American Voices Research Articles

A Comparative Study of the APEC Privacy Framework- A New Voice in the Data Protection Dialogue?

AbstractThe dialogue on data protection has so far been dominated by European and American voices. There are currently a few international conventions in place such as the Council of Europe's 1981 Convention for the Protection of Individuals with regard to the Automatic processing of personal data, the 1980 OECD Guidelines Governing the Protection of Privacy and Transborder Flows of Personal Data , which apply to 30 OECD countries, and the EU Directive 95/46/EC on the protection of individuals with regard to the processing of personal data, which binds EU member states but has had some impact on non-European countries due to the restriction on cross border flow of information.This has changed with the emergence of the APEC Privacy Framework in 2004 which focuses on the importance of the free flow of information in the digital age. Does the APEC Privacy Framework have anything of value to add or does it dilute the standards already in place? This article will examine these questions and argue that perhaps the APEC Privacy Framework is the first step towards a truly global standard for data protection.

Colored Property: State Policy and White Racial Politics in Suburban America by David M. P. Freund

Book Reviews 155 David M. P. Freund. Colored Property: State Policy andWhite Racial Politics in Suburban America. Chicago: University of Chicago Press, 2007. Pp. 496. Bibliography. Drawings. Index. Maps. Notes. Photographs. Cloth, $35.00. Charging a title with references to the histories of race and wealth will raise the expectations of any reader. David Freund does not avoid the critical appraisal of his audience. Colored Property addresses one of the most important topics of recent American history?the political and economic facets of race relations during the past sixty years. His concern is the analysis of the political rhetoric of color blindness and how it differed from the racialist vocabulary of biological superiority that shaped the early decades of the twentieth century. Freund constructs his premise in two sections. The first offers a discussion of the ways federal policies redefined millions of local and state housing markets. The second part of the analysis moves into an examination of these forces in the metropolitan region of Detroit, Michigan. With evidence drawn from a variety of disciplines, Freund raises the standard for urban studies in the twenty-first century. His command of the secondary literature that is relevant to the reinterpretation of the relationship between white Americans' ideas about property and their changing notions about race adds depth to the range of his primary sources. When he writes, "whites' ideas about race and their preoccupation with property were relational and mutually constitutive" (p. 38), Freund refines decades of scholarship that emphasized the primacy of one set of causes over the other. This attempt to disambiguate the meanings of racial thinking within the economic policies of home ownership yields an additional reward. Colored Property closes with a cautionary note about the assumptions of a color-blind housing market powered by individual homeowners' decisions in the absence of governmental and institutional forces. The successful balance among the individual decisions, racial bias, and economic policy that Freund achieves embodies the ideals of historical analysis. Thomas Sugrue's discussion of the urban crisis focused on Detroit but also illustrated a national history. Freund offers a provocative national political history and grounds it with a detailed examination of the rhetoric of home ownership in Detroit's suburbs. A significant limitation of the work is the marginal place of African American voices in this process. However, given the foundation Freund provides, a scholar could certainly develop another study to fill this void. Colored Property is crucial reading for historians and educators studying the recent past of the metropolitan Midwest. It is 156 Michigan Historical Review also an invaluable work for researchers interested the expansion of American suburbs in the twentieth century. Walter D. Greason Department of History Ursinus College Alan D. Gaff. Bayonets in theWilderness: Anthony Wayne's Legion in the Old Northwest. Norman: University of Oklahoma Press, 2004. Pp. 419. Bibliography. Illustrations. Index. Notes. Cloth, $39.95. Given the awesome might of the armed forces that won the Civil War and both World Wars, it is easy to forget that the United States Army was once a humble, ragtag force hindered by a great many obstacles: a lack of resources, recruiting difficulties, American hostility to standing armies, and nearly constant pressure from both unfriendly Natives and European interlopers. In an elegantly written and eminendy readable book, Alan D. Gaff successfully documents this chapter inAmerican military history. On November 4, 1791, American military power ebbed to its lowest point when a confederacy of northwestern Indians defeated General Arthur St. Clair in the Battle of Wabash River. President George Washington had to pick up the pieces from this disastrous defeat and rebuild. Gaff traces this process, from the painstaking choice of a new commander, through the recruitment and training of new troops, and finally to the ultimate victory of the U.S. Army over the northwestern confederacy. It is a compelling drama full of intrigue, political maneuvering, desperation, and chicanery. Besides serving as a tighdy constructed history of the early years of the American army, Gaffs book doubles as a biography of Anthony Wayne, best known by the moniker "Mad Anthony." The nickname was used byWayne's men as a term of affection, but over the centuries it has...

AMERICAN DIALECTS RENDERED ACCESSIBLE

AMERICAN DIALECTS RENDERED ACCESSIBLE

Hecho en Tejas: an anthology of Texas-Mexican literature

Once an independent nation, Texas has always been proud of its unique culture. The literature of the Lone Star State has long attracted local, regional, and national audiences and critics, yet the state's Mexican American voices have yet to receive the attention they deserve.Hecho en Tejas is a historic anthology that establishes the canon of Mexican American literature in Texas. With close to one hundred selections chosen, the book reaches back to the sixteenth-century exploration narrative of Texas's first Spanish-speaking writer, Alvar Nu ez Cabeza de Vaca. It features prose by Am rico Paredes and Jovita Gonzalez, Rolando Hinojosa and Tom s Rivera, Estela Trambley Portillo, and Sandra Cisneros. Among the poets included in the anthology are Ricardo S nchez, Carmen Tafolla, Angela de Hoyos, and Abelardo Lalo Delgado. Hecho en Tejas also includes corridos from the turn of the century and verses sung by music legends such as Lydia Mendoza and Santiago Jimenez, Sr., Freddy Fender, and Selena. In addition to these established names, already known across the United States, Hecho en Tejas introduces such younger writers as Christine Granados, Erasmo Guerra, and Tonantzin Canestaro-Garcia, the famous Tejano authors of tomorrow. In assembling this canonic reader, Dagoberto Gilb has created more than an anthology. Read cover to cover, Hecho en Tejas becomes not only a literary showcase, but also a cultural and historical narrative both for those familiar with Texas Mexicans and for outsiders. Hecho en Tejas is a mosaic portrait of the community, the land and its history, its people's sorrows and joys, anger and humor and pride, what has been assimilated and what will not be.

Making a Niche: North American Voice Actors and Korean Labor Intermediaries in Seoul, Korea

AbstractThis article analyzes the role of intermediaries in the newly forming and demand‐driven niche market of English voice dubbing in Seoul, Korea. Standardized surveys and structured interviews of North American voice actors and South Korean agents are used to gather data. The findings suggest that cultural and structural embeddedness as well as ‘power’ be integrated into studies of intermediary‐facilitated networks, particularly when foreign workers are adjusting to a local work environment. Research results reveal six network configurations that represent the structural embeddedness of networks deployed by agents, voice actors, client firms and studios active in this niche market. The power and trust associated with these relationships is studied vis‐à‐vis the culturally embedded environment of the local market in Seoul. Agents conform to Benner's typologies in that they are highly specialized in their market segments, reduce transaction costs and help manage risk, and act as ‘market makers’.RésuméCet article analyse le rôle des intermédiaires sur la toute nouvelle niche commerciale que génère la demande de doublage en anglais à Séoul, en Corée. Enquêtes standardisées et entretiens structurés auprès de comédiens spécialisés originaires d'Amérique du Nord et d'agents sud‐coréens fournissent les données. D'après les résultats, il faudrait intégrer l'encastrement culturel et structurel ainsi que la dimension de ‘pouvoir’ dans les études des réseaux facilités par des intermédiaires, notamment lorsque des étrangers s'adaptent à un environnement de travail local. Les recherches révèlent six configurations représentant l'encastrement structurel des réseaux qu'implantent les agents, comédiens spécialisés, entreprises clientes et studios actifs sur cette niche. Le pouvoir et la confiance associés à ces relations sont étudiés par rapport au marché de Séoul et à son encastrement culturel. Les agents correspondent aux typologies de Benner, puisqu'ils sont très spécialisés sur leur segment de marché, réduisent les frais de transaction et facilitent la gestion du risque, agissant en ‘faiseurs de marché’.

Good Words: Chief Joseph and the Production of Indian Speech(es), Texts, and Subjects

Chief Joseph, who gained fame during the Nez Perce War of 1877, is one of the best-known Indian orators in American history. Yet the two principal texts attributed to him were produced under questionable circumstances, and it is unclear to what extent they represent anything he ever said. This essay examines the publication history of these texts and then addresses two questions about the treatment of Indian oratory in the nineteenth century. First, given their uncertain provenance, how and why did these texts become so popular and come to represent Indian eloquence and an authentic Native American voice? Second, what was the political significance of Indian speech and texts of Indian oratory in the confrontation between Euro-Americans and Indians over land? I argue that the production and interpretation of Indian speech facilitated political subjugation by figuring Indians as particular kinds of subjects and positioning them in a broader narrative about the West. The discursive and political dimensions of the encounter were inseparable, as Indian “eloquence” laid the way for Indian defeat. I conclude by advocating a disruptive reading of Indian oratory that rejects the belief that a real Indian subject lies behind these texts in any straightforward sense. To make this argument, I draw on linguistic anthropology and critical theory, analyzing firsthand accounts, newspaper reports, and descriptions of Indian speech and Nez Perce history.

The shape of things to come: prophecy and the American voice

The shape of things to come: prophecy and the American voice

Chinese American Voices: From the Gold Rush to the Present

Book Review| April 01 2007 Chinese American Voices: From the Gold Rush to the Present Chinese American Voices: From the Gold Rush to the Present, Judy Yung, Gordon H. Chang and Him Mark Lai. Franklin Ng Franklin Ng Search for other works by this author on: This Site Google Journal of American Ethnic History (2007) 26 (3): 111–113. https://doi.org/10.2307/40543173 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Franklin Ng; Chinese American Voices: From the Gold Rush to the Present. Journal of American Ethnic History 1 January 2007; 26 (3): 111–113. doi: https://doi.org/10.2307/40543173 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of American Ethnic History Search Advanced Search The text of this article is only available as a PDF. Copyright 2007 Immigration and Ethnic History Society2007 Article PDF first page preview Close Modal You do not currently have access to this content.

A Monk's Tale

In his paper, "A Monk's Tale," Sam Hamill recounts his ongoing commitment to using poetry as a form of protest and explains how poetry bridges the personal and the public, weaving together the life of one poet and that of an entire globe. In late January 2003, in response to an invitation to a symposium by Laura Bush to celebrate "Poetry and the American Voice," Hamill declined to participate; a longtime pacifist, he could not in good faith visit the White House following the recent news of George W. Bush's plan for a unilateral "Shock and Awe" attack on Iraq. Instead, he asked about fifty fellow poets to "reconstitute a Poets Against War movement like the one organized to speak out against the war in Vietnam ... to speak up for the conscience of our country and lend your names to our petition against this war" by submitting poems of protest he would send to the White House. When 1,500 poets responded within four days, he created the website Poets Against War as a means of handling the enormous, unexpected response.

American Voices: An Encyclopedia of Contemporary Orators

American Voices: An Encyclopedia of Contemporary Orators

Native American Voices on Identity, Art, and Culture: Objects of Everlasting Esteem (review)

Native American Voices on Identity, Art, and Culture: Objects of Everlasting Esteem (review)

The Role of Native American Voices in Rethinking Early American Literary Studies

The Role of Native American Voices in Rethinking Early American Literary Studies Robert Warrior (bio) Sovereign Selves: American Indian Autobiography and the Law. David J. Carlson. University of Illinois Press, 2006. 217 pp. The Indian Chief as Tragic Hero: Native Resistance and the Literatures of America, from Moctezuma to Tecumseh. Gordon M. Sayre. University of North Carolina Press, 2005. 341 pp. In his study of Native American autobiography and law, David Carlson seeks to take part in "critical conversations" about the generic definition of autobiography, methodology in scholarship on law and literature, and "the viability of 'authenticity' as a critical term in the study of Native American literatures" (2). Gordon Sayre's book, which seeks an answer to his question as to how Native American military leaders sometimes became beloved heroes within early American literary texts, is similarly ambitious. Sayre focuses on "the entire phenomenon of North American native resistance struggles and the leaders who organized them as represented not only in dramas, epic poems, and historical novels but also in popular histories such as Francis Parkman's The Conspiracy of Pontiac (1851), in the transcribed speeches by these native leaders, and in the documents created by soldiers, traders, and missionaries directly involved in these conflicts from the conquest of New Spain through the War of 1812" (3). Both of these books are meticulously researched, clearly written, and deeply engaged in the currents of American literary studies. As I will detail, each provokes different questions as to where early Americanists [End Page 369] might seem to be headed vis à vis the role of Indigenous voices in future reconceptualizations of basic issues of their field. Before discussing some of those issues, though, I want to say clearly that both books share an importance to the field that makes them deserving of wide readership. Carlson organizes his study primarily around a discussion of Pequot writer William Apess and Dakota author Charles Alexander Eastman. These important figures are treated in two chapters each of Sovereign Selves, and Carlson also includes two introductory chapters that discuss the importance of legal discourse to Native American literature and history and an analysis of the ways in which one specific treaty, the 1784 Treaty of Fort Stanwix between the United States and the Senecas, provides an important basis for Seneca rhetorical responses to American colonialism. Through all of these chapters, Carlson both advances a set of ideas that have been expressed in Native American literary studies and makes a provocative and persuasive point about the legal basis of identity formation for American Indians. That is, Carlson extends a discussion that runs through the work of various scholars, including Jace Weaver, Maureen Konkle, and others, about the centrality of legal and policy issues to Native American literary and rhetorical production. In focusing on autobiography, though, Carlson pursues these ideas to the point of making a case that the formation of ideas of the self that occurs among Native Americans in various eras also derives from legal discourse. In other words, legal ideas constitute the parameters in which the new sorts of Native identity play out in the unfolding of colonialism among American Indian nations. In a previous generation of scholarship, as most of those with even a nodding acquaintance I hope will agree, deployments of new ways of being Native American have been seen as coming from much more vaguely rendered notions of acculturation or assimilation. Some of the more interesting work in recent years has specified these processes to a greater extent, but has looked to educational and religious institutions for the locations from which these new ideas regarding identity have derived. Carlson's argument has the benefit not only of holding up across a wide swath of time (the distance, after all, between Apess in New England and New York in the 1820s and 1830s to Charles Eastman across the twists and turns of the Progressive era is vast) but also of locating the shifting geography of Native ways of self-understanding in the middle of processes of colonial domination rather than in secondary or tertiary places. Apess, as [End Page 370] a figure responding as someone whose history is deeply marked by near-annihilation during...

Chinese American voices: from the Gold Rush to the present

Chinese American voices: from the Gold Rush to the present

The Protest Literature of Military Dissent

In 2003, Laura Bush decided to hold a symposium on “Poetry and the American Voice.” She scheduled it for February 12 and invited poets to take tea in the White House rose garden. They would discuss...

American voices: an encyclopedia of contemporary American orators

American voices: an encyclopedia of contemporary American orators

W. E. B. Du Bois, Booker T. Washington, and Richard Wright: Toward an Ecocriticism of Color

W.E.B. Du Bois, Booker T. Washington, and Richard Wright:Toward an Ecocriticism of Color Scott Hicks (bio) Scholars working in the field of ecocriticism in American literary studies have come to see that their most important task in the coming years is to take up and engage the cultural productions of peoples of color, especially African Americans. Such a transformation entails exploring and theorizing not just African American fictional and nonfictional narratives, but also African American critical and theoretical works that undergird and explicate other forms of cultural production. Currently, the forebearers of ecocriticism—"the study of literature as if the environment mattered" (Mazel 1)—seem to be an unassailable who's who of American nature writing: Henry David Thoreau, Aldo Leopold, John Muir, and Rachel Carson. To this pantheon I here would like to add a couple unlikely characters—W.E.B. Du Bois and Booker T. Washington. For as Kathleen Wallace and Karla Armbruster rightly point out, it now behooves literary critics to "question . . . why so few African American voices are recognized as part of nature writing and ecocriticism" (2). To ignore African American voices is to risk the field's ultimate demise, as Paul Tidwell argues: In short, ecocriticism was founded on a too limited canon of writings based on too narrow a definition of nature writing . . . Ecocritics who continue to resist or reject African American concepts as foreign to their concerns risk a hardening of their developing discourse into a reactionary and racist defense of an essentialized idea of nature. ("The Blackness of the Whale") Not only must ecocritics reread the fiction of African Americans ecocritically; they must also reread African American critics and thinkers ecocritically, so that all might begin to reformulate the questions and revise the assumptions that undergird the field. Any ecocritical methodology of African American literature must necessarily entail an ecocritical analysis of foundational African American critics and thinkers—not just, and not merely, white American ones. To do so offers the potential to reread literature as if the environment mattered differently. To recuperate or claim Du Bois and Washington as environmentally conscious thinkers symbolizes an important step in beginning that transformation. Regardless of what one thinks of Washington or Du Bois, it is undeniable that these two men, in myriad ways, have framed America's twentieth-century discourse of race relations. [End Page 202] Consequently, an ecocritical analysis of Washington's Up From Slavery (1901) and Du Bois's The Souls of Black Folk (1903) offers a means of deepening critical understanding of their relationship to environmental awareness, in that such consciousness participates in ecocritically reimagining subsequent African American texts. As a "case study" for such a reimagining, I turn to the prominent fiction and nonfiction of novelist, essayist, and memoirist Richard Wright. This essay begins to reconstruct a genealogy of African American ecocriticism, putting Du Bois, Washington, and Wright into creative tension in order to begin to sketch a portrait of an early twentieth-century ecocriticism of color. In so doing, it asks critics to be conscious of various environments (urban, rural, and suburban, and the miscegenation and marginalization therein) as well as be attuned to the political ramifications of social justice, justice not just for the clichéd redwoods and spotted owls, but for communities and cultures as well. The problem for ecocriticism, say some of its leading practitioners, is its fealty to what today are restrictive definitions and premises, particularly in regard to concerns of race and ethnicity—though its attention to environmental concerns in the late 1970s and early 1980s sounded a much-needed alarm about the health of the planet. As scholars such as Robert D. Bullard and Carolyn Merchant have shown since, though, environmental crises reflect, and cohere along, racial and gender lines, thus demonstrating the importance of "intersectional" ways of thinking "green"—with race and racism a critical axis. Such an attention to race demands a reconfigured consciousness of both the cultural and the political expressions of environmentalism—and such a reconfiguration requires ecocriticism's practitioners to rethink their conceptualizations of environmentalism. Said John Elder at the 1995 conference of the Association for the Study of Literature and the Environment, "Just as...

The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity (review)

The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity. By Nadine Hubbs. Berkeley: University of California Press, 2004. [xi, 282 p. ISBN 0520241851 (pbk.). $19.95. ISBN 0520241843 (cloth). $50.] Index, bibliography, discography, photos, music examples. Nadine Hubbs' recent contribution to ongoing conversation about relationship between sexuality and music draws on musicology, feminist and queer theory, and American cultural history in its consideration of the interrelations of national, social and sexual, cultural and musical identity in twentieth-century America and meanings within U.S. musical (pp. 3-4). Hubbs, professor of music and women's studies at University of Michigan and an acknowledged leader in area of gender and sexuality studies in classical and popular music, focuses in The Queer Composition of America's Sound on circle of Manhattan-based gay composers who created distinct American sound in concert music during first half of twentieth century-Aaron Copland, Virgil Thomson, Leonard Bernstein, Marc Blitzstein, Paul Bowles, David Diamond, and Ned Rorem. She pays particular attention to Thomson and and period 1934-1954. Hubbs's introduction contains number of statements of purpose that highlight different aspects of her exploration. A central project of this book is to illumine specifically queer lineaments of musical idiom that serves as one of most potent and recognizable cultural emblems of Americanness-a sonic representation of American vastness and rugged, simple beauty primarily associated with Aaron Copland (p. 10). In addition, the book examines conditions that underlay networking activity among queer artists and its abundant productivity in this period of U.S. cultural and seeks to enrich and complicate our understanding of role of queer artists in conceiving and producing American cultural identity . . .(p. 15). More broadly, this book explores sites of U.S. gay modernist composers' individual and collective achievements to account for ways in which queer lives and have shaped American musical, and larger, life and culture (p. 17). Chapter 1, Modernist Abstraction and Abstract Art: Four Saints and Queer Composition of America's Sound, opens on 7 February 1934 with premiere of Gertrude Stein and Thomson's opera Four Saints in Three Acts, received by many as a glorious and redemptive birth-of nothing less than national culture (p. 19). Hubbs's examination of this landmark collaborative creation of U.S. modernist artists engaged in early-twentieth-century efforts to establish distinctly and genuinely American voice (p. 22) raises issues addressed throughout book-abstraction and identification; national, artistic, and sexual identity; and key role played by gay composers in creation of recognizable American musical voice. Hubbs also tackles meaning of modernism in this chapter, highlighting characteristics such as abstraction, emphasizing form over content, opposition to Romanticism, and valuing inner experience of spectator, listener, or reader over narrative representation. In chapter 2, Being Musical: Gender, Sexuality, and Musical Identity in Twentieth-Century America, she addresses concept of musical modernism directly, noting that since World War II modernism in music has typically denoted hypermasculine, antifeminine impulses (p. 82) associated with atonal, dissonant, and/or experimental music, e.g., Italian futurism, Schoenberg's atonality, Ives' experiments with dissonance, and serialism of Boulez, Babbitt, and others. The composers on whom Hubbs focuses wrote tonal, consonant, and/or neoclassical music, but considered their work modernist, as does Hubbs. She notes that anti-Romanticism was characteristic of kinder, gentler musical modernists, who particularly rejected German Romanticism in favor of French ideals. …

Native American voices on identity, art, and culture: objects of everlasting esteem

Native American voices on identity, art, and culture: objects of everlasting esteem

Culture Matters in High Risk, Lead Poisoned Communities

Lead poisoning in Camden City, New Jersey is different from lead poisoning in Cherry Hill, New Jersey. This statement raised a lot of eyebrows and upset quite a few people at a lead poisoning consortium meeting. My peers failed to see that culture is the by-product of lived experience and serves as an indicator for health care beliefs and practices. Little is known about the health care practices of urban African Americans because they experience a culture that is non traditional, yet mainstream America continues to set a childhood lead poisoning (clp) agenda for a cultural group it does not know. An examination of the urban African American mother's voice (the telling of one's story) is eerily absent form the clp landscape. The primary research question for this ethnographic case study was, "what is the lived reality of urban mothers of color whose children are at risk of becoming lead poisoned in Camden City?" I also explored, "how might knowledge of this lived reality affect the clp agenda for high risk communities?"

Cues used for distinguishing African American and European American voices

Past studies have shown that listeners can distinguish most African American and European American voices, but how they do so is poorly understood. Three experiments were designed to investigate this problem. Recordings of African American and European American college students performing various reading tasks were used as the basis for stimuli in all three. In the first experiment, stimuli were subjected to monotonization, lowpass filtering at 660 Hz, and no modification. In the second, stimuli featuring certain ethnically diagnostic vowels and control stimuli were subjected to monotonization, conversion of vowels to schwa, or no modification. In the third, stimuli featuring diagnostic vowels and control stimuli were modified so that the intonation of paired African American and European American speakers was swapped. In all three experiments, African American and European American listeners in North Carolina and European American listeners in West Virginia identified the ethnicity of the speaker of each stimulus. Vowel quality emerged as the most consistent cue for identifications. However, listeners accessed other cues differently for male and female speakers. Breathiness was correlated with identifications of male speakers but not of female speakers. F0-related factors proved more important for female speakers than for male speakers. [Work supported by NSF.]