|
Showing 1 - 2 of
2 matches in All Departments
This collection documents the efforts of the Prison Communication,
Activism, Research, and Education collective (PCARE) to put
democracy into practice by merging prison education and activism.
Through life-changing programs in a dozen states (Arizona,
Colorado, Illinois, Indiana, Massachusetts, Michigan, New Jersey,
Ohio, Pennsylvania, Texas, Virginia, and Wisconsin), PCARE works
with prisoners, in prisons, and in communities to reclaim justice
from the prison-industrial complex. Based on years of pragmatic
activism and engaged teaching, the materials in this volume present
a sweeping inventory of how communities and individuals both within
and outside of prisons are marshaling the arts, education, and
activism to reduce crime and enhance citizenship. Documenting
hands-on case studies that emphasize educational initiatives,
successful prison-based programs, and activist-oriented analysis,
Working for Justice provides readers with real-world answers based
on years of pragmatic activism and engaged teaching. Contributors
are David Coogan, Craig Lee Engstrom, Jeralyn Faris, Stephen John
Hartnett, Edward A. Hinck, Shelly Schaefer Hinck, Bryan J. McCann,
Nikki H. Nichols, Eleanor Novek, Brittany L. Peterson, Jonathan
Shailor, Rachel A. Smith, Derrick L. Williams, Lesley A. Withers,
Jennifer K. Wood, and Bill Yousman.
Illustrates the ways that the ""war on crime"" became
conjoined-aesthetically, politically, and rhetorically-with the
emergence of gangsta rap as a lucrative and deeply controversial
subgenre of hip-hop. In The Mark of Criminality: Rhetoric, Race,
and Gangsta Rap in the War-on-Crime Era, Bryan J. McCann argues
that gangsta rap should be viewed as more than a damaging
reinforcement of an era's worst racial stereotypes. Rather, he
positions the works of key gangsta rap artists, as well as the
controversies their work produced, squarely within the
law-and-order politics and popular culture of the 1980s and 1990s
to reveal a profoundly complex period in American history when the
meanings of crime and criminality were incredibly unstable. At the
center of this era-when politicians sought to prove their
""tough-on-crime"" credentials-was the mark of criminality, a set
of discourses that labeled members of predominantly poor, urban,
and minority communities as threats to the social order. Through
their use of the mark of criminality, public figures implemented
extremely harsh penal polices that have helped make the United
States the world's leading jailer of its adult population. At the
same time when politicians like Ronald Reagan, George H. W. Bush,
and Bill Clinton and television shows such as COPS and America's
Most Wanted perpetuated images of gang and drug-filled ghettos,
gangsta rap burst out of the hip-hop nation, emanating mainly from
the predominantly black neighborhoods of South Central Los Angeles.
Groups like NWA and solo artists (including Dr. Dre, Snoop Dogg,
and Tupac Shakur) became millionaires by marketing the very
discourses political and cultural leaders used to justify their war
on crime. For these artists, the mark of criminality was a source
of power, credibility, and revenue. By understanding gangsta rap as
a potent, if deeply imperfect, enactment of the mark of
criminality, we can better understand how crime is always a site of
struggle over meaning. Furthermore, by underscoring the nimble
rhetorical character of criminality, we can learn lessons that may
inform efforts to challenge our nation's failed policies of mass
incarceration.
|
You may like...
Celebrations
Jan Kohler
Hardcover
R450
R351
Discovery Miles 3 510
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|