Which Caribbean-born author of Batouala played a crucial role in providing the budding writers of the Harlem Renaissance with an international audience?
a. Lamine Senghor
b. Maurice Satineau
c. Jessie Fauset
d. René Maran
d. René Maran
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After being "opened" by American Commodore Perry, Japan quickly
a. fell into sub-slave status and economic ruin. b. broke apart into warring states and political fragmentation. c. adapted by implementing modernization programs and expanding its own borders. d. fell victim to Chinese wars of expansion. e. fell victim to British wars of expansion.
It is evident that the most prevalent images of Black womanhood in rap are not of successful, assertive, female rappers, but instead, of near naked, unrealistic, back-up dancers used to enforce the masculinity and sexual prowess of those male rappers for whom they dance. In formulating a critical dialogue about rap music and feminism, what does the author say we must ask?
A. Whose womanhood is being oppressed by entertainment, and is this oppression limited to music? B. What kind of femininity is being sought by audiences, and what is being seen in the public sphere? C. Whose Black womanhood is being brought to the public sphere and is this womanhood truly female defined? D. Are Black women being brought to the public sphere authentically, and are they represented thoroughly?
Which of the following were among the Jewish population of Judea?
a. Latians b. Essenes c. Mithraists d. Kuomintang e. Zanj
What roles or jobs did African Americans generally hold in the radio industry?
A) Blacks were often staff musicians because they were heard and not seen. B) African Americans did much of the writing, acting, and directing for the show Amos 'n' Andy. C) Blacks were completely excluded from the entertainment industry during the 1930s and 1940s. D) Radio stations refused to hire any blacks as disc jockeys.