When the civil rights movement began to challenge Jim Crow laws, the white southern press reframed the coverage of racism and segregation as a debate over journalism standards. Many white southern editors, for instance, designated Black Americans as “Negro” in news stories, claiming it was necessary for accuracy and “objectivity,” even as white subjects went unlabeled. These news professionals disparaged media outlets that did not adhere to these norms, such as the Black press. In this way, the southern white press weaponized journalism standards—and particularly the idea of objectivity—to counter and discredit reporting that challenged white supremacy.
Through deep engagement with letters and other materials in numerous archives from editors, journalists, and leaders of newswire services, Racializing Objectivity interrogates and exposes how the white southern press used journalism standards as a professional rationalization for white supremacy and a political strategy to resist desegregation. Gwyneth Mellinger argues that white skin privilege gave these news professionals a stake in the racial status quo and was thus a conflict of interest as they defended Jim Crow. Her study includes an examination of the Southern Education Reporting Service, an objectivity project whose impartiality, she contends, instead affirmed systemic racism. In a pointed counternarrative, Mellinger highlights Black editors and academics who long criticized the supposed objectivity of the press and were consequently marginalized and often dismissed as illegitimate, fanciful, and even paranoid.
Elegant and incisive, Racializing Objectivity unequivocally demonstrates that a full telling of twentieth-century press history must reckon with the white southern press’ cooptation of objectivity and other professional standards to skew racial narratives about Black Americans, as well as northern whites and democracy itself.
In 1928, after eleven years of extensive research and editing, Dr. Jacob Baart de la Faille finally finished the first catalogue raisonné of Vincent van Gogh’s work. Soon after, however, de la Faille discovered that he had mistakenly listed dozens of forged works as genuine in the catalog. He quickly set out to set the record straight but was met with strong resistance from art dealers, collectors, critics, politicians, amongst others—all of whom had self-interested reasons to oppose his corrections.
To this day, the international art world struggles to separate the real Van Goghs from the fake. A Real Van Gogh begins with the story of de la Faille and moves into the late decades of the twentieth century, outlining the numerous clashes over the authenticity of Van Gogh’s works while simultaneously exposing the often bewildering ramifications for art critics and scholars when they bring unwelcome news.
In November 1960, the Democratic party dominated Texas. The newly elected vice president, Lyndon Johnson, was a Texan. Democrats held all thirty statewide elective positions. The state legislature had 181 Democrats and no Republicans or anyone else. Then fast forward fifty years to November 2010. Texas has not voted for a Democratic president since 1976. Every statewide elective office is held by Republicans. Representing Texas in Washington is a congressional delegation of twenty-five Republicans and nine Democrats. Republicans control the Texas Senate by a margin of nineteen to twelve and the Texas House of Representatives by 101 to 49.
Red State explores why this transformation of Texas politics took place and what these changes imply for the future. As both a political scientist and a Republican party insider, Wayne Thorburn is especially qualified to explain how a solidly one-party Democratic state has become a Republican stronghold. He analyzes a wealth of data to show how changes in the state’s demographics—including an influx of new residents, the shift from rural to urban, and the growth of the Mexican American population—have moved Texas through three stages of party competition, from two-tiered politics, to two-party competition between Democrats and Republicans, and then to the return to one-party dominance, this time by Republicans. His findings reveal that the shift from Democratic to Republican governance has been driven not by any change in Texans’ ideological perspective or public policy orientation—even when Texans were voting Democrat, conservatives outnumbered liberals or moderates—but by the Republican party’s increasing identification with conservatism since 1960.
"Like all writers, intellectuals need to say something new and say it well. But unlike many other writers, what intellectuals have to say is bound up with the books we are reading . . . and the ideas of the people we are talking with."
What are the moves that an academic writer makes? How does writing as an intellectual change the way we work from sources? In Rewriting, a textbook for the undergraduate classroom, Joseph Harris draws the college writing student away from static ideas of thesis, support, and structure, and toward a more mature and dynamic understanding. Harris wants college writers to think of intellectual writing as an adaptive and social activity, and he offers them a clear set of strategies—a set of moves—for participating in it.
“Like all writers, intellectuals need to say something new and say it well. But for intellectuals, unlike many other writers, what we have to say is bound up with the books we are reading . . . and the ideas of the people we are talking with.”
What are the moves that an academic writer makes? How does writing as an intellectual change the way we work from sources? In Rewriting, Joseph Harris draws the college writing student away from static ideas of thesis, support, and structure, and toward a more mature and dynamic understanding. Harris wants college writers to think of intellectual writing as an adaptive and social activity, and he offers them a clear set of strategies—a set of moves—for participating in it. The second edition introduces remixing as an additional signature move and is updated with new attention to digital writing, which both extends and rethinks the ideas of earlier chapters.
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