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Journal articles on the topic 'Images of Blacks'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Fiske, Susan T., Hilary B. Bergsieker, Ann Marie Russell, and Lyle Williams. "IMAGES OF BLACK AMERICANS." Du Bois Review: Social Science Research on Race 6, no. 1 (2009): 83–101. http://dx.doi.org/10.1017/s1742058x0909002x.

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AbstractImages of Black Americans are becoming remarkably diverse, enabling Barack Obama to defy simple-minded stereotypes and succeed. Understood through the Stereotype Content Model's demonstrably fundamental trait dimensions of perceived warmth and competence, images of Black Americans show three relevant patterns. Stereotyping by omission allows non-Blacks to accentuate the positive, excluding any lingering negativity but implying it by its absence; specifically, describing Black Americans as gregarious and passionate suggests warmth but ignores competence and implies its lack. Obama's credentials prevented him from being cast as incompetent, though the experience debate continued. His legendary calm and passionate charisma saved him on the warmth dimension. Social class subtypes for Black Americans differentiate dramatically between low-income Blacks and Black professionals, among both non-Black and Black samples. Obama clearly fit the moderately warm, highly competent Black-professional subtype. Finally, the campaign's events (and nonevents) allowed voter habituation to overcome non-Blacks' automatic emotional vigilance to Black Americans.

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2

Brown-Guillory, Elizabeth. "Images of Blacks in Plays by Black Women." Phylon (1960-) 47, no. 3 (1986): 230. http://dx.doi.org/10.2307/274990.

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3

Cooke, Michael G., David Dabydeen, and Angelo Costanzo. "Hogarth's Blacks: Images of Blacks in Eighteenth Century English Art." Eighteenth-Century Studies 22, no. 2 (1988): 225. http://dx.doi.org/10.2307/2738869.

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4

Sabor, Peter, and David Dabydeen. "Hogarth's Blacks: Images of Blacks in Eighteenth Century English Art." Yearbook of English Studies 18 (1988): 288. http://dx.doi.org/10.2307/3508233.

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5

White, Sylvia E., and Tania Fuentez. "Analysis of Black Images in Comic Strips, 1915–1995." Newspaper Research Journal 18, no. 1-2 (January 1997): 72–85. http://dx.doi.org/10.1177/073953299701800107.

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Negative stereotypes of blacks were dominant in strips before 1955, but virtually nonexistent in 1995. Black characters in current strips are portrayed in a wider variety of occupational roles and social settings than in the past.

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6

Spears, Arthur K. "Culture Critique and Colorstruction: Black-Produced Media Images of Blacks." Transforming Anthropology 3, no. 1 (January 1992): 24–29. http://dx.doi.org/10.1525/tran.1992.3.1.24.

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7

CLARKE, A. "White on Black: Images of Blacks in Western Popular Culture." Journal of Design History 6, no. 3 (January 1, 1993): 218–20. http://dx.doi.org/10.1093/jdh/6.3.218.

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8

Kim, Seog-Jun, and Darrell H. Reneker. "Scanning Tunneling Microscopy of Carbon Blacks." Rubber Chemistry and Technology 66, no. 4 (September 1, 1993): 559–66. http://dx.doi.org/10.5254/1.3538328.

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Abstract Three kinds of carbon black, HAF (high abrasion furnace, N330), MT (medium thermal, N990), and graphitized MT were observed with the scanning tunneling microscope (STM), the transmission electron microscope (TEM), and the scanning electron microscope (SEM) All the STM images are formed from measurements of the x, t, and z position of points on the surface of the particle. The STM images of carbon blacks were compared to transmission electron microscope (TEM) photographs. Pitted and stepped bumps were observed on the surface of HAF carbon black. The surface of MT carbon black was more rough and disorganized At the atomic scale, ordered structure was found on the surface of HAF carbon-black particles Graphitized MT carbon-black particles were faceted polyhedra. Some facets were smooth while others had multiple terraces. The surface of graphitized MT carbon black was so well ordered that a lattice of carbon atoms similar to HOPG (highly ordered pyrolytic graphite) was observed on the smooth facets.

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9

Torres, Kimberly C., and Camille Z. Charles. "METASTEREOTYPES AND THE BLACK-WHITE DIVIDE: A Qualitative View of Race on an Elite College Campus." Du Bois Review: Social Science Research on Race 1, no. 1 (March 2004): 115–49. http://dx.doi.org/10.1017/s1742058x0404007x.

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We employ qualitative in-depth and focus group data to examine how racial stereotypes affect relations between Black and White undergraduates at the University of Pennsylvania. Specifically, we employ the concept of metastereotypes—Blacks' knowledge and perceptions of the racial attitudes that Whites have of Blacks. Our interest is in the accuracy of Black students' beliefs about Whites' racial attitudes to their group, and the consequences of metastereotypical thinking for Black students' academic performance. We find that the Black students in our sample possess some clear and largely negative metastereotypes concerning how Whites generally think about Blacks, and these metastereotypes are quite accurate. Moreover, these negative group images are at the heart of a key campus “problem”—Whites' hostility to affirmative action and the assumption that Blacks are not qualified to be at the university; and, ironically, most Blacks seem to have internalized a piece of these negative stereotypes. These results are a tangible manifestation of double-consciousness—Blacks' perceptions of themselves both through their own eyes and through the eyes of Whites, and evidence of Steele's theory of stereotype threat, in as much as Black students expend considerable energy attempting to debunk the myth of Black intellectual inferiority.

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10

Whatley, Mariamne H. "Photographic Images of Blacks in Sexuality Texts." Curriculum Inquiry 18, no. 2 (1988): 137. http://dx.doi.org/10.2307/1179455.

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11

Whatley, Mariamne H. "Photographic Images of Blacks in Sexuality Texts." Curriculum Inquiry 18, no. 2 (June 1988): 137–55. http://dx.doi.org/10.1080/03626784.1988.11076033.

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12

Lindfors, Bernth, and Jan Nederveen Pieterse. "White on Black: Images of Africans and Blacks in Western Popular Culture." International Journal of African Historical Studies 26, no. 2 (1993): 415. http://dx.doi.org/10.2307/219565.

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13

Vickery, Kenneth P., and Jan Nederveen Pieterse. "White on Black: Images of Africa and Blacks in Western Popular Culture." Journal of Interdisciplinary History 25, no. 3 (1995): 562. http://dx.doi.org/10.2307/205762.

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14

Jordan, Winthrop D., and Jan Nederveen Pieterse. "White on Black: Images of Africa and Blacks in Western Popular Culture." American Historical Review 98, no. 5 (December 1993): 1571. http://dx.doi.org/10.2307/2167081.

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15

Lacey, Barbara E. "Visual Images of Blacks in Early American Imprints." William and Mary Quarterly 53, no. 1 (January 1996): 137. http://dx.doi.org/10.2307/2946827.

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16

Wang, Meng-Jiao, Siegfried Wolff, and Burkhard Freund. "Filler-Elastomer Interactions. Part XI. Investigation of the Carbon-Black Surface by Scanning Tunneling Microscopy." Rubber Chemistry and Technology 67, no. 1 (March 1, 1994): 27–41. http://dx.doi.org/10.5254/1.3538665.

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Abstract Scanning tunneling microscopy (STM) has recently been demonstrated to be a powerful and versatile tool to image the microstructure of the surface of carbonaceous materials. In this study, the surfaces of carbon blacks, both graphitized and nongraphitized, were investigated with this technique. The STM images show that the carbon-black surface can be classified into two domains, an organized and an unorganized one. The degree of carbon atom organization varies with the carbon-black grade and increases drastically upon graphitization. The surface energies and energy distributions of graphitized and nongraphitized carbon blacks, measured by inverse gas chromatography, correlate well with their surface microstructure. Mapping of the carbon-black topography showed that although the surface is not smooth, there is no significant porosity either.

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17

Christophe, Marc A. "Changing Images of Blacks in Eighteenth Century French Literature." Phylon (1960-) 48, no. 3 (1987): 183. http://dx.doi.org/10.2307/274378.

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18

Entman, Robert M. "Representation and Reality in the Portrayal of Blacks on Network Television News." Journalism Quarterly 71, no. 3 (September 1994): 509–20. http://dx.doi.org/10.1177/107769909407100303.

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This paper probes the images of African Americans in a thirty-day sample of videotaped news programs on ABC, CBS, and NBC, and in a computer analysis of verbatim transcripts of ABC's nightly news program for one year. Network news appears to convey more stereotyped impressions — a narrower range of positive roles — for blacks than for whites. Representations of whites in network news are more varied and more positive than of blacks, not because of conscious bias, but because of the way conventional journalistic norms and practices interact with political and social reality. The findings raise theoretical and normative questions about journalists' ability to “represent” the “reality” of black America while adhering to the professional practices that currently shape network news.

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19

Lyman, Stanford M. "Race, sex, and servitude: Images of blacks in American cinema." International Journal of Politics, Culture and Society 4, no. 1 (September 1990): 49–77. http://dx.doi.org/10.1007/bf01384770.

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20

Barlow, Deborah L. "WHITE ON BLACK: IMAGES OF AFRICA AND BLACKS IN WESTERN POPULAR CULTURE. Jan Nederveen Pieterse." Art Documentation: Journal of the Art Libraries Society of North America 12, no. 1 (April 1993): 31–32. http://dx.doi.org/10.1086/adx.12.1.27948520.

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21

Wang, C. C., S. H. Wu, J. B. Donnet, and T. K. Wang. "Microdispersion of Carbon Blacks in Rubber, Part I: Some Quantitative Aspects by AFM Image Analysis." Rubber Chemistry and Technology 79, no. 5 (November 1, 2006): 783–89. http://dx.doi.org/10.5254/1.3547966.

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Abstract The microdispersion state of carbon blacks in an emulsion SBR matrix has been observed by atomic force microscopy (AFM) and the images analyzed quantitatively. The fillers were well dispersed in the rubber samples. Different parameters, such as the surface fraction of fillers in images, particle size distance distributions, have been extracted and the main results are presented.

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22

Wilson, Christopher Kent, Peter H. Wood, Karen C. C. Dalton, and Richard H. Powell. "Winslow Homer's Images of Blacks: The Civil War and Reconstruction Years." Journal of American History 77, no. 1 (June 1990): 246. http://dx.doi.org/10.2307/2078659.

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23

Chen, Qiao, Li Jie Wang, and Stephen Westland. "A Study of Metameric Blacks for the Representation of Spectral Images." Applied Mechanics and Materials 55-57 (May 2011): 1116–21. http://dx.doi.org/10.4028/www.scientific.net/amm.55-57.1116.

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Spectral images contain a large volume of data and can be efficiently compressed by low dimensional linear models. However, there is a trade-off between the accuracy of spectral and colorimetric representation. When a spectral image is reproduced by a low-dimensional linear model, spectral error and color difference are contrary to each other and minimizing the colour error is by no means equivalent to minimizing the spectral error. Although one aim of a spectral-image file format is to preserve and represent the spectral information, most users are likely to reproduce a spectral image on a trichromatic image-reproduction system and therefore it is important that the spectral information is not preserved at the expense of colorimetric accuracy. In this study a method for spectral encoding that provides an efficient representation of the spectral information whilst perfectly preserving the colorimetric information is analysed. The lossy compression technique that is considered in this work is based on a low-dimensional linear model of spectral reflectance, with the first three basis functions represent color information and the additional basis functions are metameric blacks which preserve spectral information.

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24

Grady, John. "Advertising images as social indicators: depictions of blacks inLIFEmagazine, 1936–2000." Visual Studies 22, no. 3 (December 2007): 211–39. http://dx.doi.org/10.1080/14725860701657134.

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25

Entman, Robert M. "Modern racism and the images of blacks in local television news." Critical Studies in Mass Communication 7, no. 4 (December 1990): 332–45. http://dx.doi.org/10.1080/15295039009360183.

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26

Boney, F. N., Peter H. Wood, Karen C. C. Dalton, and Richard J. Powell. "Winslow Homer's Images of Blacks: The Civil War and Reconstruction Years." Journal of Southern History 56, no. 3 (August 1990): 545. http://dx.doi.org/10.2307/2210313.

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27

Snow, Muriel, and Grant Noble. "Urban Aboriginal Self Images and the Mass Media." Media Information Australia 42, no. 1 (November 1986): 41–48. http://dx.doi.org/10.1177/1329878x8604200112.

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While Tatz (1980) has argued that ‘the only true and constant ally of the black people of Australia is the media, particularly ABC radio and television and the major daily newspapers’(14), Aborigines themselves have been less laudatory. Macumba & Batty (1980), Gilbert (1973) and Perkins (1975) have all stated that the exclusion of Aboriginals in the media was a glaringly obvious fact of daily life, and perceived the media as a force for the destruction of Aboriginal culture. Bobbi Sykes' evaluation of the Australian media as ‘completely white-controlled, information about what blacks in this country are suffering is completely suppressed’ (Gilbert, 1973:112–113) parallels minority perceptions of the media discerned by the Kerner Commission (1968). Charged to determine the effect of the mass media on the riots in a number of American cities, the Kerner Commission (1968:362–389) gave prominence in its findings to the fact that most Negroes perceived the media as instruments of the white power structure, that the news was presented from a white perspective, and criticised the media for their failure to report adequately on the causes and consequences of the civil disorders and the underlying problems of race relations.

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28

López Ramírez, Manuela. "Icarus and Daedalus in Toni Morrison's "Song of Solomon"." Journal of English Studies 10 (May 29, 2012): 105. http://dx.doi.org/10.18172/jes.183.

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In Song of Solomon Toni Morrison rewrites the legend of the Flying Africans and the Myth of Icarus to create her own Myth. Her depiction of the black hero’s search for identity has strong mythical overtones. Morrison rescues those elements of mythology black culture which are still relevant to blacks and fuses them with evident allusions to Greek mythology. She reinterprets old images and myths of flight, the main mythical motif in the story. Her Icarus engages on an archetypical journey to the South, to his family past, led by his Daedalic guide, on which he finally recovers his ancestral ability to fly. His flight signals a spiritual epiphany in the hero’s quest for self-definition in the black community.

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29

Lee, Yueh-Ting. "Review: White on Black: Images of Africa and Blacks in Western Popular Culture by Jan Nederveen Pietrse." Explorations in Ethnic Studies ESS-14, no. 1 (August 1, 1994): 65–67. http://dx.doi.org/10.1525/ess.1994.14.1.65.

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30

Slade, Leonard A., Jessie Carney Smith, and Nikki Giovanni. "Images of Blacks in American Culture: A Reference Guide to Information Sources." Journal of Southern History 56, no. 4 (November 1990): 789. http://dx.doi.org/10.2307/2210983.

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31

Evans, Curtis J. "Urbanization and the End of Black Churches in the Modern World." Church History 76, no. 4 (December 2007): 799–822. http://dx.doi.org/10.1017/s0009640700500067.

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Historian Wallace Best argues in his Passionately Human, No Less Divine: Religion and Culture in Black Chicago, 1915-1952 (2005) that historically “we have been more accustomed to think of religion as spontaneous and supernatural.” Best maintains that we have seen religion as “something that happens—outside of human control and irrespective of social context.” He wants to challenge this conception of religion by emphasizing the active production of a new religious culture by black Americans in Chicago in the early twentieth century. The agency of lower- and working-class blacks is what Best emphasizes in his rich analysis of religion and culture in black Chicago. Although it is not clear who the “we” is in Best's analysis because he does not cite any sources on this point, I do not quite see things the way that he does. As I will demonstrate in this essay, the historiography on African American religion has not posited a static or “supernatural” conception of religion. What strikes me about the history of interpretations of African American religion is the way in which interpreters have asserted that peoples of African descent were “naturally religious,” which meant that their religion was a product of biology and nature rather than of the “supernatural.” Generally, white interpreters in the early twentieth century set the terms of the debate by arguing that blacks were naturally religious and thus unable to compete in a modern industrial world. The political and social force of such arguments has been keenly observed by black interpreters, who were eager to offer in response a more socially progressive notion of black religion in order to enlist black churches in social reform, to counter images of blacks as inhibited by nature or biology from contributing to the cultural vitality of the nation, and to insist that black religion changed in response to social circumstances (and hence the common claim in the 1940s that it was very much a product, if not an epiphenomenon, of their economic and political condition).

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32

Mustafa, Hameed Abdullah, and Sherzad Shafi'h Barzani. "The African-American Poets' Struggle for the Rights of People: A Study in Claude McKay's Selected Poems." Twejer 3, no. 3 (December 2020): 821–66. http://dx.doi.org/10.31918/twejer.2033.22.

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This study scrutinizes selected protest poems written by the prominent black poet of the Harlem Renaissance Claude McKay (1889-1948). McKay is considered as a key literary figure of the Negro movement who played a significant role in struggling for and awakening his own people to demand their rights. His major aspiration was to end all forms of prejudice and oppression against blacks portrayed in his poems during the most effective movement in African American literary history comprising the times between 1920 to almost the mid-1930s. McKay established himself as a powerful literary voice for social justice during the Harlem Renaissance constantly struggling for people's identity and rights against the widespread prejudice, segregation, and racism against blacks in America and worldwide along with his pride in his black race and culture. These central issues had different impacts on the Harlem Renaissance and on the lives and works of those who participated in that movement; depicting how both race and racism could deﬁne the African American experience in the early twentieth century, as well. McKay, skillfully combined traditional forms and political protest in many of his sonnets. He took the old poetic genre and made it new and relevant to his own project by examining within its bounds unconventional and contemporary subjects. Along with his poetic diction and imagery, he juxtaposes contrasting images to show the hypocritic nature of America, showing his inevitable faith in the country. McKay's enthusiasm for and belief in the authority of intellectuals was strengthened by his understanding of America's deep-rooted racism. He closes many of his sonnets with gloomy observations of blacks' sufferings. The clear conclusion of his struggle was the fact that negro writers succeeded in showcasing the sufferings of people, incited blacks to demand their legal rights, and proved they are capable of everything and as genius as whites. Keywords: McKay, Struggles, Racism, identity, prejudice, rights.

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33

Saleh, Asmaa Mehdi. "When Juliet Turns Black: Social Scapegoating in Alice Childress’s Wedding Band." International Journal of Applied Linguistics and English Literature 7, no. 6 (November 1, 2018): 69. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.6p.69.

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Since its production William Shakespeare’s Romeo and Juliet has been considered too modern for its time because of its portrayal of ill-fated characters whose tragedy is not triggered by any personal flaw of their own, but by family feuds and social scapegoating. In contemporary times, the playwrights still focus on similar stories of unattainable love and tragic romantic figures, who fall prey to the familial and social pressures. In her Wedding Band (1973), Alice Childress presents her black and white Romeo and Juliet who are modern victims of the omnipresent racism in their society. The play confirms that racism is not only practised by whites against blacks but also displayed by blacks against whites. In Wedding Band, Childress presents images of angry women united by their suffering and need of sisterly solidarity. Their anger is a positive rather than negative factor as it frees the heroine from the ties that make her an outcast in her own community. This paper discusses the destiny of two lovers who face refusal from their family and society and the subsequent anger of the female characters whether in favour or against this romantic relation.

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34

JR, Emerald Surya. "REPRESENTATION OF RACISM IN FILM (STUDY OF SEMIOTICS OF RASISM IN A GET OUT FILM." Jurnal Ilmiah Komunikasi Makna 9, no. 1 (February 28, 2021): 39. http://dx.doi.org/10.30659/jikm.v9i1.4939.

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Through the film "Get Out", the message of racism is shown to demonstrate the evolving behavior of human racists. This film tells the story of a modern black experience named Cris who carried the history of his ancestors. The study was conducted to represent a form of racism, the study used a qualitative method with a descriptive approach, data was obtained by observing images and dialogue. Data analysis using Roland Barthes's semiotic model which consists of a signaling order, namely denotation and connotation. The primary data source is behavior between players, and the main character, secondary data obtained from the literature. The results showed that there were three forms, the first black prejudice to whites, both discrimination against blacks, and the third change in the value of black racism. From the story on "Get Out" film shows the behavior of racism still exists today, and is growing

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35

Prieto, Leon C., Simone T. A. Phipps, John K. Osiri, and John F. LeCounte. "Creating an interface." Journal of Management History 23, no. 4 (September 11, 2017): 489–506. http://dx.doi.org/10.1108/jmh-04-2017-0016.

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Purpose This paper, via the use of management and entrepreneurial philosophies from Charles Clinton Spaulding, aims to advocate the integration of African-American Entrepreneurship and Management History into the business curriculum at historically black colleges and universities (HBCUs) as well as predominantly white institutions (PWIs). Along with this curriculum update, the use of critical pedagogy as a form of critical thinking is also recommended to complement the learning process. Design/methodology/approach Articles from early and recent newspapers, magazines, journals and books were examined and synthesised to clarify how curriculum modification and critical pedagogy could aid in increased entrepreneurial success. Findings The paper concludes with a framework that demonstrates the curriculum interface, including Spaulding’s insights and critical pedagogy, to connect black students to entrepreneurial success. Originality/value Although African-Americans surpass Caucasian-Americans in entrepreneurial attempts, blacks lag behind whites in entrepreneurial success. A reason for their higher failure rate is a lack of exposure to positive images who are also black. Integrating African-American Entrepreneurship and Management History into the business curriculum will help ensure that these positive images are sufficiently introduced and explored as a source of learning. Critical pedagogy is also endorsed as a complementary strategy to aid learning, as it is associated with processes that deviate from traditional instruction that often ignores student diversity, to facilitate the expansion of the mind as well as social transformation.

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36

Baugh, John. "IT AIN'T ABOUT RACE: Some Lingering (Linguistic) Consequences of the African Slave Trade and Their Relevance to Your Personal Historical Hardship Index." Du Bois Review: Social Science Research on Race 3, no. 1 (March 2006): 145–59. http://dx.doi.org/10.1017/s1742058x06060103.

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While most Americans agree that government officials failed to act promptly to provide food, water, shelter, and other relief to the victims of Hurricane Katrina, they disagree about the racial relevance of this negligence. Nevertheless, the unavoidable images of the storm's disproportionately high number of African American victims among those unable to flee a foretold disaster brought into view the specter of racial inequality. While most theorists and commentators have used race and poverty as the primary lenses through which to view Katrina's human toll, this paper utilizes linguistic rubrics and relative immigration status to address inequities globally suffered by people of African descent. In the case of American Blacks, our emphasis is on Blacks with ancestral ties to enslaved Africans, since those who suffered most in the wake of Katrina were not merely Black, but also direct descendants of American slaves of African origin. Framing the discussion in terms of linguistic ancestry, its relationship to slavery, and instances of (c)overt social and educational apartheid born of statutory racial segregation, I develop aHistorical Hardship Indexas an alternative way to advance equality in the period after the end of African slave trade. The proposed Historical Hardship Index can be applied—with slight regional modifications—to anyone, anywhere, without reference to race.

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37

Kamionowski, Jerzy. "“Dig, What Makes Your Mouth So Big?”: Off-Modern Nostalgia, Symbolic Cannibalism, and Crossing the Border of the Universal Language in Clarence Major’s “The Slave Trade: View from the Middle Passage”." Studia Anglica Posnaniensia 52, no. 2 (December 1, 2017): 251–68. http://dx.doi.org/10.1515/stap-2017-0009.

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Abstract African American literature on the Middle Passage has always challenged white supremacy’s language with its power to define and control. This article demonstrates how the border of such a “Universal Language” is challenged and trespassed in Clarence Major’s ekphrastic poem “The Slave Trade: View from the Middle Passage” in order to communicate – through the implementation of the voice of a disembodied water spirit Mfu – the black perspective on understanding the slave trade and effectively resist the symbolic cannibalism of Western Culture. The trope of antropophagy often appears in Middle Passage poems in the context of (mis)communication (which results in the production of controlling, racist images of blacks) and stands as a sign of Euro-American power to create the historical, hierarchical, racial reality of the Atlantic slave trade in its economic and symbolic dimensions. The strategy implemented by Major in his poetic confrontation with representation of historical slave trade in European and American Fine arts may be classified as “off-modern” (to use Svetlana Boym’s (2001) nomenclature), which immediately places his poem in a “tradition of critical reflection on the modern condition that incorporates nostalgia” as a means of a critical analysis of the heritage and limitations of a given culture. My claim is that the poem’s “off-modern nostalgia” perspective is a version of textualist strategy which Henry Louis Gates (1988) identifies as Signifyin(g). Major/Mfu successfully perforates and destabilizes the assumed objectivity and neutrality of the images of blacks and blackness created and circulated within the realm of the visual arts of the dominant Western Culture. In “The Slave Trade: View from the Middle Passage” Signifyin(g) takes the form of what could be called an ekphrastic (re)interpretation of actual works of art and joins in the critique of essentialist views often associated with understanding of meaning.

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38

Harris, LaShawn Denise. "“Women and Girls in Jeopardy by His False Testimony”: Charles Dancy, Urban Policing, and Black Women in New York City during the 1920s." Journal of Urban History 44, no. 3 (October 6, 2016): 457–75. http://dx.doi.org/10.1177/0096144216672447.

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Troubling partnerships between the New York City Police Department (NYPD) and criminal informants during the mid-1920s adversely impacted urban African American women’s daily lives. Part of multiple hierarchies of municipal corruption, undercover surveillance operations represented one of many apparatuses law enforcers employed to criminalize black women’s ordinary behavior, to reinforce Progressive era images of black female criminality and promiscuity, and to deny women of their personhood and civil rights. Black New Yorker and criminal informant Charles Dancy, identified by local black newspapers as a vicious con artist and serial rapist, figured prominently in undercover police operations. Dancy falsely identified black women as sex workers and had them arrested, and in the process sexually assaulted women. New York blacks were outraged by some NYPD members’ use of informants as well as black women’s erroneous legal confinement. Situating informant work within the context of police brutality, racial inequity, and the denial of American citizenship, New York African American race leaders, newspaper editors, and ordinary folks devised and took part in resistance strategies that contested police surveillance operations and spoke on behalf of those who were subjected to state sanctioned violence.

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39

Krause, Neal, and Gail Ironson. "Positive God Images and Positive Emotions toward God: Exploring Variations among Whites, Blacks, and Hispanics." Pastoral Psychology 66, no. 2 (December 2, 2016): 269–80. http://dx.doi.org/10.1007/s11089-016-0742-0.

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40

McVey, Jake, and Graham Finlayson. "Least-Squares Optimal Contrast Limited Histogram Equalisation." Color and Imaging Conference 2019, no. 1 (October 21, 2019): 256–61. http://dx.doi.org/10.2352/issn.2169-2629.2019.27.46.

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Contrast Limited Histogram Equalisation moves the input image histogram gently towards one which has a more uniform distribution. Viewed as a tone mapping operation, CLHE generates a tone curve with bounded max and min slopes. It is this boundedness which ensures that the processed images have more detail but few artefacts. Outside of limiting contrast, recent improvements to histogram equalisation include constraining the tone curve to make good whites and blacks and constraining the tone curve to be smooth. This paper makes three contributions. First, we show that the CLHE formalism is not least-squares optimal but optimality can be achieved by reformulating the problem in a quadratic programming framework. Second, we incorporate the additional constraints of tone curve smoothness and good whites and blacks in our quadratic programming CLHE framework. Third, experiments demonstrate the utility of our method.

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Komatsu, Rina, and Tad Gonsalves. "Comparing U-Net Based Models for Denoising Color Images." AI 1, no. 4 (October 12, 2020): 465–87. http://dx.doi.org/10.3390/ai1040029.

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Digital images often become corrupted by undesirable noise during the process of acquisition, compression, storage, and transmission. Although the kinds of digital noise are varied, current denoising studies focus on denoising only a single and specific kind of noise using a devoted deep-learning model. Lack of generalization is a major limitation of these models. They cannot be extended to filter image noises other than those for which they are designed. This study deals with the design and training of a generalized deep learning denoising model that can remove five different kinds of noise from any digital image: Gaussian noise, salt-and-pepper noise, clipped whites, clipped blacks, and camera shake. The denoising model is constructed on the standard segmentation U-Net architecture and has three variants—U-Net with Group Normalization, Residual U-Net, and Dense U-Net. The combination of adversarial and L1 norm loss function re-produces sharply denoised images and show performance improvement over the standard U-Net, Denoising Convolutional Neural Network (DnCNN), and Wide Interface Network (WIN5RB) denoising models.

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Kurcz, Maciej. "Imaginary Sudan – Reflections on the Formation of the Notion of Sudan in the Period of European Influences." Ethnologia Actualis 14, no. 1 (June 1, 2014): 19–36. http://dx.doi.org/10.2478/eas-2014-0002.

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ABSTRACT The author explores how the images from the colonial past affected what we understand today under the notion of Sudan. He concentrates on the category of the Nile, Sudanese-Egyptian analogies, the history making processes and colonial rule. Moreover points out that the the British used and reproduced a Muslim concept of cultural geography of Africa, and in particular, the notion of Bilad as-Sudan (”Land of the Blacks”), constituting the essence of division into white and black Africa. In this tradition Sudan placed itself at the meeting point between those two worlds and was presented as the civilisation borderland of the Muslim culture. This image was taken over by the Europeans and the British in particular. For them Sudan was an arena of conflict of civilisation with barbarity, good with evil, Europe with primitive culture.

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SOPER, KERRY. "From Swarthy Ape to Sympathetic Everyman and Subversive Trickster: The Development of Irish Caricature in American Comic Strips between 1890 and 1920." Journal of American Studies 39, no. 2 (August 2005): 257–96. http://dx.doi.org/10.1017/s0021875805009710.

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Observed from a distance, the prevalence of ethnic stereotyping in late nineteenth-century and early twentieth-century cartooning in the United States is disturbing. All one can see, initially, is that turn-of-the-century readers seemed to enjoy seeing blacks, Native Americans, and non-Anglo immigrants reduced to simplistic caricatures and made to say and do outrageously stupid things. The Distorted Image, the Balch Institute's exposé on the evils of ethnic caricature, agrees with this assessment, suggesting that “the strips from the early years of this century [the twentieth] are inevitably suffused with crude, even gross stereotypes” in which blacks and ethnic immigrants are “maligned and mistreated with blithe insouciance.” However, a closer inspection of particular characters, mediums, and creators, reveals that there was greater complexity to these “crude” images – a rich history, in fact, of shifting meanings and uses. There were, of course, some blatantly racist depictions of ethnic minorities in cartoons and comic strips during this period, but there was also a complex spectrum of ethnic characters who played out shifting comedic and social roles. By properly contextualizing some of these cartoons – considering how meanings and uses changed according to where the cartoons appeared, who created them, and who read them – many images that initially seem just like more entries in a long line of gross stereotypes begin to reveal layered, ambivalent, and even sympathetic codings.

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Kundi, Dr Minu. "Maya Angelou’s Growing Up Poor, Black and Female." SMART MOVES JOURNAL IJELLH 8, no. 6 (June 29, 2020): 50–66. http://dx.doi.org/10.24113/ijellh.v8i6.10630.

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African American literature is the literature of pain and survival, of triumphs and defeats, of fears and dreams, and of struggle for freedom, equality and identity, produced by the oppressed ones. Black women have used life writing to discover or assert their identity. As they record their experiences they see the critical paths established by the oppressive forces of racism, classicism and sexism. In exploring what it means to be poor, black and female, they present mirror images of ‘self’ and the ‘other’ to the world. Within the marginalized blacks in America, women are at triple disadvantage. Being poor, black and female makes them most vulnerable and easy target for the male dominated community. Maya Angelou’s life writing I Know Why the Caged Bird Sings (1969) tells the story about a black female’s hard life growing up in the American South during the 1930s and 40s. In it Angelou recounts the events of her life in chronological order amidst the racist and sexist American society. She portrays most of her difficult life events from the age of three to sixteen in her life writing showing her hard upbringing, poverty, racism and sexual abuse.

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Raudenbush, Stephen W. "The Brown Legacy and the O’Connor Challenge:Transforming Schools in the Images of Children’s Potential." Educational Researcher 38, no. 3 (April 2009): 169–80. http://dx.doi.org/10.3102/0013189x09334840.

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The gap between Blacks and Whites in educational outcomes has narrowed dramatically over the past 60 years, but progress stopped around 1990. The author reviews research suggesting that increasing the quantity and quality of schooling can play a powerful role in overcoming racial inequality. To achieve that goal, he reasons, our knowledge of best instructional practice should drive our conceptions of teachers’ work, teachers’ expertise, school leadership, and parent involvement. The research agenda supporting this paradigm connects developmental science to instructional practice and school organization and requires close collaboration between practitioners and researchers in a relentless commitment to provide superb educational opportunities to children whose future success depends most strongly on schooling.

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Erba, Joseph, Yvonnes Chen, and Hannah Kang. "Using Media Literacy to Counter Stereotypical Images of Blacks and Latinos at a Predominantly White University." Howard Journal of Communications 30, no. 1 (January 31, 2018): 1–22. http://dx.doi.org/10.1080/10646175.2018.1423652.

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Richeson, Jennifer A., and Clemlyn-Ann Pollydore. "Affective Reactions of African American Students to Stereotypical and Counterstereotypical Images of Blacks in the Media." Journal Of Black Psychology 28, no. 3 (August 1, 2002): 261–75. http://dx.doi.org/10.1177/00998402028003005.

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Richeson, Jennifer A., and Clemlyn-Ann Pollydore. "Affective Reactions of African American Students to Stereotypical and Counterstereotypical Images of Blacks in the Media." Journal of Black Psychology 28, no. 3 (August 2002): 261–75. http://dx.doi.org/10.1177/0095798402028003005.

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Cabrera Becerra, Gabriel. "The Antillean presence in the Amazon: the Barbadian blacks, the exploitation of rubber and its images." Memorias, no. 36 (February 28, 2019): 57–96. http://dx.doi.org/10.14482/memor.36.305.8.

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Zalin, Roslyn. "Book reviews : Hogarth's Blacks: images of blacks in eighteenth century English art By DAVID DABYDEEN (Kingston-upon-Thames, Dangeroo Press, 1985) 155pp. £12.95 cloth, £6.95 paper." Race & Class 27, no. 4 (April 1986): 99–100. http://dx.doi.org/10.1177/030639688602700413.

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