But it was as a columnist for the famous African-American newspaper the Chicago Defender that Hughes chronicled the hopes and despair of his people. For twenty years, he wrote forcefully about international race relations, Jim Crow, the South, white supremacy, imperialism and fascism, segregation in the armed forces, the Soviet Union and communism, and African-American art and culture. None of the racial hypocrisies of American life escaped his searing, ironic prose.
This is the first collection of Hughes's nonfiction journalistic writings. For readers new to Hughes, it is an excellent introduction; for those familiar with him, it gives new insights into his poems and fiction.
Though subjected to years of criticism, Four Theories of the Press remains a core text in communications. Its influence on the field, impact on generations of journalists, and ability to spark debate on why the press acts as it does continue to make it an oft-quoted source and classroom staple.
In Last Rights, eight communications scholars critique and expand on the classic text. The authors argue that Four Theories spoke to and for a world beset by a cold war ended long ago. At the same time, they praise the book for offering an alternative view of the press and society and as a useful tool for helping scholars and citizens alike grapple with contradictions in classical liberalism. They also raise important questions about the Internet and other major changes in communications systems and society since the original publication of Four Theories.
Contributors: William E. Berry, Sandra Braman, Clifford Christians, Thomas G. Guback, Steven J. Helle, Louis W. Liebovich, John C. Nerone, and Kim B. Rotzoll
Since the mid-1960s, the war on crime has reshaped public attitudes about state authority, criminal behavior, and the responsibilities of citizenship. But how have American writers grappled with these changes? What happens when a journalist approaches the workings of organized crime not through its legendary Godfathers but through a workaday, low-level figure who informs on his mob? Why is it that interrogation scenes have become so central to prime-time police dramas of late? What is behind writers’ recent fascination with “cold case” homicides, with private security, or with prisons?
In Learning to Live with Crime, Christopher P. Wilson examines this war on crime and how it has made its way into cultural representation and public consciousness. Under the sway of neoconservative approaches to criminal justice and public safety, Americans have been urged to see crime as an inevitable risk of modern living and to accept ever more aggressive approaches to policing, private security, and punishment. The idea has been not simply to fight crime but to manage its risks; to inculcate personal vigilance in citizens; and to incorporate criminals’ knowledge through informants and intelligence gathering. At its most scandalous, this study suggests, contemporary law enforcement has even come to mimic crime’s own operations.
Examines the ways in which the 'Left Behind' have been used to symbolize and foment social divisions in contemporary Britain.
'The Left Behind' is a defining motif of contemporary British political discourse. It is the thread that knits together the 2016 Brexit referendum, the crumbling of the fabled 'Red Wall' in the North, and the pernicious culture war being waged today. But who are the Left Behind?
James Morrison goes in search of the reality behind the rhetoric, offering the first comprehensive, historical analysis of the origins, uses and meanings of the term. He interrogates the popular archetype of the Left Behind - as a working-class, Leave-voting white male from a former industrial heartland - and situates the concept in the context of longstanding, demonizing discourses aimed at communities seen as backward and 'undeserving'.
Analyzing national newspaper coverage and parliamentary discussions, and drawing on interviews with MPs, community leaders, charities, and people with direct lived experiences of poverty and precarity, The Left Behind grapples with the real human cost of austerity for neglected post-industrial communities and other marginalized groups across the world, and the stigmatizing discourse that does little to serve them.
William F. Woo, born in China, was the first person outside the Pulitzer family to edit the St. Louis Post-Dispatch and the first Asian American to edit a major American newspaper. After forty years in the newsroom, Woo embarked on a second career in 1996 teaching journalism at Stanford University, where he wrote weekly informal essays to his students in the same personal style that characterized his columns for the Post-Dispatch. Each made a philosophical point about journalism and society and their delicate relationship over the last half of the twentieth century.
Woo was revered as both a writer and a reporter, and this volume collects some of the best of those essays to the next generation of journalists on their craft’s high purpose. As inspiration for students from someone who knew the ropes, it distills the essence of the values that define independent journalism while offering them invaluable food for thought about their future professions.
The essays touch on a wide range of subjects. Woo reflects on journalism as a public trust, requiring the publication of stories that give readers a better understanding of society and equip them to change it for the better. He also ponders print journalism conducted in the face of broadcast and online competition along with the transformation of newspapers from privately owned to publicly traded companies. Here too are personal reflections on the Pulitzer family’s impact on journalism and on the tensions between a journalist’s personal and professional life, as well as the conflicts posed by political advocacy versus free speech or a reporter’s expertise versus a newspaper’s credibility.
Woo’s idealistic spirit conveys the virtues of his era’s newspaper journalism to the next generation of journalists—and most likely to the next generation of news media as well. Even as new students of journalism have an eye on an electronic future, Woo’s essays come straight from a newsman’s heart and soul to remind them of values worth preserving.
With its rocky transition to democracy, post-Soviet Russia has made observers wonder whether a moderating liberalism could ever succeed in such a land of extremes. But in Liberals under Autocracy, Anton A. Fedyashin looks back at the vibrant Russian liberalism that flourished in the country’s late imperial era, chronicling its contributions to the evolution of Russia’s rich literary culture, socioeconomic thinking, and civil society.
For five decades prior to the revolutions of 1917, The Herald of Europe (Vestnik Evropy) was the flagship journal of Russian liberalism, garnering a large readership. The journal articulated a distinctively Russian liberal agenda, one that encouraged social and economic modernization and civic participation through local self-government units (zemstvos) that defended individual rights and interests—especially those of the peasantry—in the face of increasing industrialization. Through the efforts of four men who turned The Herald into a cultural nexus in the imperial capital of St. Petersburg, the publication catalyzed the growing influence of journal culture and its formative effects on Russian politics and society.
Challenging deep-seated assumptions about Russia’s intellectual history, Fedyashin’s work casts the country’s nascent liberalism as a distinctly Russian blend of self-governance, populism, and other national, cultural traditions. As such, the book stands as a contribution to the growing literature on imperial Russia's nonrevolutionary, intellectual movements that emphasized the role of local politics in both successful modernization and the evolution of civil society in an extraparliamentary environment.
This wide-ranging collection of critical essays on literary journalism addresses the shifting border between fiction and non-fiction, literature and journalism.
Literary Journalism in the Twentieth Century addresses general and historical issues, explores questions of authorial intent and the status of the territory between literature and journalism, and offers a case study of Mary McCarthy’s 1953 piece, "Artists in Uniform," a classic of literary journalism.
Sims offers a thought-provoking study of the nature of perception and the truth, as well as issues facing journalism today.
From Edward R. Murrow to "Sixty Minutes" and CNN, the television news correspondent has become a fixture of American journalism in the latter half of the twentieth century. The correspondent's role has changed, however, as centralized control, changing technology, "infotainment," and profit margin have influenced the way that television networks operate and television news is reported.
In spite of the flood of literature dealing with the American television networks, the evening anchors, and prime-time personalities, little has been written about the "the foot soldier of network news." Live from the Trenches fills that gap, providing the first examination of television news correspondents and their work, with much of the analysis coming from the correspondents themselves.
The correspondents:
Jim Bittermann, a former ABC Paris correspondent, has been the CNN Paris correspondent since 1996. He received a National News Emmy for his coverage of the 1988 Sudan famine.
Chris Bury, correspondent for "Nightline" since 1993, has covered foreign and domestic stories from Waco to Whitewater.
Michael Murrie, after a dozen years in television news at KSDK in St. Louis, is an associate professor and director of the Telecommunications Master's Program for the Department of Radio-Television at Southern Illinois University at Carbondale.
Roger O'Neil, NBC News Denver bureau chief and correspondent since 1983, was the lead reporter for NBC during the Oklahoma City bombing trial of Timothy McVeigh.
Walter C. Rodgers, bureau chief and correspondent in Jerusalem, joined CNN in 1993 as the Berlin correspondent. Prior to joining CNN, he worked for ABC for twelve years.
Marlene Sanders broke barriers for women throughout her career and has won three Emmies. As a correspondent at ABC News in 1964, she was the first woman to anchor a prime-time network newscast.
George Strait is the primary ABC News correspondent for medical and health news. Among his many awards are the Alfred I. duPont Award and Gold Medal Award from the National Association of Black Journalists.
Ed Turner is CNN's first editor-at-large. Based in Washington, he represents the CNN News Group globally.
Garrick Utley joined CNN in 1997 after thirty years covering more than seventy countries for ABC.
Joe Wilson (1938-2015), a native of rural East Tennessee, was a civil rights activist, self-educated scholar, founder/administrator of nationally important roots music enterprises, and was legendary for his colorful writing and opinions. Lucky Joe’s Namesake, a companion to Roots Music in America: Collected Writings of Joe Wilson (also published by the University of Tennessee Press), brings us Wilson’s life and observations, mostly in his own words.
From humble mountain beginnings, Wilson’s career progressed through Nashville, Tennessee; Birmingham, Alabama; and New York City, before settling him for twenty-eight years near the seats of power in Washington, D.C. as the executive director of the National Council for the Traditional Arts. In that role, he developed a national model for folk festival presentations, stalked the halls of federal representatives seeking support for traditional artists, and filled concert venues throughout the world with audiences eager to experience the work of master folk musicians. A powerful advocate on behalf of agrarian values, social justice, artistic authenticity, and cultural democracy, Joe wrote in an engaging, humorous, and memorable style.
This eclectic anthology is filled with Joe Wilson’s brilliant published writing for magazines, books, and newspapers as well as privately circulated unpublished works, including an extended autobiographical essay. Readers are sure to benefit from Wilson’s lessons and artful ruminations culled from a lifetime of devotion to music and cultural and social activism.
Fred Bartenstein teaches country and bluegrass music history at the University of Dayton. He is the editor of Bluegrass Bluesman: Josh Graves, a Memoir and coauthor and editor of The Bluegrass Hall of Fame: Inductee Biographies, 1991–2014.
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