Search results

Although there is great potential for diversity, library and information science (LIS) is a relatively homogenous profession. Increasing the presence of librarians of color may help to improve diversity within LIS. However, recruiting ethnic minorities into LIS has proven to be difficult despite various initiative including scholarships, fellowships, and locally focused programs. The central questions explored in this research can be divided into two parts: (1) Why do ethnic minorities choose librarianship as a profession? (2) What would motivate members of minority groups to join a profession in which they cannot see themselves?

The research was conducted through semi-structured, qualitative interviews of 32 ethnic minority students from one of four ethnic minority groups (African American, Asian American, Hispanic/Latino, and Native American) currently enrolled in an LIS graduate program. Eleven themes emerged from the data: libraries, librarians, library work experience, LIS graduate program, career plans and goals, education and family, support, mentors, ethnicity and community, acculturation, and views of diversity.

The findings seem to support many assumptions regarding expectations and career goals. The findings related to libraries, librarians, mentors, and support illustrate that many recruitment initiatives are starting in the right place. However, the most noteworthy findings were those that centered on identity, acculturation, and diversity because they dealt with issues that are not often considered or discussed by many in the profession outside of ethnic minority organizations.

Ich habe genug (I have enough) BWV 82 is one of the best known, most regularly performed and consistently recorded of J.S. Bach's approximately 200 extant sacred cantatas. ¹ In the text, by an anonymous author, the narrator repeatedly expresses their readiness to die, in faith that they will be received by their saviour in eternal life. The whole cantata expresses a fearless ‘longing for death’ (Schweitzer, 1911/1966, p. 114), coupled with a serene contentment. Bach's setting of this text for religious purposes not only supports the sentiments expressed by the narrator but colours, illuminates, vitalises and elevates it in ways that startle the ear, quicken the spirit and stir the imagination. In the third and final aria of the cantata, Bach employs an almost-jaunty dance rhythm to accompany the narrator's anticipatory delight in their own death, liberated from worldly and bodily suffering. After identifying some of the ingenious ways Bach animates the text, I offer some speculations and elaborations as to how and why this work has had such an enduring presence in the Western musical canon, for believers and non-believers alike.

This article examines the early post-World War II civil rights organizing of black women radicals affiliated with the organized left. It details the work of these women in such organizations as the Civil Rights Congress and Freedom newspaper as they fought to challenge the unjust conviction and sentencing of black defendants caught in the racial machinations of U.S. local and state criminal justice systems. These campaigns against what was provocatively called “legal lynching” formed a cornerstone of African American civil rights activism in the early postwar years. In centering the civil rights politics and organizing of these black women radicals, a more detailed picture emerges of the Communist Party-supported anti-legal lynching campaigns. Such a perspective moves beyond a view of civil rights legal activism as solely the work of lawyers, to examining the ways committed activists within the U.S. left, helped to build this legal activism and sustain an important left base in the U.S. during the Cold War.

Freddie Mercury rose to fame as the lead singer of the UK pop group Queen. The group started working on tracks for their fourteenth studio album, Innuendo, in early 1989, and the album was finally released in February 1991. Progress on recording was slow as Mercury, who had been diagnosed with AIDS, was unable to work for more than a few days at a time. Innuendo became the final Queen album to be released during Mercury’s lifetime, and ‘The Show Must Go On’ is its final track. Its placing is arguably significant, given that both Mercury and the remaining band members must have assumed that this would be the last album that they would record together. In this chapter, I present an analysis of the song’s music and lyrics, along with the music video that accompanied the single release, with reference to Mercury’s illness and his wish to contribute vocals for as long as he possibly could, knowing the seriousness of his condition meant that this would be one of his last recordings.

In this chapter I employ a hybrid critical framework that draws on feminist media studies, feminist critiques of post-feminism, theories of intersectionality, and genre theory to consider a range of domestic violence stories on screen. The chapter begins with a summary of prototypical patterns of narrative and character in contemporary Hollywood films about abuse and subsequently explores two recent media representations that, while conforming to certain of these patterns, also introduce alternative perspectives: the 2017/2019 Home Box Office miniseries Big Little Lies and French director Xavier Legrand's 2018 film Custody (Jusqu’à la garde). I argue that both of these media texts draw on familiar genres that engage audiences not simply to generate sympathy for the abused woman-turned-heroine, but to challenge persistent myths about domestic violence such as that abusers are monsters who never show love towards their partners; that abused women are weak, passive, and the victims of their own bad judgment; that the effects and repercussions of abuse end with the departure of the abuser; that, ultimately, the problem of abuse must be “solved” by the individual; that the “solution” is as simple as leaving; and that there is little as a community or a society that we can do. I conclude that, in different ways and to different degrees, each of these media texts succeeds in making small but significant interventions into the predictable formulas of mainstream Hollywood domestic violence films through narratives that foreground the complexities, contradictions, and dilemmas of abuse.