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This chapter is different from the others. This is partly because the main figure in the case that is described in detail is an anonymous private individual, partly because the story can be included in the concept of public shaming, with some folkloristic elements, rather than in that of a media scandal, although the two are related. The material is suitable for illustrating enduring relations between the local and the medial, between text and talk, and between journalism and gossip. The concept news legend is introduced, to pinpoint the narrative contagion and passing-down that take place among journalists and other news providers, in cooperation with the news audiences.

in Exposed

In this part of the book, the analysis of the relationship between the interpersonal and the mediated dimension of the public scandal is taken a step further. The chapter shows that these dimensions are more or less interwoven, a circumstance to which media researchers have not paid much attention because they have usually chosen to focus on the media themselves, employing a narrow definition of the ‘media’ concept. The overall question is: How is a media scandal possible, and through which media is it created? On close examination, it becomes clear that scandals have been mediated for centuries, and that general person-to-person conversations about them have played a notable part in that process. In a historical perspective, the oral distribution of news should in point of fact be considered a form of mediation.

in Exposed

This part of the book presents fundamental themes in the interviews with the central figures of the scandals and their partners. Several respondents testified to how their previously ‘given’ existence was transformed into an unfamiliar and terrifying chaos where nothing was the same. Every one of the affected people testified individually to tangible feelings of unreality and loneliness in the wake of the media scandal, a loneliness that was both voluntarily chosen and forced on them. Many of them dwelt on the experience of being stared at. Some people with a superficial or non-existent relationship to the protagonist of the drama seemed to respond to the scandal by staring intently at the scandalised person from a distance. Others demonstratively averted their eyes. It is a function on the part of the scandal, the author argues, that it causes guilt and shame in the affected individual as well as a feeling of being deprived of dignity in the full glare of publicity. Scandals are shame- and degradation-rituals, symbolic occasions where people are exiled into the guild of the guilty.

in Exposed
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The introduction provides a detailed survey of existing research in the media-scandal domain. The author’s own perspectives are introduced, with an emphasis on ethnological and phenomenological theories which demonstrate the importance of understanding the scandal as a cultural phenomenon. The purpose is partly to explore the emotional experience of being the main figure of a media scandal, partly to study the complex media system that creates the scandal. What does the scandal feel like for the person who is affected by it, and what can these emotions teach us about both people and media? This book brings out more or less forgotten universal human existential aspects of media scandals, among other things by paying attention to the emotions of the affected parties.

in Exposed

To a greater extent than the preceding chapters, this one deals with journalism and politics as arenas and examines how the two of them interact today. Through analysis of qualitative interviews with Swedish high-profile journalists, it paints a complex picture of the relationships of reporters to the emotions that the exercise of their profession may evoke. Special attention is given to journalistic culture – the normative cement that creates coherence and meaning in the everyday lives of journalists, where spoken or silent agreements, rules, and routines govern journalistic work and the production of news. Many journalists are aware of being caught up in behaviour based on group pressure and a common driving force, rather than on individual reflection and critical consideration, when a scandal is in the offing.

in Exposed
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An Excerpt from Bill V. Mullen’s New Biography, James Baldwin: Living in Fire, and an Interview with the Author

This excerpt from James Baldwin: Living in Fire details a key juncture in Baldwin’s life, 1957–59, when he was transformed by a visit to the South to write about the civil rights movement while grappling with the meaning of the Algerian Revolution. The excerpt shows Baldwin understanding black and Arab liberation struggles as simultaneous and parallel moments in the rise of Third World, anti-colonial and anti-racist U.S. politics. It also shows Baldwin’s emotional and psychological vulnerability to repressive state violence experienced by black and Arab citizens in the U.S., France, and Algiers.

James Baldwin Review
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James Baldwin’s Pragmatist Aesthetics

This essay establishes a philosophical connection between James Baldwin and the philosopher William James by investigating how the pragmatist protocol against “vicious intellectualism” offers Baldwin a key resource for thinking through how anti-black racism might be dismantled. While Richard Wright had earlier denounced pragmatism for privileging experience over knowledge, and thereby offering the black subject no means for redressing America’s constitutive hierarchies, uncovering the current of Jamesian thought that runs through Baldwin’s essays brings into view his attempt to move beyond epistemology as the primary framework for inaugurating a future unburdened by the problem of the color line. Although Baldwin indicts contemporaneous arrangements of knowledge for producing the most dehumanizing forms of racism, he does not simply attempt to rewrite the enervating meanings to which black subjects are given. Articulating a pragmatist sensibility at various stages of his career, Baldwin repeatedly suggests that the imagining and creation of a better world is predicated upon rethinking the normative value accorded to knowledge in the practice of politics. The provocative challenge that Baldwin issues for his reader is to cease the well-established privileging of knowledge, and to instead stage the struggle for freedom within an aesthetic, rather than epistemological, paradigm.

James Baldwin Review

Recounting a celebration at ASA 2018, reflecting on the twenty-year anniversary of the publication of the edited collection James Baldwin Now, celebrating the early success of this journal, and canvassing the renaissance in interest in James Baldwin, Dwight A. McBride introduces the fifth volume of James Baldwin Review.

James Baldwin Review
A Session at the 2019 Modern Language Association Convention

“Interventions” was the organizing term for the presentations of three Baldwin scholars at the Modern Language Association Convention in Chicago in January of 2019. Baldwin’s travels and activities in spaces not traditionally associated with him, including the U.S. South and West, represent interventions of a quite literal type, while his aesthetic and critical encounters with these and other cultures, including twenty-first-century contexts of racial, and racist, affect—as in the case of Raoul Peck’s 2016 film I Am Not Your Negro—provide opportunities to reconsider his work as it contributes to new thinking about race, space, property, citizenship, and aesthetics.

James Baldwin Review
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Race and the Tragedy of American Democracy

In this essay, Eddie S. Glaude, Jr. addresses the historical and contemporary failures of American democracy. Using the metaphor of “the magician’s serpent,” Glaude brings Walt Whitman’s views on democracy into the full light of America’s failure to resolve the problem of race. Glaude places Whitman’s Democratic Vistas (1871) in conversation with James Baldwin’s No Name in the Street (1972) in order to construct a different sort of reading practice that can both engage with Whitman’s views on democracy and reckon with what George Hutchinson calls Whitman’s “white imperialist self and ideology” as an indication of the limits of a certain radical democratic imagining.

James Baldwin Review