not adhere to colorectal cancer screening recommendations.<p>This study revealed significant differences in the performance of colorectal cancer screening in African-American compared to white patients. Additionally, physicians pattern variable orientations correlated with adherence to practice guidelines. This study is important because it provides information about physician practice patterns. The results of this study can serve as the basis for the development of educational interventions for physicians that can improve health care delivery. / Advisory Committee: Dr. John Williams, Dr. David Schwandt (Chair), Dr. Andrea Casey, Dr. Jeffrey Lenn, Dr. Victor Scott

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on Feb. 8, 2007). PDF text: 252 p. UMI publication number: AAT 3216342. Includes bibliographical references. Also available in microfilm and microfiche format.

Thesis (M.A.)--Kutztown State College, 1982. / Source: Masters Abstracts International, Volume: 45-06, page: 2832. Typescript. Abstract precedes thesis as [2] preliminary leaves. Includes bibliographical references (leaves 67-68).

Thesis (Ph. D.)--University of Florida, 2005. / Includes vita. Includes bibliographical references.