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Jean K. Quam
George Wiley (1931–1973) was a reformer, organizer, and social activist. He is credited with organizing poor people into a significant political force in the United States during the late 1960s and early 1970s. He founded the Poverty/Rights Action Center in Washington, DC.
Roy Wilkins (1901–1981) was a writer and national civil rights spokesperson. He was assistant executive secretary and executive director of the NAACP for 46 years, during which time he struggled for justice and civil rights in all aspects of American life.
William Blake (1757–1827) was a British artist, engraver, poet, and writer on theological themes. His illuminated books were the product of his technological inventiveness, and are characterized by the juxtaposition of texts and images in which a dialectic between two different media is a means of stimulating the imagination of the viewer and reader. Influences on Blake are often hard to trace, though he explicitly cites and criticizes Milton and Swedenborg, as well as the contemporary artist Joshua Reynolds. Such influences, which might help explain Blake’s ideas, seem less important than the extraordinary inventiveness which one finds in his words and images and their production, which have analogies to earlier themes, but without offering the evidence that demonstrates direct dependence. Blake’s emphasis is on the importance of “inspiration” rather than “memory,” and as such he set great store on the creativity of the poetic genius and its reception by the engaged reader or viewer. The visual was primary for Blake. It was a major part of his attempt to produce that which is “not too explicit as the fittest for Instruction,” to allow the reader/viewer to work out what the meaning of words and images was and how one might inform the other. Much of his work is inspired by the Bible, though the heterodox approach he takes to biblical interpretation is frequently at odds with mainstream Christian opinion. Blake’s lifelong fascination with the work of John Milton led him both to challenge and refine his great predecessor’s views and, in Milton a Poem, to enable the departed spirit of Milton to discern the worst of his intellectually self-centered excesses. Blake’s interpretative method, his hermeneutic, is encapsulated in some words he wrote to a client who was perplexed by his work. In it he gave priority to imaginative engagement with the Bible which was only then complemented by rational reflection: “Why is the Bible more Entertaining & Instructive than any other book. Is it not because they are addressed to the Imagination which is Spiritual Sensation & but mediately to the Understanding or Reason?” (Letter to Trusler 1799, E702-3). His ongoing work and the complex idiosyncratic mythology that he invented reflect the changed circumstances of the reaction to the events in revolutionary France. Themes of the Blake corpus, such as prophecy, challenge the hegemony of authoritative texts like the Bible. His critique of dualism and monarchical view of God pervade his work.
Born in 1757, Blake lived most of his life in London with the exception of four, often difficult, years in Felpham, Sussex (1800–1804). He was married to Catherine Boucher (1762–1831), who in his later years was a collaborator in his engraving and printing. Arguably, the companionship of Job’s wife in the Illustrations of the Book of Job, so different from the impression one gets from the brief reference to Job’s wife in the biblical book, may reflect their marriage. The Felpham years were difficult because they marked a time of great personal upheaval, when the ideas which formed his long illuminated poems, Milton a Poem and Jerusalem: The Emanation of the Giant Albion, took shape. As a consequence of an incident with a soldier in Felpham, he was put on trial at this time for sedition, for comments he was alleged to have made to this English soldier. This experience seared his visionary imagination and left its trace in the repeated references to the soldier who brought the charge against him, Schofield, which are dotted throughout Blake’s Jerusalem. Blake was trained as an engraver and pioneered his own technique. This remained the basis of his art, and arguably offered a means that complemented his visionary imagination (Joseph Viscomi, Blake and the Idea of the Book, 1993). After his move back to London, he lived in obscurity and on the fringes of poverty, indebted to the support of patrons like Thomas Butts, for whom he painted many biblical scenes, and later John Linnell. Only in the last years of his life was he discovered by a group of artists. Toward the end of his life he was adopted as an artistic father figure by a group called “The Ancients,” which included George Richmond, Samuel Palmer, and Edward Calvert.
Matthew J. Gordon
William Labov (b. 1927) is an American linguist who pioneered the study of variationist sociolinguistics. Born and raised in northern New Jersey, Labov studied English and philosophy at Harvard University (BA, 1948) and worked as an industrial chemist for several years before entering graduate school in linguistics at Columbia University in 1961. He completed his PhD in 1964, under the direction of Uriel Weinreich. He worked at Columbia until 1971, when he joined the faculty of the University of Pennsylvania, where he taught until his retirement in 2014.
Labov’s influence on the field began with research he conducted in graduate school. His study of changing pronunciations on Martha’s Vineyard, the subject of his master’s thesis, introduced a method for observing sound change in progress and broke with tradition by exploring social motivations for linguistic innovations. For his PhD dissertation, Labov carried out a study of dialect patterns on the Lower East Side of New York City. Using a systematic, quantitative methodology, he demonstrated that linguistic variation is socially stratified, such that the use of pronunciation features (e.g., dropping of post-vocalic /r/) correlates with social class, ethnicity, etc. in regular patterns. Labov’s early research was greatly influential and inspired many scholars to carry out similar projects in other communities. The paradigm came to be known as variationist sociolinguistics.
Much of Labov’s scholarship seeks to advance our understanding of language change. Historical linguists traditionally study completed linguistic changes, often long after they occurred, but Labov developed a method for examining active changes through a quantitative comparison of speakers representing several generations. This approach produces a new perspective on the change process by revealing intermediate stages. Labov has brought insights from this research to bear on theoretical debates within historical linguistics and the field more broadly. His work in this area has also documented many active sound changes in American English. Among these changes are innovations underway in particular dialects, such as the vowel changes in Philadelphia, as well as broader regional patterns, such as the Northern Cities Shift heard in the Great Lakes states.
Throughout his career, social justice concerns have fueled Labov’s research. He has sought to demonstrate that the speech of stigmatized groups is as systematic and rule-governed as any other. He led a pioneering study in Harlem in the late 1960s that shone new light on African American English, demonstrating, for example, that grammatical usages like the deletion of the copula (e.g., He fast) are subject to regular constraints. Labov has served as an expert witness in court and before the U.S. Congress to share insights from his study of African American English. He has also worked to promote literacy for speakers of non-standard dialects, carrying out research on reading and developing material for the teaching of reading to these populations.
Anita Rose Williams (1891–1983) was a social worker and supervisor. She was the first Black Catholic social worker in the United States and the first Black supervisor employed by a Baltimore, Maryland, agency. She co-organized District Eleven of the Baltimore Emergency Relief Commission.
Raymond Williams (1921–1988) is often cited as one of the founders of the interdisciplinary field of education and research known as cultural studies (CS). To be more specific, he formulated an influential methodology that he named “cultural materialism,” which has an affinity with CS but is a distinctive perspective in its own right. Williams’s most celebrated book, Culture and Society 1780–1950 (1958), traced British Romanticism’s critical response to the Industrial Revolution and successive debates on social and cultural change. At the time of publication, Williams declared “culture” to be “ordinary,” thereby challenging the cultural elitism of literary study and opening up questions concerning mass-popular culture. However, Williams distanced himself from the populist study of communications and culture that became fashionable in the 1980s. His transition from literary criticism and history to sociological commentary and speculation on future prospects was signaled further by his 1961 sequel to Culture and Society, The Long Revolution.
Williams challenged the behaviorism of American-originated communication studies and drew upon European critical theories in his own work. His academic specialism was dramatic form, which he studied historically and related to theatrical and audiovisual trends in modern drama. His perspective of cultural materialism broke entirely with idealist approaches to the arts and communications media. However, he was firmly opposed to technologically determinist explanations of the emergence of new media and the dynamics of social change, On technical innovation, he emphasized the role of intentionality, the materiality of discourse, and the social conditions of cultural production and circulation. His key concepts include selective tradition, structure of feeling, and mobile privatization. Williams later coined the term “Plan X” to refer to the rise of military recklessness and unregulated “free-market” political economy and communications during the late 20th century. His final non-fiction book (he also wrote novels), Towards 2000 (1985), has been updated to take account of developments in culture, society, and the environment over the past 30 years.
Alan H. Griffiths
It is without doubt that the 21st century is marked by ever-present 24-hour media. Mobile phones, iPads, and Wi-Fi networks mean that many people in many different parts of the world are “connected” to each other and to global events as they happen in ways not really imagined less than a century ago. Of course the nature of this connectivity is variable. It dominates more in some parts of the world than others, in urban areas more than rural, among wealthier communities more than poorer ones, and perhaps among younger people more than older people. Such variations notwithstanding, it is the case that the minute-by-minute live reporting of events, as they happen, exposes the nature of those events to people not necessarily close to them or impacted by them, albeit vicariously. Such exposure means that people are potentially witnesses to events and images they would not otherwise have experience of. It is within this context this article considers the concepts of victim, witness, and the linkages between them.
The concept of the witness has a varied history, from its presence in the law, to its connections with religious affiliation, to its legacy in experiences of atrocity. These different historical legacies are suggestive of different claims to victimhood. Simultaneously, these different claims to the status of victim (who constitutes a victim and under what conditions) have become conflated. In mapping the trajectories of each of these concepts, it is possible to discern considerable fuzziness in the relationship between victim and witness, suggestive of a continuum from the victim as witness to the witness as victim. Moreover, when these two concepts are put in such a relationship with each other, it is possible to observe how transgressive capacity takes its toll on people, how to make sense of the issues that concern them, and how best to respond to those concerns. This article considers the questions posed by the relationship between being a victim and being a witness, paying particular attention to who is and who is not considered to have a legitimate claim to victim status, and the role of ever-present media coverage in contributing to such claims and/or even creating them.