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The Aid Industry and the ‘Me Too’ Movement
Charlotte Lydia Riley

than to fire them or publicly shame them ( Cooney, 2019 ). Libel laws in Britain also make it difficult to write about the #MeToo movement: it is difficult to name perpetrators, even if they have been forced to resign, or to report on rumours or commonly-known accusations, because of the fear of litigation. Women in INGOs, as in other industries, rely on whisper networks to stay safe and avoid abusers, but these whisper networks are necessarily kept closed and quiet

Journal of Humanitarian Affairs
Open Access (free)
Living with scandal, rumour, and gossip

This book illuminates the personal experience of being at the centre of a media scandal. The existential level of that experience is highlighted by means of the application of ethnological and phenomenological perspectives to extensive empirical material drawn from a Swedish context. The questions raised and answered in this book include the following: How does the experience of being the protagonist in a media scandal affect a person’s everyday life? What happens to routines, trust, and self-confidence? How does it change the basic settings of his or her lifeworld?

The analysis also contributes new perspectives on the fusion between interpersonal communication that takes place face to face, such as gossip and rumours, and traditional news media in the course of a scandal. A scandal derives its momentum from the audiences, whose engagement in the moral story determines its dissemination and duration. The nature of that engagement also affects the protagonist in specific ways. Members of the public participate through traditional oral communication, one vital aspect of which is activity in digital, social forums.

The author argues that gossip and rumour must be included in the idea of the media system if we are to be able to understand the formation and power of a media scandal, a contention which entails critiques of earlier research. Oral interpersonal communication does not disappear when new communication possibilities arise. Indeed, it may be invigorated by them. The term news legend is introduced, to capture the entanglement between traditional news-media storytelling and oral narrative.

Open Access (free)
Mia-Marie Hammarlin

3 Floorball Dad This chapter is different from the others. This is partly because the main figure in the case that is described in detail here is an anonymous private individual, partly because the story can be included in the concept of public shaming,1 with some folkloristic elements, rather than in that of a media scandal, although the two are related. Even so, the material is suitable for illustrating enduring relations between the local and the mediated, between text and talk, and between journalism and gossip. The phenomenon of public shaming is growing

in Exposed
Why some of us push our bodies to extremes

This book is about people willing to do the sorts of things that most others couldn't, shouldn't or wouldn't. While there are all sorts of reasons why people consume substances, the author notes that there are those who treat drug-taking like an Olympic sport, exploring their capacity to really push their bodies, and frankly, wanting to be the best at it. Extreme athletes, death-defiers and those who perform incredible stunts of endurance have been celebrated throughout history. The most successful athletes can compartmentalise, storing away worry and pain in a part of their brain so it does not interfere with their performance. The brain releases testosterone, for a boost of strength and confidence. In bondage, discipline, sadism and masochism (BDSM) play, the endogenous opioid system responds to the pain, releasing opioid peptides. It seems some of us are more wired than others to activate those ancient biological systems, be it through being caned in a dungeon during a lunchbreak or climbing a sheer rock wall at the weekend. Back in 1990, sociologist Stephen Lyng coined the term 'edgework', now frequently used in BDSM circles, as 'voluntary pursuit of activities that involve a high potential for death, physical injury, or spiritual harm'.

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Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.

Open Access (free)
Mia-Marie Hammarlin

acceptable from the unacceptable, at a given point in time and in a certain context, is rarely crystal-clear from the start. If it had been, and the boundaries had been beyond dispute, there would have been very little need for degradation rituals in the form of mediated scandals and public shaming. The scandal serves as a point of support in everyday life, a foothold from which we can push off and look at vital questions together. Emotions are both individual and shared, and they shape our understanding of ourselves and our travelling companions in the continuously

in Exposed

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

, (all accessed 2 April 2022). 1425  William Booth, Michael Birnbaum and Ellen Nakashima, ‘U.S. and Its Allies Target Russian Cyber Spies with Indictments, Public Shaming’, Washington Post (4 October 2018)

in Cyber-espionage in international law
Open Access (free)
Katherine Aron-Beller

of the verdict. Christians were usually given spiritual penalties, known as ‘salutary penances’, a detailed regimen of penance (confession), fasts, prayers, public shaming and attendance at religious services.83 More serious offences resulted in galley service, prison sentences, banishments and capital punishment, although the use of such measures in Italy was rare.84 Christopher Black reports a single case of capital punishment in Modena, that of Marco Magnavacca in 1568, who had committed anti-clericalism and anti-trinitarianism, and was strangled in his prison

in Jews on trial
Open Access (free)
Creative legacies
Melanie Giles

were divided, arguing this ‘mythical method’ of mobilising the past had two consequences: it failed to write explicitly about the present (‘Whatever you say, say nothing’), amounting to a ‘dither’ and a ‘blather’ (‘Viking Dublin: ‘Trial Pieces’), opting for the ‘more private ardors of poetry’ than direct action (Hart 1989 : 389). Through the bog body poems, he revealed his own ambiguous disposition: ‘conniving’ in ‘civilised outrage’ at the public shaming and tarring of women yet admitting he would understand this ‘exact, and tribal, intimate revenge’. His stance

in Bog bodies