A front-burner issue on the public policy agenda today is the increased use of partnerships between government and nongovernmental entities, including faith-based social service organizations. In the wake of President Bush's faith-based initiative, many are still wondering about the effectiveness of these faith-based organizations in providing services to those in need, and whether they provide better outcomes than more traditional government, secular nonprofit, and for-profit organizations. In Faith, Hope, and Jobs, Stephen V. Monsma and J. Christopher Soper study the effectiveness of 17 different welfare-to-work programs in Los Angeles County—a county in which the U.S. government spends 14% of its entire welfare budget—and offer groundbreaking insight into understanding what works and what doesn't.
Monsma and Soper examine client assessment of the programs, their progress in developing attitudes and resources important for finding self-supporting employment, and their experience in finding actual employment. The study reveals that the clients of the more explicitly faith-based programs did best in gaining in social capital and were highly positive in evaluating the religious components of their programs. For-profit programs tended to do the best in terms of their clients finding employment. Overall, the religiously active respondents tended to experience better outcomes than those who were not religiously active but surprisingly, the religiously active and non-active tended to do equally well in faith-based programs.
Faith, Hope, and Jobs concludes with three sets of concrete recommendations for public policymakers, social service program managers, and researchers.
Focusing on the menhaden fishermen of the southern coastal regions, The Fish Factory is an engaging and insightful exploration of what work means to different social groups employed within the same industry.
Since the nineteenth century, the menhaden industry in the South has been traditionally split between black crews and white captains. Using life histories, historical research, and anthropological fieldwork in Reedville, Virginia, and Beaufort, North Carolina, Barbara Garrity-Blake examines the relationship between these two groups and how the members of each have defined themselves in terms of their work. The author finds that for the captains and other white officers of the menhaden vessels—men “born and bred” for a life on the water—work is a key source of identity. Black crewmen, however, have insisted on a separation between work and self; they view their work primarily as a means of support rather than an end in itself.
In probing the implications of this contrast, Garrity-Blake describes captain/crew relations within both an occupational context and the context of race relations in the South. She shows how those at the bottom of the shipboard hierarchy have exercised a measure of influence in a relationship at once asymmetrical and mutually dependent. She also explores how each group has reacted to the advent of technology in their industry and, most recently, to the challenges posed by those proclaiming a conservationist ethic.
Winner, Wayland D. Hand Prize, American Folklore Society, 2018
Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown.
In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press