Sensationalization in Literature & Literary Theory

Etymology of Sensationalization

• Etymology: The term “sensationalization” originates from the word “sensation,” rooted in the Latin term “sensatio,” which denotes “perception” or “feeling.” The addition of the suffix “-ize” is commonly used to form verbs. When appended to “sensation,” it signifies the action of making something sensational.
• Academic Significance: In academic discourse, “sensationalization” is a concept applied to the practice of accentuating or exaggerating the more thrilling or shocking elements of a subject, often with the intent of capturing attention, increasing interest, or boosting sales in media, news, or other forms of communication. It holds particular relevance in the fields of media studies and journalism ethics, where it is utilized to scrutinize the consequences of sensationalized content on public perception and the quality of information dissemination.

Meanings of Sensationalization

Aspect	Meaning
Literal Meaning	Making something sensational by emphasizing aspects for excitement and engagement.
Media and Journalism	Presenting news in an attention-grabbing, often dramatic, and sometimes inaccurate manner.
Entertainment and Pop Culture	Using provocative or shocking content to captivate and entertain audiences.
Critique and Ethics	A potentially problematic practice compromising truth and objectivity in information.
Psychological Impact	Desensitization to real-life events and heightened anxiety from constant exposure.
Societal and Cultural Influences	Reflecting societal values that prioritize novelty and excitement over accuracy.
Historical Perspective	An enduring role in shaping public discourse from early yellow journalism to modern clickbait.

Definition of Sensationalization as a Theoretical Term

Sensationalization, as a theoretical term, refers to the deliberate amplification of sensational or emotionally charged elements within a narrative or discourse, often for the purpose of capturing attention and engendering heightened interest among the audience.

It can manifest in various forms, including media reporting, literature, and entertainment, and is closely associated with the selective emphasis on dramatic or shocking aspects, occasionally at the expense of accuracy and objectivity.

The concept of sensationalization plays a pivotal role in media studies and communication theory, where it is scrutinized for its impact on public perception and information dissemination.

Sensationalization: Theorists, Works and Arguments

Theorists	Works	Arguments
Neil Postman	Amusing Ourselves to Death (1985)	Postman argues that the transition from a print-based culture to a television-dominated culture has led to the sensationalization of news and information, where entertainment value takes precedence over substantive content.
Kathleen Hall Jamieson	Spiral of Cynicism: The Press and the Public Good (1997)	Jamieson explores the role of sensationalized news coverage in perpetuating public cynicism, arguing that sensational reporting contributes to a sense of disillusionment and distrust in the media.
Stuart Hall	Encoding and Decoding in the Television Discourse (1973)	Hall’s work on the encoding and decoding of media messages emphasizes how the media can sensationalize narratives and influence audience interpretations through various forms of encoding.
Susan Sontag	Regarding the Pain of Others (2003)	Sontag examines the role of images in sensationalizing suffering, particularly in the context of war and conflict. She discusses how images can desensitize or overwhelm viewers.
Noam Chomsky and Edward S. Herman	Manufacturing Consent: The Political Economy of the Mass Media (1988)	Chomsky and Herman’s propaganda model outlines how media sensationalization can be influenced by the interests of corporate and political elites, leading to biased and selective reporting.
Daniel Boorstin	The Image: A Guide to Pseudo-Events in America (1961)	Boorstin discusses the creation of pseudo-events in media and culture, highlighting how the quest for sensationalism and novelty can distort reality and create artificial spectacles.

Sensationalization and Literary Theories

1. Reader-Response Theory: Relevance: Reader-response theory focuses on the role of the reader in interpreting and co-creating meaning in a literary text. Sensationalization can affect the emotional and psychological responses of readers, potentially evoking strong reactions and shaping their interpretation of the text.
2. Feminist Literary Theory:  Relevance: Sensationalization can be relevant in feminist literary theory, particularly when examining the representation of gender and sexuality in literature. It highlights how certain portrayals of women and their experiences may be sensationalized, reinforcing or challenging gender stereotypes and norms.
3. Postcolonial Literary Theory: Relevance: In postcolonial literary theory, the sensationalization of colonial encounters and their consequences can be explored. It sheds light on how narratives about colonized peoples and their experiences are framed, often sensationalized, to suit the agendas of colonial powers.
4. Narrative Theory: Relevance: Narrative theory delves into the structural and thematic aspects of storytelling. Sensationalization can affect the way narratives are constructed, emphasizing dramatic or shocking elements, which may impact the overall structure and flow of a story.
5. Cultural Studies: Relevance: Cultural studies examine the societal and cultural contexts in which literature is produced and consumed. Sensationalization can be relevant when analyzing how literature reflects and shapes cultural attitudes and responses, particularly in the context of sensationalized media and popular culture.
6. Postmodern Literary Theory: Relevance: Postmodernism often features fragmented narratives and a blurring of reality and fiction. Sensationalization can be relevant in the context of postmodern literature, further complicating the distinction between truth and illusion, reality and spectacle.
7. Critical Theory: Relevance: Critical theory, with its focus on social critique and the examination of power dynamics, can explore how sensationalization in literature can serve as a tool for propaganda, manipulation, or social commentary.

Sensationalization in Literary Criticism

Work	Critique
American Psycho by Bret Easton Ellis	“Sensationalism” is practically built into the title of this novel. While the graphic violence and disturbing behavior of the protagonist, Patrick Bateman, often dominate discussions of the book, it’s crucial not to overlook the satirical and critical commentary on consumerism and the emptiness of the 1980s yuppie culture. An overly sensationalized reading may miss the deeper social commentary and literary artistry at play.
Lolita by Vladimir Nabokov	Lolita is a novel often critiqued for its controversial subject matter – the sexual obsession of the protagonist, Humbert Humbert, with a young girl. While the sensational nature of the topic is undeniable, it’s important to appreciate Nabokov’s masterful use of language, unreliable narration, and intricate exploration of the human psyche. Reducing the novel to its controversial elements oversimplifies its literary value.
The Da Vinci Code by Dan Brown	The Da Vinci Code is known for its thrilling, fast-paced plot and conspiracy theories. However, sensationalizing the novel’s focus on secret societies, religious controversies, and puzzles can overshadow the fact that it lacks in-depth character development and often relies on formulaic writing. Critics should acknowledge the novel’s entertainment value but also address its limitations.
Fifty Shades of Grey by E.L. James	This novel is often sensationalized due to its explicit sexual content. While discussions about its representation of BDSM and its impact on popular culture are valid, an exclusive focus on the erotic aspects neglects the book’s problematic portrayal of relationships and consent. A comprehensive critique should consider both its cultural influence and its shortcomings in character development and writing quality.

Suggested Readings

1. Alter, Robert. The Pleasures of Reading in an Ideological Age. Norton, 1989.
2. Belsey, Catherine. Critical Practice. Routledge, 2002.
3. Frow, John. Genre. Routledge, 2006.
4. Genette, Gérard. Paratexts: Thresholds of Interpretation. Cambridge University Press, 1997.
5. Moretti, Franco. Graphs, Maps, Trees: Abstract Models for Literary History. Verso, 2005.
6. Sontag, Susan. Against Interpretation and Other Essays. Farrar, Straus and Giroux, 1966.
7. Spiegelman, Willard. How to Read and Why. Harper Perennial, 2000.
8. White, Hayden. The Content of the Form: Narrative Discourse and Historical Representation. Johns Hopkins University Press, 1987.
9. Wimsatt, William K., and Cleanth Brooks. Literary Criticism: A Short History. University of Chicago Press, 1987.