Explore the vast range of titles available.

Right now, it is legal in New York City for police officers to rape people being held in custody. This topic has recently gained attention after a case filed by a teen against the NYPD September of this year. Two plainclothes officers raped her while she was handcuffed in a police van. The police officers claim that it was consensual sex. When questioned about the article in the penal code that details sex offenses, a spokesperson said \"it is against department policy to have sex on duty [but] the law does not preclude consensual sex between an arresting officer and a person in custody.\" This type of gap in the law adds to the long list of reasons why most rapes go unreported because many cases are not even technically illegal. In her new book Invisible No More-Police Violence Against Black Women and Women of Color, Andrea Ritchie writes: A national study of officer arrests for sexual misconduct between 2005 and 2011 found that [...] One half targeted minors [...] As of 2016, there are no official statistics regarding the number of rapes and sexual assaults committed by police officers in the United States [...] The limited data gathered by law enforcement officers do not include information on the number of allegations, complaints, or incidents of rape, sexual assault, or coerced sexual acts. The lack of data and attention reflects the marginalized experiences that girls of color have with imprisonment. It is common to focus on Black men's experiences because they are more likely to be imprisoned over the course of their lives than any other demographic, but a different set of questions need to be asked to unpack the experiences that girls of color face at the hands of the prison industrial complex because structural racism and sexism account for constantly rising rates of female incarceration and the intangibility of sexual assault by police.

It all began when The Washington Post quoted rap performer Sister Souljah as saying: 'If Black people kill Black people every day, why not have a week and kill White people.'\"

In this article the authors provide a general overview of the controversies associated with urban street fiction, a brief introduction to the genre and an introduction to the complex representations of Black adolescent femininity within two contemporary titles, Black and Ugly (Styles, 2006) and Bitch (King, 2006). The authors provide a critical textual analysis that focuses on how women authors of urban street fiction rely upon and resist popular stereotypical representations of Black adolescent girls in their work. The authors argue that reading urban street fiction is a powerful out‐of‐school literacy practice that invites critical attention from educators. تلخيص البحث: في هذه المقالة يقدم المؤلفون نبذة عامة عن المناقشات المتعلقة بالأدب الخيالي بشأن الشارع المدني ومقدمة موجزة لهذا الجنس من الأدب وكذلك مقدمة للصور النمطية المعقدة لدى أنثوية المراهقات السود في كتابين معاصرين بالعناوين سوداء وقبيحة (ستايلز، 2006) وكلبة (كنغ، 2006). ويوفر المؤلفون تحليلاً نقدياً للنص يركز على الطريقة التي تعتمد فيها مؤلفات أدب الشارع المدني الخيالي على الصور النمطية المنتمية إلى المراهقات السود في عملهم. إذ يقدم المؤلفون الحجة بأن قراءة أدب الشارع المدني الخيالي هي ممارسة أدبية قوية تثير انتباهاً نقدياً من المعلمين. 本文作者概述有关城市街头小说的争议，简介该种小说的体裁，并介紹两本当代小说《黑与丑》(Styles,2006)和《母犬》(King,2006)中所描述的黑人青少年女性的复杂表征。就城市街头小说妇女作者在她们的作品中，如何依赖，如何抗拒黑人青少年女性的流行定型表征，本文作者提供了一个批判式的语篇分析。作者认为，阅读城市街头小说是一种强而有力的校外读写文化实践，能引起教育工作者对其作批判性的关注。 Dans cet article les auteurs présentent une vue d'ensemble des controverses en fiction de la rue urbaine, une brève introduction au genre et une introduction aux représentations complexes de la féminité des adolescentes noires au sein de deux titres contemporains, Noir et laid (Styles, 2006) et Sorcière (King, 2006). Les auteurs effectuent une analyse textuelle critique centrée sur la façon dont les auteurs femmes de fiction de la rue urbaine s'appuient sur les représentations stéréotypées des adolescentes noires et y font face dans leur travail. Les auteurs soutiennent que la lecture de fiction de la rue urbaine est une puissante pratique non scolaire qui invite à une attention critique de la part des pédagogues. Читатели познакомятся с кратким обзором дискуссий о художественной литературе, посвященной городской уличной жизни, и получат представление о самом жанре и сложных, многогранных образах юных афроамериканок, выведенных в двух современных произведениях: Черные и уродливые (Styles, 2006) и Сука (King, 2006). Критический анализ текста сосредоточен на том, в какой мере авторы‐женщины опираются на существующие стереотипы о жизни чернокожих подростков и в какой мере они эти стереотипы отвергают. Авторы статьи уверены, что чтение такой прозы – важный пласт общения с печатным словом вне школьной программы, и он требует пристального внимания педагогов. En este artículo los autores ofrecen un repaso general de la polémica sobre la ficción urbana, una breve introducción al género y una introducción a las complejas representaciones de la mujer adolescente de color en dos obras contemporáneas, Black and Ugly (Styles, 2006) y Bitch (King, 2006). Los autores hacen un análisis textual crítico de cómo las autoras de ficción sobre la calle urbana dependen de y rechazan las representaciones estereotípicas populares de las adolescentes de color en sus obras. Los autores proponen que leer ficción sobre la calle urbana es una práctica muy poderosa para la lectura fuera del salón de clase que invita a los educadores a darle atención crítica.

The assumption that black women lack a positive and respectable ethos is a historical and contemporary problem. To address the problem with ethos, I turn to Aristotle's Rhetoric to foreground an analysis of ethos. Then I examine Harriet Jacobs's slave narrative and the autobiography of Billie Holiday and Sister Souljah, respectively, to illustrate the difficulty they faced as they attempted to redefine an ethos of immorality to an ethos of respectability in their narratives. As each text demonstrates, acquiring a positive ethos becomes problematic given that a classical model such as Aristotle's excludes their lived realities and experiences as black women living in a slave and post-slavery society.

At the beginning of the second decade of the twenty-first century, writing about hip-hop is at an interesting crossroads. On the one hand, we continue to see a wealth of fine academic writing published by scholars in fields as diverse as cultural studies, musicology, and women's studies; on the other, we have noticed a dramatic decline in the quality of popular writing about hip-hop, much of which has succumbed to crudestreet language in an attempt to increase readership. This kaleidoscope, by turns overly pedantic and gratuitously coarse, creates a conundrum as hip-hop struggles to define—and redefine—itself. This article distinguishes three categories of writing about hip-hop—works by academics, works by journalists and cultural critics, and works by hip-hop's devotees—and discusses a handful of significant publications written between 1988 and 2008. This twenty-year written history of hip-hop is considered through a variety of lenses, with the hope that the various points of view might illuminate new directions for hip-hop's chronicled future.

When the tone of political rhetoric is as heated as it currently is, is it any wonder that a man will open fire on a group of ballplayers from the other party, nearly killing one congressman and putting many others in imminent danger? [...]we have a man, clearly an adherent of extreme Republican rhetoric, mailing bombs to people and institutions who have been described by his political idols as being enemies of his party. While we were all horrified by his actions, can we really say we are surprised? I was very disappointed by some in my party whose initial reactions to the mailed bombs were to surmise that either the bombs weren't functional or that they might have been sent by Democrats trying to make Republicans look bad.

According to him, such a love enables one to be responsible for the self and the community. The Coldest Winter Ever thus aligns with major African American women's fictional works concerned with the apocalyptic psychological and social condition confronting black people in contemporary American society. [...]this turn of the century novel continues some of the crucial thematic and structural aspects of several major earlier late-twentieth century African American women's novels. [...]Winter commits to becoming the \"bad bitch\" that her mother once personified in order to regain the deceptively insulated, ghetto high life that her parents taught her. Since Winter's mission is to survive and rise to her former status using whatever devious means necessary, her emotional immaturity and abject materialism make her unwilling to perceive another way of being or of achieving material stability. Again, the relationship between Sister Souljah and Belial confound her. Since she cannot value the African female identity that Sister Souljah embodies, Winter cannot grasp why Belial consistently rejects her sexual advances but seemed to love Sister Souljah.