Search results for ""Author John Louis""

John Recchiuti recounts the history of a vibrant network of young American scholars and social activists who helped transform a city and a nation. New York, in the late Gilded Age and Progressive Era, was the nation's financial capital, its principal hub for immigration, and its premier center for the arts. It was also a center of civic engagement: most of the nation's main reform organizations were headquartered there. As public intellectuals, members of the city's social science network championed the fight for civil rights through the NAACP and National Urban League; sought solutions to labor problems through the American Association for Labor Legislation, National Consumers' League, and National Child Labor Committee; founded the nation's first settlement houses; and established the first center for social science and social work, the New York School of Philanthropy. In New York, which one group of social scientists called "the greatest social science laboratory in the world," these men and women lived and worked in Greenwich Village's working-class haunts, amid immigrant poverty on the Lower East Side, and on Columbia University's Upper West Side campus. They debated how much government should regulate laissez-faire capitalism, whether poverty was caused by individual character flaws, and how, through the New York Bureau of Municipal Research, to thwart municipal corruption. Some promulgated a racist eugenics, while others fought racism in the name of social science. And, in their reach for leadership, they confronted an essential question: was social science to be the herald of a reinvigorated democracy, or an instrument of technocracy? In this deeply researched study, Recchiuti focuses on more than a score of Progressive reformers, including Florence Kelley, W. E. B. Du Bois, E. R. A. Seligman, Charles Beard, Franz Boaz, Frances Perkins, Samuel Lindsay, Edward Devine, Mary Simkhovitch, and George Edmund Haynes. He reminds us how people from markedly diverse backgrounds forged a movement to change a city and, beyond it, a nation.

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Even as the media environment has changed dramatically in recent years, one thing at least remains true: photographs are everywhere. From professional news photos to smartphone selfies, images have become part of the fabric of modern life. And that may be the problem. Even as photography bears witness, it provokes anxieties about fraudulent representation; even as it evokes compassion, it prompts anxieties about excessive exposure. Parents and pundits alike worry about the unprecedented media saturation that transforms society into an image world. And yet a great news photo can still stop us in our tracks, and the ever-expanding photographic archive documents an era of continuous change. By confronting these conflicted reactions to photography, Robert Hariman and John Louis Lucaites make the case for a fundamental shift in understanding photography and public culture. In place of suspicions about the medium's capacity for distraction, deception, and manipulation, they suggest how it can provide resources for democratic communication and thoughtful reflection about contemporary social problems. The key to living well in the image world is to unlock photography from viewing habits that inhibit robust civic spectatorship. Through insightful interpretations of dozens of news images, The Public Image reveals how the artistry of the still image can inform, challenge, and guide reflection regarding endemic violence, environmental degradation, income inequity, and other chronic problems that will define the twenty-first century. By shifting from conventional suspicions to a renewed encounter with the image, we are challenged to see more deeply on behalf of a richer life for all, and to acknowledge our obligations as spectators who are, crucially, also citizens.

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Philosophers and historians often treat fundamental concepts like equality as if they existed only as fixed ideas found solely in the canonical texts of civilization. In Crafting Equality, Celeste Michelle Condit and John Louis Lucaites argue that the meaning of at least one key word—equality—has been forged in the day-to-day pragmatics of public discourse.Drawing upon little studied speeches, newspapers, magazines, and other public discourse, Condit and Lucaites survey the shifting meaning of equality from 1760 to the present as a process of interaction and negotiation among different social groups in American politics and culture. They make a powerful case for the critical role of black Americans in actively shaping what equality has come to mean in our political conversation by chronicling the development of an African-American rhetorical community. The story they tell supports a vision of equality that embraces both heterogeneity and homogeneity as necessary for maintaining the balance between liberty and property.A compelling revision of an important aspect of America's history, Crafting Equality will interest anyone wanting to better understand the role public discourse plays in affecting the major social and political issues of our times. It will also interest readers concerned with the relationship between politics and culture in America's increasingly multi-cultural society.

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In "No Caption Needed", Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection. Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. "No Caption Needed" is a compelling demonstration of photojournalism's vital contribution to public life.

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In/Visible War addresses a paradox of twenty-first century American warfare. The contemporary visual American experience of war is ubiquitous, and yet war is simultaneously invisible or absent; we lack a lived sense that “America” is at war. This paradox of in/visibility concerns the gap between the experiences of war zones and the visual, mediated experience of war in public, popular culture, which absents and renders invisible the former. Large portions of the domestic public experience war only at a distance. For these citizens, war seems abstract, or may even seem to have disappeared altogether due to a relative absence of visual images of casualties. Perhaps even more significantly, wars can be fought without sacrifice by the vast majority of Americans. Yet, the normalization of twenty-first century war also renders it highly visible. War is made visible through popular, commercial, mediated culture. The spectacle of war occupies the contemporary public sphere in the forms of celebrations at athletic events and in films, video games, and other media, coming together as MIME, the Military-Industrial-Media-Entertainment Network.

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In/Visible War addresses a paradox of twenty-first century American warfare. The contemporary visual American experience of war is ubiquitous, and yet war is simultaneously invisible or absent; we lack a lived sense that “America” is at war. This paradox of in/visibility concerns the gap between the experiences of war zones and the visual, mediated experience of war in public, popular culture, which absents and renders invisible the former. Large portions of the domestic public experience war only at a distance. For these citizens, war seems abstract, or may even seem to have disappeared altogether due to a relative absence of visual images of casualties. Perhaps even more significantly, wars can be fought without sacrifice by the vast majority of Americans. Yet, the normalization of twenty-first century war also renders it highly visible. War is made visible through popular, commercial, mediated culture. The spectacle of war occupies the contemporary public sphere in the forms of celebrations at athletic events and in films, video games, and other media, coming together as MIME, the Military-Industrial-Media-Entertainment Network.

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An indispensable text--now revised and expanded for the digital age--this volume showcases some of the most important work by contemporary rhetorical theorists. The introduction and section openers frame major problems and questions facing the field. Topics include the epistemological status of rhetoric, how rhetorical address shapes public responses to social and political controversies, the shifting contexts of public communication, how theorists have negotiated the tensions between modernist and postmodernist considerations, mass media, and the relationship between rhetoric and traditionally marginalized groups. A wide range of voices from the 1970s to today are represented, including both classic essays and alternative approaches extending beyond the traditional borders of communication studies. New to This Edition *Reflects nearly two decades of major changes in rhetorical theory and practice. *Includes 17 new articles and new sections on publics and counterpublics, rhetorical personae, and problems of political change. *Addresses the sweeping impact of the Internet and digital media on the nature of public discourse. *Shows the relevance of rhetorical theory for understanding current social issues, such as the "Black Lives Matter" movement. *Fully revised introduction, section openers, and epilogue by the editors.

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