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Old 09-07-2023, 04:14 AM   #14571
 
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Cul-dOr-15


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A history of independent African American settlements in Texas during the Jim Crow era, featuring historical and contemporary photographs.

In the decades following the Civil War, nearly a quarter of African Americans achieved a remarkable victory-they got their own land. While other ex-slaves and many poor whites became trapped in the exploitative sharecropping system, these independence-seeking individuals settled on pockets of unclaimed land that had been deemed too poor for farming and turned them into successful family farms. In these self-sufficient rural communities, often known as "freedom colonies," African Americans created a refuge from the discrimination and violence that routinely limited the opportunities of blacks in the Jim Crow South.

Freedom Colonies is the first book to tell the story of these independent African American settlements. Thad Sitton and James Conrad focus on communities in Texas, where blacks achieved a higher percentage of land ownership than in any other state of the Deep South. The authors draw on a vast reservoir of ex-slave narratives, oral histories, written memoirs, and public records to describe how the freedom colonies formed and to recreate the lifeways of African Americans who made their living by farming or in skilled trades such as milling and blacksmithing. They also uncover the forces that led to the decline of the communities from the 1930s onward, including economic hard times and the greed of whites who found legal and illegal means of taking black-owned land. And they visit some of the remaining communities to discover how their independent way of life endures into the twenty-first century.

"Thad Sitton and James H. Conrad have made an important contribution to African American and southern history with their study of communities fashioned by freedmen in the years after emancipation." - Journal of American History

"This study is a thoughtful and important addition to an understanding of rural Texas and the nature of black settlements." - Journal of Southern History
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Year: 2010
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Old 09-07-2023, 04:16 AM   #14572
 
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Darkside Magazine April


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Name: Darkside Magazine April
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Total pages: 144
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Old 09-07-2023, 04:18 AM   #14573
 
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Old 09-07-2023, 04:20 AM   #14574
 
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Old 09-07-2023, 04:22 AM   #14575
 
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Old 09-07-2023, 04:24 AM   #14576
 
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Old 09-07-2023, 04:27 AM   #14577
 
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Old 09-07-2023, 04:28 AM   #14578
 
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Pris au piège dans l'Union soviétique, Starlock est confronté au projet Super-soldat russe. Mais le puissant étranger doit aussi compter avec l'organisation S.P.I.D.E.R.
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Old 09-07-2023, 04:31 AM   #14579
 
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Old 09-07-2023, 04:32 AM   #14580
 
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Le numéro 4 de Photographica propose de définir la notion de « productrices/producteurs de photographies », afin de prendre en compte des individus jusque-là peu considérés dans l'historiographie des images photographiques, alors même qu'ils participent pleinement à leur fabrique et à leur diffusion. Se plaçant « derrière l'image » plutôt que devant elle (Didi-Huberman, 1990), les contributrices et contributeurs du numéro analysent ainsi la façon dont les rapports de coopération, les luttes et les négociations, modèlent les photographies mises en circulation (Philippe Artières à partir d'un Objet de grève de Jean-Luc Moulène, Nicole Hudgins au prisme du genre des métiers de la colorisation des photographies au XIX e siècle, Marlène Van de Casteele étudiant les revendications auctoriales des employé.e.s du Vogue américain autour de 1940). Sous l'angle de l'histoire du travail, cette focale permet aussi d'envisager les espaces où se tissent les rapports des productrices et producteurs de photographies (la photothèque Hachette par Sylvie Gabriel, l'agence Roger-Viollet dans un entretien avec Delphine Desveaux). Parallèlement, cette notion conduit à reconsidérer la figure du photographe, lorsqu'il s'engage dans la gestion et la diffusion de ses images (Marie Durand et Anaïs Mauuarin, Agnès Devictor et Shahriar Khonsari). De cette façon, c'est le champ des objets photographiques offerts à l'analyse qui s'élargit, notamment à la photographie industrielle et commerciale. Généralement peu contextualisé, ce type d'images peut ainsi être situé dans une histoire sociale, économique et culturelle (Anne-Céline Callens), que les archives des conseillères sociales du travail, présentées par Chloé Goualc'h, pourront contribuer à étayer.
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