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In Black Scholar, Wayne J. Urban chronicles the distinguished life and career of the historian, teacher, and university administrator Horace Mann Bond. Urban illuminates not only the man and his accomplishments but also the many issues that confronted him and his colleagues in black education during the middle decades of the twentieth century. After covering the major events of Bond's youth, Urban follows him from his student years at Lincoln University and the University of Chicago through his work for the Julius Rosenwald Fund to his subsequent administrative leadership at several black institutions, including Fort Valley State College, Lincoln University, and Atlanta University. Among the many details Urban discusses are Bond's prodigious early output of scholarly books and articles, his enduring concern about the biases of intelligence testing, his work on preparing the NAACP's court brief for the Brown v. Board of Educationi case, and his career-long interest in what he felt were the affinities between modern-day Africans and African Americans--the one struggling to break free from colonialism, the other from segregation.
'Black Scholars On the Line' explores the development of American social science by highlighting the contributions of those scholars who were both students and subjects of a segregated society. This books asks how segregation has influenced, and continues to influence, American social thought.
Performance artist and scholar E. Patrick Johnson’s provocative study examines how blackness is appropriated and performed—toward widely divergent ends—both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity—avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises. Johnson looks at various sites of performed blackness, including Marlon Riggs’s influential documentary Black Is . . . Black Ain’t and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother’s experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances—ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community—Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness.
"Lawrence Reddick (1910-1995) was among the most notable African American intellectuals of his generation. The second curator of the Schomburg Library and a University of Chicago PhD, Reddick helped spearhead Carter Woodson's black history movement in the 1930s, guide the Double Victory campaign during World War II, lead the Southern Christian Leadership Conference during the Cold War, mentor Martin Luther King Jr. throughout his entire public life, direct the Opportunities Industrialization Center Institute during the 1960s, and forcefully confront institutional racism within academia during the Black Power era. A lifelong Pan-Africanist, Reddick also fought for decolonization and black self-determination alongside Kwame Nkrumah, Nnamdi Azikiwe, Léopold Senghor, and W.E.B. Du Bois. Beyond participating in such struggles, Reddick documented and interpreted them for black and white publics alike"--
It's impossible for black boys and girls to develop a positive sense of self when they are taught that the existence of their race began at slavery and they have historically only been butlers and the help. What's rarely mentioned is when Africans were Kings and Queens or the history of Black Wall-Street. Black history is celebrated in such a parochial lens in current curriculums and schools that black children aren't aware that black history is being made every day by black brothers and sisters all over the world. The educational system could easily empower our babies by teaching more positive black imagery instead of consistently reminding them that blacks were second class citizens. This curriculum has African American historical figures and links at each grade level that seeks to empower black boys and girls. It begins teaching pre-kindergartens about when black people were Kings and Queens in Africa and ends with teaching high school seniors about current black people all over the world who are achieving amazing things. This strategy seduces black boys and girls into a level of excellence so they will no longer accept mediocrity.
This captivating and illuminating book is a memoir of a young black man moving from rural Georgia to life as a student and teacher in the Ivy League as well as a history of the changes in American education that developed in response to the civil rights movement, the war in Vietnam, and affirmative action. Born in 1950, Horace Porter starts out in rural Georgia in a house that has neither electricity nor running water. In 1968, he leaves his home in Columbus, Georgia—thanks to an academic scholarship to Amherst College—and lands in an upper-class, mainly white world. Focusing on such experiences in his American education, Porter's story is both unique and representative of his time. The Making of a Black Scholar is structured around schools. Porter attends Georgia's segregated black schools until he enters the privileged world of Amherst College. He graduates (spending one semester at Morehouse College) and moves on to graduate study at Yale. He starts his teaching career at Detroit's Wayne State University and spends the 1980s at Dartmouth College and the 1990s at Stanford University. Porter writes about working to establish the first black studies program at Amherst, the challenges of graduate study at Yale, the infamous Dartmouth Review, and his meetings with such writers and scholars as Ralph Ellison, Tillie Olsen, James Baldwin, and Henry Louis Gates, Jr. He ends by reflecting on an unforeseen move to the University of Iowa, which he ties into a return to the values of his childhood on a Georgia farm. In his success and the fulfillment of his academic aspirations, Porter represents an era, a generation, of possibility and achievement.