civic discourses
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2020 ◽  
pp. 139-154
Author(s):  
Christopher Chávez

National Public Radio (NPR) was designed with two clear mandates: to engage listeners more directly in civic discourses and to represent the diversity of the nation. The degree to which NPR has delivered on these mandates has been a point of contention. Critics of NPR have argued that, by creating programming for white, middle-class boomers, NPR has consistently served an audience that is already inclined to engage civically. In recent years, however, profound demographic change has put NPR at odds with an American electorate that is becoming increasingly culturally, ethnically, and linguistically diverse. In this chapter, the author explores how NPR defines its ideal Latinx listener and the resources it invests in creating relevant programming for that listener. At 18 percent of the US population, Latinxs are becoming an increasingly important part of the American electorate that NPR is tasked with serving. Based on interviews with public radio practitioners and a review of NPR and Corporation for Public Broadcasting (CPB) strategic documents, the author argues that NPR has defined its ideal Latinx listener in ways that are congruent with its current target-audience profile. Such targeting practices have important implications for who gets to participate in civic discourses and who is excluded.


2017 ◽  
Vol 46 (2) ◽  
pp. 197-217
Author(s):  
Michael Feola

This essay engages an undertheorized form of democratic agency: the embodied spectacle that characterizes a strain of activist politics. Where an existing literature addresses “the spectacle” as a tactic of power, it does not do justice to how marginal groups have used radical bodily acts in order to intervene within the image-world of democratic politics (e.g., hunger strikes, die-ins, self-immolation). The essay argues that such performances represent a standing challenge to democratic theory and demand a more richly sensuous approach to how political claims are made. Such forms of bodily theatre do not only “speak” in ways that exceed official civic discourses but, in so doing, they unsettle the space of citizenship. Ultimately, these bodies do something in being undone.


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