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Reproducing Race, an ethnography of pregnancy and birth at a large New York City public hospital, explores the role of race in the medical setting. Khiara M. Bridges investigates how race--commonly seen as biological in the medical world--is socially constructed among women dependent on the public healthcare system for prenatal care and childbirth. Bridges argues that race carries powerful material consequences for these women even when it is not explicitly named, showing how they are marginalized by the practices and assumptions of the clinic staff. Deftly weaving ethnographic evidence into broader discussions of Medicaid and racial disparities in infant and maternal mortality, Bridges shines new light on the politics of healthcare for the poor, demonstrating how the \"medicalization\" of social problems reproduces racial stereotypes and governs the bodies of poor women of color.

This chapter contains sections titled: Textual Problems The Trinitarian Structure within the Introduction to the Philosophy of History The Trinitarian Structure in History The Role of Race in History List of Abbreviations of Works by Hegel References

The superheroes from DC and Marvel comics are some of the most iconic characters in popular culture today. But how do these figures idealize certain gender roles, body types, sexualities, and racial identities at the expense of others? Hot Pants and Spandex Suits offers a far-reaching look at how masculinity and femininity have been represented in American superhero comics, from the Golden and Silver Ages to the Modern Age. Scholar Esther De Dauw contrasts the bulletproof and musclebound phallic bodies of classic male heroes like Superman, Captain America, and Iron Man with the figures of female counterparts like Wonder Woman and Supergirl, who are drawn as superhumanly flexible and plastic. It also examines the genre's ambivalent treatment of LGBTQ representation, from the presentation of gay male heroes Wiccan and Hulkling as a model minority couple to the troubling association of Batwoman's lesbianism with monstrosity. Finally, it explores the intersection between gender and race through case studies of heroes like Luke Cage, Storm, and Ms. Marvel. Hot Pants and Spandex Suits is a fascinating and thought-provoking consideration of what superhero comics teach us about identity, embodiment, and sexuality.

This chapter contains sections titled: Background Structural family therapy Strategic family therapy Milan systemic family therapy Techniques Evaluation of family therapy Subject review Further reading

When black women were brought from Africa to the New World as slave laborers, their value was determined by their ability to work as well as their potential to bear children, who by law would become the enslaved property of the mother's master. In Laboring Women: Reproduction and Gender in New World Slavery , Jennifer L. Morgan examines for the first time how African women's labor in both senses became intertwined in the English colonies. Beginning with the ideological foundations of racial slavery in early modern Europe, Laboring Women traverses the Atlantic, exploring the social and cultural lives of women in West Africa, slaveowners' expectations for reproductive labor, and women's lives as workers and mothers under colonial slavery. Challenging conventional wisdom, Morgan reveals how expectations regarding gender and reproduction were central to racial ideologies, the organization of slave labor, and the nature of slave community and resistance. Taking into consideration the heritage of Africans prior to enslavement and the cultural logic of values and practices recreated under the duress of slavery, she examines how women's gender identity was defined by their shared experiences as agricultural laborers and mothers, and shows how, given these distinctions, their situation differed considerably from that of enslaved men. Telling her story through the arc of African women's actual lives--from West Africa, to the experience of the Middle Passage, to life on the plantations--she offers a thoughtful look at the ways women's reproductive experience shaped their roles in communities and helped them resist some of the more egregious effects of slave life. Presenting a highly original, theoretically grounded view of reproduction and labor as the twin pillars of female exploitation in slavery, Laboring Women is a distinctive contribution to the literature of slavery and the history of women.

With its rich mix of cultures, European influences, colonial tensions, and migration from bordering nations, Ecuador has long drawn the interest of ethnographers, historians, and political scientists. In this book, Jean Muteba Rahier delivers a highly detailed, thought-provoking examination of the racial, sexual, and social complexities of Afro-Ecuadorian culture, as revealed through the annual Festival of the Kings. During the Festival, the people of various villages and towns of Esmeraldas--Ecuador's province most associated with blackness--engage in celebratory and parodic portrayals, often donning masks, cross-dressing, and disguising themselves as blacks, indigenous people, and whites, in an obvious critique of local, provincial, and national white, white-mestizo, and light-mulatto elites. Rahier shows that this festival, as performed in different locations, reveals each time a specific location's perspective on the larger struggles over identity, class, and gender relations in the racial-spacial order of Esmeraldas, and of the Ecuadorian nation in general.

With this book, Cheryl Hicks brings to light the voices and viewpoints of black working-class women, especially southern migrants, who were the subjects of urban and penal reform in early-twentieth-century New York. Hicks compares the ideals of racial uplift and reform programs of middle-class white and black activists to the experiences and perspectives of those whom they sought to protect and, often, control.In need of support as they navigated the discriminatory labor and housing markets and contended with poverty, maternity, and domestic violence, black women instead found themselves subject to hostility from black leaders, urban reformers, and the police. Still, these black working-class women struggled to uphold their own standards of respectable womanhood. Through their actions as well as their words, they challenged prevailing views regarding black women and morality in urban America. Drawing on extensive archival research, Hicks explores the complexities of black working-class women's lives and illuminates the impact of racism and sexism on early-twentieth-century urban reform and criminal justice initiatives.

The Sexual Demon of Colonial Power is a political, cultural, and intellectual study of race, sex, and Western empire. Greg Thomas interrogates a system that represents race, gender, sexuality, and class in certain systematic and oppressive ways. By connecting sex and eroticism to geopolitics both politically and epistemologically, he examines the logic, operations, and politics of sexuality in the West. The book focuses on the centrality of race, class, and empire to Western realities of gender and sexuality and to problematic Western attempts to theorize gender and sexuality (or embodiment). Addressing a wide range of intellectual disciplines, it holds out the hope for an analysis freed from the domination of white, Western terms of reference.

The meaning of race in the antebellum southern United States was anchored in the racial exclusivity of slavery (coded as black) and full citizenship (coded as white as well as male). These traditional definitions of race were radically disrupted after emancipation, when citizenship was granted to all persons born in the United States and suffrage was extended to all men. Hannah Rosen persuasively argues that in this critical moment of Reconstruction, contests over the future meaning of race were often fought on the terrain of gender.Sexual violence--specifically, white-on-black rape--emerged as a critical arena in postemancipation struggles over African American citizenship. Analyzing the testimony of rape survivors, Rosen finds that white men often staged elaborate attacks meant to enact prior racial hierarchy. Through their testimony, black women defiantly rejected such hierarchy and claimed their new and equal rights. Rosen explains how heated debates over interracial marriage were also attempts by whites to undermine African American men's demands for suffrage and a voice in public affairs. By connecting histories of rape and discourses of \"social equality\" with struggles over citizenship, Rosen shows how gendered violence and gendered rhetorics of race together produced a climate of terror for black men and women seeking to exercise their new rights as citizens. Linking political events at the city, state, and regional levels, Rosen places gender and sexual violence at the heart of understanding the reconsolidation of race and racism in the postemancipation United States.

Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny\" became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown. In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny\" in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.