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Black Print with a White Carnation

Black Print with a White Carnation

Amy Helene Forss

University of Nebraska Press
2014
pokkari
Mildred Dee Brown (1905–89) was the cofounder of Nebraska's Omaha Star, the longest running black newspaper founded by an African American woman in the United States. Known for her trademark white carnation corsage, Brown was the matriarch of Omaha's Near North Side—a historically black part of town—and an iconic city leader. Her remarkable life, a product of the Reconstruction era and Jim Crow, reflects a larger American history that includes the Great Migration, the Red Scare of the post–World War era, civil rights and black power movements, desegregation, and urban renewal.Within the context of African American and women's history studies, Amy Helene Forss's Black Print with a White Carnation examines the impact of the black press through the narrative of Brown's life and work. Forss draws on more than 150 oral histories, numerous black newspapers, and government documents to illuminate African American history during the political and social upheaval of the twentieth century. During Brown's fifty-one-year tenure, the Omaha Star became a channel of communication between black and white residents of the city, as well as an arena for positive weekly news in the black community. Brown and her newspaper led successful challenges to racial discrimination, unfair employment practices, restrictive housing covenants, and a segregated public school system, placing the woman with the white carnation at the center of America's changing racial landscape.
Borrowing from Our Foremothers

Borrowing from Our Foremothers

Amy Helene Forss

University of Nebraska Press
2021
sidottu
Borrowing from Our Foremothers offers a panorama of women’s struggles through artifacts to establish connections between the generations of women’s right activists. In a thorough historical retelling of the women’s movement from 1848 to 2017, Amy Helene Forss focuses on items borrowed from our innovative foremothers, including cartes de visite, clothing, gavels, sculptures, urns, service pins, and torches. Framing the material culture items within each era’s campaigns yields a wider understanding of the women’s metanarrative. Studded with relics and ninety-nine oral histories from such women as Rosalynn Carter to Pussyhat Project cocreator Krista Suh, this book contributes an important and illuminating analysis necessary for understanding the development of feminism as well as our current moment.