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Fear of cancel culture has gripped the world, and it turns out to be an old fear in a new get-up. In this incisive new work, Adrian Daub analyzes the global spread of cancel culture discourse as a moral panic, showing that, though its object is fuzzy, talk of cancel culture in global media has become a preoccupation of an embattled liberalism. There are plenty of conservative voices who gin up worries about cancel culture to advance their agendas. But more remarkable perhaps is that it is centrist, even left-leaning, media that has taken up the rallying cry and really defined the outlines of what cancel culture is supposed to be. Media in Western Europe, South America, Russia, and Australia have devoted as much—in some cases more—attention to this supposedly American phenomenon than most US outlets. From French crusades against "le wokisme" via British fables of the "loony left" to a German obsession with campus anecdotes to a global revolt against "gender studies": countries the world over have developed culture war narratives in conflict with the US, and, above all, its universities—narratives that they themselves borrowed from the US. Who exactly is afraid of cancel culture? To trace how various global publics have been so quickly convinced that cancel culture exists and that it poses an existential problem, Daub compares the cancel culture panic to moral panics past, investigating the powerful hold that the idea of "being cancelled" has on readers around the world. A book for anyone wondering how institutions of higher learning in the US have become objects of immense interest and political lightning rods; not just for audiences and voters in the US, but worldwide.
Fear of cancel culture has gripped the world, and it turns out to be an old fear in a new get-up. In this incisive new work, Adrian Daub analyzes the global spread of cancel culture discourse as a moral panic, showing that, though its object is fuzzy, talk of cancel culture in global media has become a preoccupation of an embattled liberalism. There are plenty of conservative voices who gin up worries about cancel culture to advance their agendas. But more remarkable perhaps is that it is centrist, even left-leaning, media that has taken up the rallying cry and really defined the outlines of what cancel culture is supposed to be. Media in Western Europe, South America, Russia, and Australia have devoted as much--in some cases more--attention to this supposedly American phenomenon than most US outlets. From French crusades against "le wokisme" via British fables of the "loony left" to a German obsession with campus anecdotes to a global revolt against "gender studies" countries the world over have developed culture war narratives in conflict with the US, and, above all, its universities--narratives that they themselves borrowed from the US. Who exactly is afraid of cancel culture? To trace how various global publics have been so quickly convinced that cancel culture exists and that it poses an existential problem, Daub compares the cancel culture panic to moral panics past, investigating the powerful hold that the idea of "being cancelled" has on readers around the world. A book for anyone wondering how institutions of higher learning in the US have become objects of immense interest and political lightning rods; not just for audiences and voters in the US, but worldwide.
Psychiatric classifications created in one culture may not be as universal as we assume, and it is difficult to determine the validity of a classification even in the culture in which it was created. Culture and Panic Disorder explores how the psychiatric classification of panic disorder first emerged, how medical theories of this disorder have shifted through time, and whether or not panic disorder can actually be diagnosed across cultures. In this breakthrough volume a distinguished group of medical and psychological anthropologists, psychiatrists, psychologists, and historians of science provide ethnographic insights as they investigate the presentation and generation of panic disorder in various cultures. The first available work with a focus on the historical and cross-cultural aspects of panic disorders, this book presents a fresh opportunity to reevaluate Western theories of panic that were formerly taken for granted.
Introduction -- American dreams : access, mobility, fairness -- Free minds : educating democratic citizens -- Hard facts : knowledge creation and checking power -- Purposeful pluralism : dialogue across difference on campus -- Conclusion.
Campus Politics: What Everyone Needs to Know(R) provides the first even-handed look at political controversy on American university campuses, from struggles over "political correctness" to recent battles over racism, speech codes, and sexual assault.
Sexting Panic illustrates how anxieties about technology and teen girls' sexuality distract from critical questions about how to adapt norms of privacy and consent for new media. Though mobile phones can be used to cause harm, Amy Adele Hasinoff notes that criminalization and abstinence policies meant to curb sexting often fail to account for the distinction between consensual sharing and the malicious distribution of a private image. Hasinoff challenges the idea that sexting inevitably victimizes young women. Instead, she encourages us to recognize young people's capacity for choice and recommends responses to sexting that are realistic and nuanced rather than based on misplaced fears about deviance, sexuality, and digital media.
A New York Times Book Review Editors' Choice "In Daub’s hands the founding concepts of Silicon Valley don’t make money; they fall apart." --The New York Times Book Review From FSGO x Logic: a Stanford professor's spirited dismantling of Silicon Valley's intellectual origins Adrian Daub’s What Tech Calls Thinking is a lively dismantling of the ideas that form the intellectual bedrock of Silicon Valley. Equally important to Silicon Valley’s world-altering innovation are the language and ideas it uses to explain and justify itself. And often, those fancy new ideas are simply old motifs playing dress-up in a hoodie. From the myth of dropping out to the war cry of “disruption,” Daub locates the Valley’s supposedly original, radical thinking in the ideas of Heidegger and Ayn Rand, the New Age Esalen Foundation in Big Sur, and American traditions from the tent revival to predestination. Written with verve and imagination, What Tech Calls Thinking is an intellectual refutation of Silicon Valley's ethos, pulling back the curtain on the self-aggrandizing myths the Valley tells about itself. FSG Originals × Logic dissects the way technology functions in everyday lives. The titans of Silicon Valley, for all their utopian imaginings, never really had our best interests at heart: recent threats to democracy, truth, privacy, and safety, as a result of tech’s reckless pursuit of progress, have shown as much. We present an alternate story, one that delights in capturing technology in all its contradictions and innovation, across borders and socioeconomic divisions, from history through the future, beyond platitudes and PR hype, and past doom and gloom. Our collaboration features four brief but provocative forays into the tech industry’s many worlds, and aspires to incite fresh conversations about technology focused on nuanced and accessible explorations of the emerging tools that reorganize and redefine life today.
This collection of essays examines the importance of moral panic as a routine feature of everyday life, and important for identity formation, national security, industrial risk, and character formation.
From award-winning journalist and author of the “methodical, earnest, and insightful” (The Guardian) Panic Attack, an examination of recent kneejerk calls to regulate Big Tech from both sides of the aisle. Not so long ago, we embraced social media as a life-changing opportunity to connect with friends and family all across the globe. Today, the pendulum of public opinion is swinging in the opposite direction as Facebook, Twitter, Google, YouTube, Instagram, TikTok, and similar sites are being accused of corrupting our democracy, spreading disinformation, and fanning the flames of hatred. We once marveled at the revolutionary convenience of ordering items online and having them show up on our doorsteps overnight. Now we fret about Amazon outsourcing our jobs overseas or building robots to do them for us. With insightful analysis and in-depth research, Robby Soave offers “a refreshing dose of sanity and common sense about big tech” (David French, author of Divided We Fall) and explores some of the biggest issues animating both the right and the left: bias, censorship, disinformation, privacy, screen addiction, crime, and more. Far from polemical, Tech Panic is grounded in interviews with insiders at companies like Facebook and Twitter, as well as expert analysis by both tech boosters and skeptics—from Mark Zuckerberg to Josh Hawley. You will learn not just about the consequences of Big Tech, but also the consequences of altering the ecosystem that allowed tech to get big. Offering a fresh and crucial perspective on one of the biggest influences of the 21st century, Soave seeks to stand athwart history and yell, Wait, are we sure we really want to do this?
"The German ballad was an unusual poetic genre: supposedly inspired by a treasure trove of authorless poems that had for centuries circulated among the common people, the ballad attained popularity in the form of deeply ironic poems written by some of Germany's most canonic authors. Supposedly a celebration of the oral culture of the German Volk, the ballad instead circulated through the emerging channels of nineteenth century culture industry: from anthologies and picture books via the exploding market for song settings, from the opera house to the vaudeville stage, the ballad hewed to its medieval pretence while sounding surprisingly modern. This book traces the strange trajectory of this poetic genre from its origins in the late 18th century to its political appropriations in the 20th. Throughout, the ballad and its path across a wide variety of milieus and media told a surprising and contradictory story of the German nation. What The Ballad Knows shows that, even though the ballad arrived in Germany as a literary genre, it very quickly came to make its home in between different genres and even different media - to the point that laypeople were as likely to encounter it in a concert hall, a classroom, an art museum or a choral rehearsal as they were to encounter it in a book. When cultural conservatives in the early 20th century sought to claim the ballad as a straightforward and serious vehicle of German nationalism, they ignored just how complex the ballad's relationship to the nation had been, and what complexities within nationalism the form had managed to highlight through the decades"--