Winner, 2023 Columbia University Press Distinguished Book Award Winner, 2023 Frank Luther Mott / Kappa Tau Alpha Research Award Winner, 2023 Journalism Studies Division Book Award, International Communication Association Winner, 2023 History Book Award, Association for Education in Journalism and Mass Communication Long before the current preoccupation with “fake news,” American newspapers routinely ran stories that were not quite, strictly speaking, true. Today, a firm boundary between fact and fakery is a hallmark of journalistic practice, yet for many readers and publishers across more than three centuries, this distinction has seemed slippery or even irrelevant. From fibs about royal incest in America’s first newspaper to social-media-driven conspiracy theories surrounding Barack Obama’s birthplace, Andie Tucher explores how American audiences have argued over what’s real and what’s not—and why that matters for democracy. Early American journalism was characterized by a hodgepodge of straightforward reporting, partisan broadsides, humbug, tall tales, and embellishment. Around the start of the twentieth century, journalists who were determined to improve the reputation of their craft established professional norms and the goal of objectivity. However, Tucher argues, the creation of outward forms of factuality unleashed new opportunities for falsehood: News doesn’t have to be true as long as it looks true. Propaganda, disinformation, and advocacy—whether in print, on the radio, on television, or online—could be crafted to resemble the real thing. Dressed up in legitimate journalistic conventions, this “fake journalism” became inextricably bound up with right-wing politics, to the point where it has become an essential driver of political polarization. Shedding light on the long history of today’s disputes over disinformation, Not Exactly Lying is a timely consideration of what happens to public life when news is not exactly true.
It was an ordinary day for Mr. McGee--that is, until he went to his mailbox. Inside was a clue, the first clue on a scavenger hunt. Though not happy about it, he follows the clues to find a wonderful surprise at the end.
Slow Motion is a collection of non-fiction stories (essays and interviews) about walking. The collection has been written over a period of six years and so the book has become something of a documentary project, witnessing transformation in South Africa through the eyes of pedestrians across the economic, racial and age spectrum. The book could be described as documenting recent history. Though it inevitably looks at the issue of crime, and how we have moved from a race-based to a class-based society and pedestrians of all colours continue to be marginalised and thought of as second-class citizens in an increasingly autocentric society, it is essentially an optimistic book. It tells the stories of South Africans (and visitors) who have chosen to 'reclaim the streets' from predators and traffic. While the focus is primarily on Johannesburg, several of the stories are about Cape Town, contrasting the experience of walking in these two cities. Other international cities such as Los Angeles, Paris, London and Mumbai are also visited along the way. The style of the book is such that, while it can be opened anywhere and each story can be read and enjoyed on its own (a bedside-table book), the stories are interlinked, as people's paths inevitably cross. There is a bigger story at play as well. The band of pedestrians includes writers, artists, political activists, disabled people, dogs and their owners, Walk for Life members, Jews on the Sabbath, domestic workers, refugees, babies learning to walk, and even a golfer and a caddie. The purpose of the book is both to entertain and inform readers"--Publisher's website.
Four-hundred-twenty-five books are reviewed in this superb collection. A Second Look, Native Americans in Childrens Books gives a thorough examination of the books as a guide for parents, teachers, librarians, and administrators interested in books for children. Anyone involved in selecting books will find this guide useful in working through the maze of available materials. Andie Peterson, one of the few women to be awarded an Eagle Feather, has provided a meaningful criteria to help in judging books. She outlines ways for objectively studying books to draw conclusions as to the suitability for the reader. She writes candidly about books filled with stereotypes, hurtful images, and damaging text and illustrations. She writes eloquent, glowing reviews of the books that are real treasures. She writes: On a daily basis, children must face the hidden curriculum that lets them know where they fit in, whether they can achieve their goals, whether they even dare to dream. An overwhelming part of that hidden curriculum begins with books that are more narrative and illustrations; they are books that carry a message of politics and values. Andie advises that in selecting Native American books, the non-Native child must be considered, also. She counsels that hurtful books set in motion attitudes of prejudice that persist for years. She states that she has reviewed books with older copyrights because they are still on the shelves in libraries and available via the Internet. She says reading the older books helps to understand how adults have formed ideas about Native people. She says: After all, if its in a book in the library, people believe it to be true. Its time to disturb the peace and end the ritual of damage. A Second Look, Native Americans in Childrens Books By Andie Peterson
The Brand of Print offers a comprehensive analysis of the ways printers, publishers, stationers, and booksellers designed paratexts to market printed books as cultural commodities. This study traces envoys to the reader, visual design in title pages and tables of contents, and patron dedications, illustrating how the agents of print branded their markets by crafting relationships with readers and articulating the value of their labor in an increasingly competitive trade. Applying terms from contemporary marketing theory to the study of early modern paratexts, Andie Silva encourages a consideration of how print agents' labor and agency, made visible through paratextual design, continues to influence how we read, study, and digitize early modern texts.
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