The Bar Examination in Black and White: The Black-White Bar Passage Gap and the Implications for Minority Admissions to the Legal Profession (original) (raw)
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‘WILDING’ IN THE WEST VILLAGE: Queer Space, Racism and Jane Jacobs Hagiography
In urban studies, New York’s West Village is famous for two principal reasons: as the paradigmatic ideal neighborhood in Jane Jacobs’ influential The Death and Life of Great American Cities and as the site of one of the 1960s’ great urban uprisings, the Stonewall riot in 1969. Today––largely because of the mixed-use urban qualities celebrated by Jacobs––the West Village is one of New York’s most desirable residential areas, yet it also remains an essential part of the city’s queer geography. In this article, I analyze the persistent demonization of the area’s queer youth of color by local neighborhood groups to argue that Jacobs’ celebrated notion of natural surveillance (or what she called ‘eyes on the street’) is fundamentally unsuited for a fluid queer space like the contemporary West Village. First, I historicize the current neighborhood tensions in the context of racialized media reporting of homophobic hate crime. Second, the discourses deployed in contemporary media of ‘wild’ youth terrorizing the Village are examined. Finally, with reference to the forced closure of the African American bar Chi Chiz, I illustrate how the symbolic nightlife economy remains a key target in the city’s regulation of queer space.
Not "an equal share of happiness": The Life and Death of Able-Seaman Africanus Maxwell. 1800-1831
In "Staying Power: The History of Black People in Britain", Peter Fryer explored the fashion during the eighteen and early nineteenth centuries for wealthy Britons to employ Black children as servants to demonstrate their own wealth and status. Fryer asked what became of the child-servants when they grew to adolescence? This is the story of one Black boy, Africanus Maxwell (formerly Marmadee Alla Sang), from West Africa, who was a servant/slave to Jane Gordon, 4th Duchess of Gordon, and her kinsman Captain Keith Maxwell. Africanus Maxwell later enlisted in the Royal Navy and died in Newcastle in 1831. The circumstances of his death, albeit much reported, were controversial. How representative of either Black servants or sailors his life was, is unknown. However, he had no voice in either life or death.
Ah hah!" moments reflect the shock of recognition that occurs when members of a marginalized group realize that their place in the "natural order of things" is, in reality, not natural. Through the methodology of autoethnographic self-reflexivity and personal narrative, this article describes the authors' "Ah hah!" moments that concern dominance, loss and reclamation of worth, and the power of words to escape victimization. The "Ah hah!" moments have influenced the authors to identify themselves as a feminist and a womanist and they shape the authors' course content and pedagogy. The authors teach culture by revealing hegemonic inequalities among cultural groups in terms of white privilege and hidden bias, by creating a performative space, and by empowering students to respond to life's challenges.
Former East Providence Cemetery Archaeological Investigation
2014
The subject parcel is the site of the former East Providence Cemetery which was the subject of a formal, court supervised closure that occurred in the early 1960’s conducted by Joseph Perry Jr. The subject parcel has remained undeveloped since the formal cemetery closure. The property owner is actively marketing the subject parcel and would like to provide prospective purchasers/developers/tenants with a current “Archaeological Due Diligence Report” which would offer reassurance that no human remains are located on the subject parcel. The tasks carried out during this project consisted of the denuding and machine-assisted scraping of what were referred to as the "Perry Searched Areas". These were located from the cemetery path labeled Pink Path on the original plat map of 1887, east to Newport Avenue and Lots 17, 18, 19, and 20 (the St. Mary's Orphanage Area). Following the machine-assisted stripping, all possible grave shafts found in these areas were examined and any human remains or the remains of coffins and monuments were systematically removed using archaeological procedures and techniques for excavation, recording, removal, and short-term storage. The second phase of work consisted of conducting a ground penetrating radar (GPR) survey of the remaining acreage (i.e. non-Perry Searched Areas) with associated searches of any anomalies that were discovered. As a result of the stripping of the two Perry Searched Areas, a total of 46 Possible Former Graves and six anomalies were identified. A total of 44 of the 46 PFGs identified were determined to be actual former grave locations. PFG 3 was determined to be the burial of a large, old dog that had been wrapped in a canvas tarp with brass grommets. PFG 26 was determined to be a prospecting hole excavated by the crews in 1961 in an attempt to locate unmarked graves. The anomalies were determined to be probable tree holes and a historic cellar hole associated with a house that existed on the property prior to the establishment of the burial ground. Machine-assisted stripping also found significant areas of previous oil removal and subsequent dumping of asphalt, gravel and rock, presumably a result of the repaving of Newport Avenue. These dumping episodes were located in the northern half and the western portion of the southern half of the Perry Searched Area adjacent to Newport Avenue. The previous excavations, presumably to remove sand to be used for construction elsewhere, resulted in the removal of at least four feet of topsoil and subsoil in some areas. Several of the PFGs were found to contain multiple burials. Each of the sub burials received a designation based on its relative position; for example, PFG 20 contained two burials, PFG20N (Possible Former Grave 20 North) and PFG 20S. A total of 55 possible sets of remains were encountered. This number is 10 more than Perry reportedly removed. Some graves were found to contain complete skeletons, others were found to be completely empty, and others were found to contain incomplete human remains resulting from partial disinterment in 1961.
Four iron statues dated by inscription to the Ming Dynasty, China, (1491 A.D.) were investigated for their metal composition and coating structures. The investigation was initiated with the intent of ascertaining whether any prior treatment had been done and to determine the present condition of the object. During visual examination and simple surface cleaning, it became apparent that the objects had some form of surface decoration and polychrome. On closer examination, gilding, lacquer, and traces of pigment around the hat, eyes, and garment were visible. A sample of the metal was taken for metallography and chemical compositional analysis. Samples were taken from the surface of the four objects to identify the composition of the observed decoration and corrosion. The results revealed that the statues are white cast iron and were fully decorated with multiple colours and gilding as well as being sequentially lacquered. Recommendations for the cleaning and conservation of these objects are given.
BEADS: Journal of the Society of Bead Researchers, 2018
This article serves as an introduction to the use of beads – both indigenous and European – in surviving examples of body ornaments from the early colonial Caribbean: a cemí/belt in the collections of Rome’s Museo Nazionale Preistorico Etnografico “L. Pigorini,” a belt from the Weltmuseum Wien, and a cache of beads in a wooden vessel from the collections of the Museo de Historia, Antropología y Arte, Universidad de Puerto Rico. These artifacts offer insights into how the Taíno may have adopted newly introduced foreign goods, aligning them to their own aesthetics and world view. Glass beads, acquired via visitors from foreign lands entered into a well-established repertoire of indigenous shell, stone and potentially botanical beads, introducing different colors and finishes, but nevertheless fitting within traditional cultural expressions and value systems.
Forum for World Literature Studies, 2019
Nadine Gordimer's apartheid fiction evinces a strong interest in the experience of white women of conscience under apartheid. This paper examines her white heroines' struggle against their gender position to find respectable roles in life and relations with the counter sex. It delves into Occasion for Loving (1963) and The Late Bourgeois World (1966) to compare the status of these women with men, black and white. Their gender roles and relations are taken into consideration in an attempt to figure out inner capacities to challenge the patriarchal practices, at all levels, inherent in South Africa. Embarrassment in their case comes not from the fact of being females but rather from belonging to the white race. Gordimer's fiction is an open terrain which offers feasible avenues for white women in South Africa particularly and other African societies generally to find appropriate modes of life despite their colonial heritage.
Collecting and art market studies of the eighteenth-century period, which saw the rise of an international art market, used to focus mainly around the circulation of Old Masters’ painted canvases. But the historiography has significantly expanded its scope in the last decades, to include the study of modern drawings. Our paper proposes to recreate the networks and practices of modern drawing collecting, and its disruption on the already well-established French art market, by a detailed study of the collection of drawings bequeathed to the Fabre Museum of Montpellier by Antoine Valedau (1777-1838), a former Parisian stockbroker. These drawings, now preserved in a museum, were originally gathered in portfolios – the practice was traditional for prints or Old Masters drawings, but assembling works from living artists remained unusual. Easily displayed and circulated, they were praised for being the enterprise of a “man of the world, friend of the arts,” who had thus created “a real portable museum which has nothing in common with the album of the lady of fashion, but which presents a real interest, that of assembling for display the worthy productions of our most distinguished artists.” Le Miroir des spectacles, des lettres, des mœurs et des arts, December 11, 1821. This collection, which we confront to other contemporary ensembles such as the Valedau and Chenard collections, as well as the collection of Alexandre du Sommerard, founder of the Cluny Museum, testifies to an emerging market and a growing consideration for modern art. This paper first presents the disrupted context in which this practice appeared at the very end of the 18th century when artists had to adapt to a market in crisis. We will also touch upon the methodological difficulties of retracing collecting practices often founded on gift or exchanges arising from studio sociablity. Provenance search, auction studies and inventory upon decease – the traditional documents of collecting studies – are often unavailing in the case of modern drawing collections. On the other hand, drawing collections, because they are evidence both of intimate links and of aesthetic choices that were less scrutinized and codified, give us unprecedented access to the networks of sociability of eighteenth-century collectors.
HIV in East London: Ethnicity, gender and risk. Design and methods
2006
Background: While men who have sex with men remain the group at greatest risk of acquiring HIV infection in the UK, the number of new diagnoses among heterosexuals has risen steadily over the last five years. In the UK, three-quarters of heterosexual men and women diagnosed with HIV in 2004 probably acquired their infection in Africa. This changing epidemiological pattern is particularly pronounced in East London because of its ethnically diverse population.