Measuring double consciousness among black law enforcement officers to understand the significant role of race in law enforcement occupational cultures

The current study correlates Merton's anomie theory and W. E. B. Dubois's double-consciousness theory to measure black law enforcement officers' reactions to occupational strain resulting from officers' ethnic-identification. Measuring levels of anomic behavior provides a scale for identifying levels of risk affecting the well-being of individual officers and organizations. Testing hierarchal regression models with a national sample of black state- and federal-level law enforcement officers (n = 84) reveals a presence of double consciousness as a significant predictor for levels of anomic behavior in law enforcement occupational cultures. It also further suggests that race remains a significant factor in law enforcement organizations and cultures, whereas many police executives would prefer to believe that race issues in policing are settled.     

对波斯纳与科斯法经济学范式的解析

波斯纳以经济学打开法学的"黑箱",科斯以法学打开经济学"黑箱",作为经济学和法学交叉学科的法经济学由此形成两种理论范式,即法律的经济分析和经济的法律分析.波斯纳创立的法律的经济分析范式在为繁荣法经济学研究作出巨大贡献的同时也带来了极大的误区.重新繁荣法经济学研究,必须进行经济的法律分析.     

Carnal teachings: raunch aesthetics as queer feminist pedagogies in Yo! Majesty's hip hop practice

This essay puts forward a notion of “raunch aesthetics,” theorizing raunch as an aesthetic, performative, and vernacular practice: an explicit mode of sexual expression that transgresses norms of privacy and respectability. Raunch aesthetics describe creative practices that often blend humor and sexual explicitness to launch cultural critiques, generate pleasure for minority audiences, and affirm queer lives. The author activates her formulation of raunch in analyzing Yo! Majesty, a hip hop group comprised of black female emcees who openly describe their sexual desire for women, and explores how the queer youth of color she works with have responded to their music. Working beyond the unexamined moralisms that give critiques of raunch culture their legitimacy, the author argues that Yo! Majesty's raunch aesthetics transmit queer and feminist teachings. While celebrating carnal pleasures, these artists critique heterosexism, subvert narratives about the incompatibility of belief in Christ and queer sexualities, and trouble notions concerning the emancipation of coming out of the closet and declaring a stable homosexual identity. In demonstrating how raunch aesthetics generate consciousness raising, the author discusses how her youth participants critically read and consume hip hop while negotiating unwieldy meanings of sexuality and gender presentation.     

The nonarrival of black freedom (c. 12.6.84)

This article seeks to mark the twentieth anniversary of the publication of Saidiya V. Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America through a series of meditations on questions of time, embodied performance, the political concept of emancipation, and Oliver L. Jackson’s painting, Untitled 12.6.84, which graces the cover of this seminal work. This effort to recall Hartman’s argument regarding the nonevent of emancipation moves in the service of developing an understanding of the nonarrival of black freedom as a conceptual frame for addressing the recursive and untimely dimensions of black self-making. Ultimately, this article argues that Scenes of Subjection allows us to glimpse the making of worlds within the historical archive that fall outside of the normative horizons and expectations of political emancipation. Neither durable nor everlasting, neither verifiable nor guaranteed, such worlds take shape and dissolve within the mysterious rapport between the “could be” and the “not yet” and leave traces on the broken flesh of the black body.     

Intervention and Statebuilding Beyond the Human: From the ‘Black Box’ to the ‘Great Outdoors’

This article analyses intervention and statebuilding as shifting towards a posthuman discursive regime. It seeks to explore how the shift to ‘bottom-up’ or post-liberal approaches has evolved into a focus upon epistemological barriers to intervention and an appreciation of complexity. It attempts to describe a process of reflection upon intervention as a policy practice, whereby the need to focus on local context and relations – in order to take problems seriously – begins to further undermine confidence in the Western episteme. In other words, the bottom-up approach, rather than resolving the crisis of policy practices of intervention, seems to further intensify it. It is argued that the way out of this crisis seems to be found in the rejection of the aspiration to know from a position of a ‘problem-solving’ external authority and instead to learn from the opportunities opened up through the practices of intervention. However, what is learnt does not seem to be able to fit into traditional modes and categories of expertise.     

Black geographies of struggle and pleasure in Nona Faustine’s White Shoes

In Nona Faustine’s photo series of self-portraits, White Shoes, the artist’s body becomes the agent in exposing the instability of racialized historical geography. Faustine revisits New York City’s landmarks to address what is missing or made invisible: a slave ship, a fugitive woman’s rebirth, or African burial grounds. Making herself visible where she is supposed to remain invisible, she highlights the unacknowledged connection between national wealth, nationalism, geography, and black labor. She discloses the topography of her travels as a changeable terrain, where one slips from the national iconic to ambiguous and finally, to the sacred. I suggest that Faustine doesn’t seek to democratize the extant historical maps, but to shift the terms of reading the city’s geography. She lifts the boundaries between the polarized pathways of knowing – the secularized and the sacred, the living and the dead, the verifiable and the missing. This shift is also made possible by the medium of photography and a feminist turn towards pleasures in one’s body. As Faustine comes to terms with the psychic and cultural inheritance of the diaspora, she moves from the collective body of pain towards black women’s pleasure in their own bodies without purging the history of sexual trauma.     

Gettin’ Down Home With the Neelys: gastro-porn and televisual performances of gender,race, and sexuality

This article illuminates how performances of gender, race, and sexuality are integrated with representations of food and food performance in contemporary American cooking television. Interrogating the intersections of food, gender, race, sexuality, and performance, this essay explores how the cable-television show, Down Home with the Neelys, depicts a nouveau gastro-porn anchored in the perceived pornographic level of blackness itself. The author reveals the ways that food and performances of food become a medium of gendering and racialization employed by American popular media. Through the lens of reality television, shows like Down Home (re)produce a certain type of black heterosexuality and gendered enactments of domesticity and space, while challenging dominant televisual reflections of black love and labor. The author argues that the Neelys self-consciously employ a vernacular aesthetic performative of “down home” (a uniquely classed, temporally–spatially situated, and sexualized blackness) to exploit the phenomenon of gastro-porn in a highly lucrative performance that signals the entangled artifice of gender, race, and sexuality. More than offering culinary expertise and education, such cooking instruction reveals the pedagogy of gender, race, and sexuality as visual lessons of a complex and contradictory authenticity. This essay reveals television cooking shows as critical sites for considering the domestic laboring of gendered and racialized sexualities. In particular, shows like Down Home evince the ways that race continues to be rendered in visual terms and the enduring edibility of blackness.     

"黑面纱"下的扭曲人性——试析霍桑的《教长的黑面纱》

美国作家霍桑在他的重要短篇小说<教长的黑面纱>中,通过描述胡伯牧师为掩盖其罪恶戴上黑面纱,以及教徒们对黑面纱的种种反应,告诉读者,每个人都有罪恶的念头、犯罪的冲动,都有不为人知的黑暗与秘密,哪怕是"圣洁的牧师",这是人性的阴暗面,是压抑与扭曲的结果.从社会历史背景、象征主义、浪漫主义等方面对该作中人性的扭曲与阴暗的有关...     

包庇、纵容黑社会性质组织罪之主观特征辨析

包庇、纵容黑社会性质组织罪之包庇行为只能是出自故意 ,而纵容行为则可出自直接故意和间接故意。本罪并不以行为人主观上必须明确认识到对象是黑社会性质的组织、黑社会性质组织的违法犯罪活动为不可缺少的条件。只要行为人明知自己的行为是包庇、纵容犯罪的人 (包括犯罪组织及成员 )的违法犯罪活动 ,便构成本罪故意所必需的认识因素。