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Full-Text Articles in Arts and Humanities
The "Dallas Way": Protest, Response, And The Civil Rights Experience In Big D And Beyond, Brian D. Behnken
The "Dallas Way": Protest, Response, And The Civil Rights Experience In Big D And Beyond, Brian D. Behnken
Brian D. Behnken
A MERICANS NOW ALMOST UNIVERSALLY THINK OF THE CIVIL RIGHTS ii. movement as a war waged between peaceful, supplicating black activists and violent, reactionary white racists. Turn on any news retrospective about the middle ofJanuary, or during Black History Month, and you will likely see scenes from Martin Luther KingJr. 's "I have a dream" speech or the March on Washington juxtaposed against images of whites attacking nonviolent African Americans with fire hoses, billy clubs, and German shepherds. While the factuality of these events cannot be disputed, the binary images ofviolence and nonviolence have come to represent the civil rights …
Who’S Your Mammy?: Figuring Aunt Jemima, Harrison W. Inefuku
Who’S Your Mammy?: Figuring Aunt Jemima, Harrison W. Inefuku
Harrison W. Inefuku
In existence for over a century, the advertising icon Aunt Jemima remains a point of contention for many African Americans, despite a recent makeover that attempted to remove visual signifiers of slavery. To understand the icon's negativity, I explore its roots in slavery,the minstrel stage and The Exhibition of the Other. I then move to an analysis of "The Legend of Aunt Jemima," a series of advertisements produced in the 1920s, to determine how racism was manifested in the icon*s promotional materials.
Who's Your Mammy?: Figuring And Refiguring Aunt Jemima, Harrison W. Inefuku
Who's Your Mammy?: Figuring And Refiguring Aunt Jemima, Harrison W. Inefuku
Harrison W. Inefuku
In existence since the late 1890s, advertising icon Aunt Jemima has been indelibly etched into the American memory—virtually unchanged from her debut until her makeover in 1989. Before this recent transformation, Aunt Jemima was the quintessential embodiment of the mammy stereotype—a heavyset black woman, complete with apron and bandana. Her creation was situated at the locus of several racist traditions and discourses directed towards African Americans—the mammy stereotype, the minstrel show, The Myth of the Old South, and the Exhibition of the Other. This embodiment of multiple racist practices helps to explain how the mammy in general, and Aunt Jemima …
Pollution And Hybridity: Cultural Collision In Masami Teraoka's Mcdonald's Hamburgers Invading Japan (1974–5), Harrison W. Inefuku
Pollution And Hybridity: Cultural Collision In Masami Teraoka's Mcdonald's Hamburgers Invading Japan (1974–5), Harrison W. Inefuku
Harrison W. Inefuku
Japanese-born artist Masami Teraoka immigrated to the United States in the 1960s, in the midst of a burgeoning post-war mass consumer society. During a visit to Vancouver, the artist was struck by the Golden Arches of McDonald's looming over the city and was prompted to create his series, McDonald's Hamburgers Invading Japan (1974-5), which shows the impact of the American multinational corporation on a post-World War II Japan. Completed in watercolor to resemble ukiyo-e woodblock prints, Teraoka shows the permeability of the boundaries between East and West. In my analysis of the series, I build on concepts of pollution and …
Pollution In Inner And Outer Spaces: Masami Teraoka's Mcdonald's Hamburgers Invading Japan, 1974–5, Harrison W. Inefuku
Pollution In Inner And Outer Spaces: Masami Teraoka's Mcdonald's Hamburgers Invading Japan, 1974–5, Harrison W. Inefuku
Harrison W. Inefuku
Japanese-born artist Masami Teraoka arrived in the United States in the 1960s, in the midst of a burgeoning post-war mass consumer society. During a visit to Vancouver, the artist was struck by the Golden Arches of McDonald's looming over the city as a portent of a global takeover by the company. This awareness prompted his series, McDonald's Hamburgers Invading Japan (1974-5), which depicts an old, traditional Japanese culture coming into contact with a new, modern American one with results that are at times humorous, and at others, chaotic. Completed in watercolor to resemble ukiyo-e woodblock prints, Teraoka masterfully fuses Eastern …
Artful Identifications: Crafting Survival In Japanese American Concentration Camps, Jane E. Dusselier
Artful Identifications: Crafting Survival In Japanese American Concentration Camps, Jane E. Dusselier
Jane E. Dusselier
"Artful Identifications" offers three meanings of internment art. First, internees remade locations of imprisonment into livable places of survival. Inside places were remade as internees responded to degraded living conditions by creating furniture with discarded apple crates, cardboard, tree branches and stumps, scrap pieces of wood left behind by government carpenters, and wood lifted from guarded lumber piles. Having addressed the material conditions of their living units, internees turned their attention to aesthetic matters by creating needle crafts, wood carvings, ikebana, paintings, shell art, and kobu. Dramatic changes to outside spaces of "assembly centers" and concentration camps were also critical …
Countrysides Transformed, Pamela Riney-Kehrberg
Countrysides Transformed, Pamela Riney-Kehrberg
Pamela Riney-Kehrberg
Rural and agricultural history provide their readers different perspectives on the ways in which the countryside has changed over the course of American history. Rural history approaches the question of change from the perspective of communities and families, while agricultural history generally eschews the social perspective for issues of crop production. Such is the case of two recent and important books in rural and agricultural history, Hal Barron's Mixed Harvest: The Second Great Transformationin the Rural North, 1870-1930 and Steven Stoll's The Fruits of Natural Advantage: The Making of the Industrial Countryside in California. While both authors are intimately concerned …
Women, Technology, And Rural Life: Some Recent Literature, Pamela Riney-Kehrberg
Women, Technology, And Rural Life: Some Recent Literature, Pamela Riney-Kehrberg
Pamela Riney-Kehrberg
Historical study of American farm women has had a relatively short life, reaching back approximately twenty years. Rural women rarely existed in earlier scholarship that reserved the categories of farmer and farming for males. Agricultural history thus manifested itself as a story of men and their tools, stretching back historiographically into the early days of the 20th century. Although in 1953 Jared van Wagenen described in careful detail many of the physical processes of farming in The Golden Age of Homespun, the women's work from which he derived his title occupied less than twenty pages at the end of his …