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  1. Philip Alperson (ed.) (2002). Diversity and Community: An Interdisciplinary Reader. Blackwell Pub..
  2. Derrick P. Alridge (1999). Conceptualizing a du Boisian Philosophy of Education: Toward a Model for African-American Education. Educational Theory 49 (3):359-379.
  3. M. K. Asante (1998). The African American as African. Diogenes 46 (184):39-50.
  4. D. Brackett (2003). What a Difference a Name Makes : Two Instances of African-American Popular Music. In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge.
  5. Becky Brown (2001). “Talk That Talk!”: African American English in its Social and Cultural Context. Radical Philosophy Review 4 (1/2):54-77.
    The author examines almost three decades of sociolinguistic and anthropological research to present the most up-to-date definition of African American English or “Ebonics” and offers a defense of its value in contemporary American culture.
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  6. Tommy J. Curry (2011). On Derelict and Method. Radical Philosophy Review 14 (2):139-164.
    African-American/Africana philosophy has made a name for itself as a critical perspective on the inadequacies of European philosophical thought. While this polemical mode has certainly contributed to the questioning of and debates over the universalism of white philosophy, it has nonetheless left Africana philosophy dependent on these criticisms to justify its existence as “philosophical.” This practice has the effect of not only distracting Black philosophers from understanding the thought of their ancestors, but formulates the practice of Africana philosophy as “racial (...)
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  7. Richard A. Jones (2009). The Politics of Black Fictive Space. Radical Philosophy Review 12 (1/2):391-418.
    Historically, for Black writers, literary fiction has been a site for transforming the discursive disciplinary spaces of political oppression. From 19th century “slave narratives” to the 20th century, Black novelists have created an impressive literary counter-canon in advancing liberatory struggles. W.E.B. Du Bois argued that “all art is political.” Many Black writers have used fiction to create spaces for political and social freedom—from the early work of Harriet Wilson’s Our Nig; or, Sketches from the Life of a Free Black (1859)—to (...)
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