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Dissertations / Theses on the topic 'Arts journals'

Author: Grafiati
Published: 11 December 2022
Last updated: 29 January 2023

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1

Attias, Michelle D. "Journaling in Search of the Neurodivergent Self: An Arts-based Research Project Dialoguing with Kurt Cobains Journals." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619018292032792.

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O'Donnell, Tennyson Lawrence. "Intertextuality and the rhetorical construction of Hawai'i: Examining text and context relationships through 'The Journals of M. Leopoldina Burns'." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2005. http://wwwlib.umi.com/cr/syr/main.

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Zavala, Norma Castro. "An analysis of interactive dialogue journals of English language learners in first grade." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1978.

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Faw, Bruce Duane. "A system for the application of computer mediated communication to scholarly discourse." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1275.

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Schackow, Joy Bronston. "Examining the attitudes toward mathematics of preservice elementary school teachers enrolled in an introductory mathematics methods course and the experiences that have influenced the development of these attitudes." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001293.

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6

Dahlin, Gustav. "English and Swedish in Sweden - Swedish pupils’ attitudes towards the prospect of diglossia." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36461.

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The English language holds a powerful role world-wide and is now used in some domains in Sweden. This has caused concern for the future of the Swedish language and whether or nor diglossia is underway. The aim of this dissertation is to investigate if there are differences in the attitudes towards the increasing use of English in Swedish society between two different populations of upper-secondary school students: a) students who attend the International Baccalaureate Programme (whose medium of instruction is English), and b) students who attend the Social Science Programme (whose medium of instruction is Swedish). The study investigates students’ pattern and language use and attitudes through the use of questionnaires, semi-structured interviews and reflective journals. The results show that the IB pupils are somewhat less positively disposed towards the increased influence of the English language in Swedish society and argue that it might pose a threat to the status of the Swedish language. However, the investigation also discloses that most IB pupils, to a much larger extent than the SP pupils, consider English paramount in order to succeed in today’s society. Furthermore, the results indicate that the IB pupils’ attitudes towards the expansion of the English language in Swedish society largely correspond to the main objective of Mål i mun, i.e. to protect the Swedish language as well as promote the English language. Key words: diglossia, domain, language shift, attitudes, semi-structured interviews, questionnaires, reflective journals
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Hepner, Tamber. "Integrating math and language arts in the classroom: a study on the effectiveness of math journals on language skills needed to solve word problems for third graders learning English as a second language." Thesis, Wichita State University, 2012. http://hdl.handle.net/10057/5529.

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The contemporary American elementary classroom is comprised of a more diverse student population than has ever been seen before. The strong emphasis of mastery in language arts and mathematics at the elementary level as outlined by the no Child Left Behind Act, causes enough stress for students whose primary language is English (native English speakers), let alone those English language learners (ELL) who require extra instruction to “catch up” to their native speaking counterparts. For teachers, the task of getting their students to reach their expected potential is getting more difficult as blocks of instruction decrease, class sizes increase, and the demands of performance based education prevail. This study intended to look at the use of the language arts practice of journaling for math instruction and its effect on academic performance in both language arts and math. Solving math word problems and writing skills were specifically assessed. A five-week intervention of math journaling was implemented in a third grade classroom. Twenty two students were divided into a control and an experimental group based on academic achievement and language status (English language learner (ELL) or native English speaker) per student records. The experimental group was given math journaling time three to four times a week for five weeks for 20 minutes to write about a prompted math concept with the researcher while the control group practiced and reviewed already taught concepts with the classroom teacher. Results showed there was a statistically significant difference in academic performance between groups in both word problem solving and writing skills with the experimental group using mathematics writing journals scoring higher in both.<br>Thesis (M.A.T.)--Wichita State University, College of Education, Dept. of Curriculum and Instruction
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Savage, Kristin. "Tellus2009 : the annual literary journal of Cuesta College, volume 17 /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/12/.

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9

Braschi, Cécilia. "Espaces construits : abstraction et synthèse des arts au Brésil, autour des revues d'André Bloc (1930-1960)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H036.

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Cette thèse étudie les revues d’art et d’architecture en tant que lieux de construction discursive et instruments privilégiés de circulation transnationale. Elle prend comme cas d’étude les relations entre les scènes française et brésilienne dans la période 1930-1960, portant une attention particulière aux transformations qui suivent la fin de la Seconde Guerre mondiale, à la fois dans la production artistique et critique, dans la représentation réciproque des deux contextes culturels et dans la négociation de leur place dans le nouvel ordre géopolitique. Largement diffusées en Amérique du Sud, les revues fondées par André Bloc sont étroitement liées à son action militante en faveur de la synthèse des arts et de l’abstraction géométrique. Perçues en France, en époque de reconstruction, comme les moteurs d’un grand renouveau humaniste et universaliste, abstraction et synthèse des arts sont aussi au cœur des revues brésiliennes nées au début des années 1950, vouées à définir les qualités d’un art national authentique et moderne. Au gré des divers enjeux qui animent les deux scènes culturelles, une perspective décentrée et postoccidentaliste permet de mettre en lumière les acceptions différentes que le même vocabulaire théorique recouvre en Europe et en Amérique latine, contribuant à l’élaboration de récits de l’art et de l’architecture brésiliens divergents mais interdépendants. Espaces « construits », les revues se font ainsi le miroir de nouvelles cartographies, susceptibles de repenser les relations centre(s)-périphérie(s), là où les différents discours sur l’art et l’architecture préfigurent autant de modèles esthétiques, sociaux et politiques<br>This dissertation investigates art and architecture journals as spaces of discursive construction and as privileged instruments of transnational circulation. Its focus are the relations between the Brazilian and French scenes from 1930 to 1960, with particular emphasis on the transformations undergone after the end of the Second World War, both in artistic and critical production, in the reciprocal representation of two different cultural contexts and in the negotiation of their places within the new geopolitical order. Widely distributed in South America, André Bloc’s journals are closely linked to his militancy in favour of the synthesis of the arts and of geometric abstraction. During post-war reconstruction in France, abstraction and synthesis of the arts are perceived as the driving forces of a great humanist and universalist renewal, and they are simultaneously at the core of the Brazilian journals launched in the early 1950s, which were engaged in defining the qualities of an authentic and modern national art. Following the various stakes at play in these two cultural scenes, a decentralized and post-Occidentalist perspective brings to light the different meanings attributed in Europe and in Latin America to the same theoretical vocabulary, contributing to the formulation of diverse but mutually dependent narratives concerning Brazilian art and architecture. As “constructed” spaces, the journals mirror new cartographies which furnish the basis for rethinking the relations between centre(s) and periphery(ies), while different discourses about art and architecture prefigure as many aesthetic, social and political models
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Sikora, Aleksandra. "Korta dagar, ruskig väderlek med omvexlande regn : En analys av 1800-talets reseberättelser om Lappland och samer." Thesis, Umeå universitet, Institutionen för språkstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-184936.

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This master´s degree essay aims to analyze and confront two travel memoirs on the Sami people, an indigenous group living in the geographical area of Northern Norway, Swedish and Finnish Lapland and Kola Peninsula in Russia. The descriptions were taken out of a Swedish work by Gustaf von Düben Om Lappland och lapparne, företrädesvis de svenske (1852) and a Polish one written by Faustyna Morzycka Z dalekiej północy: Norwegja, Szwecja, Danja, Islandja i Laponja (1896). The study focuses on the narrative aspects of the actual human representations on the examined topic. The working hypothesis is that the images of Sami people vary strongly depending on the specific bias of the writer i. e. nationality, background or gender. Additionally, the study points out the specification of two different political, social and historical contexts and shortly discusses the model reader´s role in the writing process. The results of the study indicate that there are several differences appearing in the examined travel literature depending on the author.
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Fialcofschi, Roxana. "Le “Journal de Paris” et les arts visuels, 1777-1788." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20052/document.

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Premier quotidien français, le Journal de Paris innove la périodicité de la presse à la fin de l’Ancien Régime. A sa parution quotidienne et à la recherche de la diversité de l’information le Journal ajoute sa forme épistolaire, censée le tranformer dans une “correspondance familière et journalière des citoyens d’une même ville”. C’est à la fois sa périodicité quotidienne qui assure son succès et lui attire de nombreux ennemis, dans le contexte d’une presse en pleine expansion et lourdement soumise à la censure. Si le domaine politique lui est interdit, le Journal de Paris se concentre, dès sa parution, sur le thème de l’utilité publique et sur les beaux-arts. Il accorde une place importante au discours sur les arts visuels (peinture, sculpture, gravure, architecture, urbanisme) et propose à ses abonnés un tableau de l’actualité artistique, sous la plume d’un correspondant pour les arts stable, dans la personne d’Antoine Renou, peintre et secrétaire adjoint de l’Académie de peinture et de sculpture. Malgré la censure imposée à la presse par l’institution académique, qui possède le monopole d’une grande partie du domaine des arts visuels, le débat sur les arts mené dans le Journal de Paris révèle un public des arts plus large et plus varié, passionné par l’expression critique et la circulation des idées<br>The “Journal de Paris” first French newspaper renews the press standards at the end of the Old Regime.Through its daily publication and its research for a different type of information, the newspaper aims at becoming a more familiar correspondence among the citizens of a same town.Thanks to its daily publication it has been successful drawing lots of enemies as well due to a widely spreading press hardly submitted to censorship.The “Journal de Paris”, being the political field strongly forbidden, focuses its attention on public services and fine arts and architecture.It gives a very important place to visual arts (painting, sculpture, engraving, architecture, town planning) proposing to its subscribers a portrait of the artistic panorama carried out by one of a stable correspondent for arts, Antoine Renou, painter and assistant secretary for the Academy of paintings and sculpture.Despite the censorship imposed to the press by the academic institution, having the monopoly of a large part of the visual arts field, the debate upon the arts carried in the “Journal de Paris” shows a larger and more varied arts-oriented public, fascinated by the critical expression and the spreading of ideas
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Millan, Roberto. "Illustrating autobiography : rearticulating representations of self in Bitterkomix and the visual journal." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20268.

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Thesis (MPhil)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: This thesis explores an analysis of autobiographical illustration, as it relates directly to autobiographical devices employed in Bitterkomix and my own visual journals. The result is a practitioner-specific approach that frames my own work within a discourse of comics and consequently within the larger discourse of visual narrative. These devices are analysed in the works of artists in Bitterkomix who employ autobiography, not only as a means of effecting more intimate interactions between the reader and the narrative, but also as a form of legitimising narrative. A principal deduction that I have made is that autobiographical writing operates through the filter of memory and language translation. A divergence occurs within Bitterkomix, as well as within my own work, between the artist as himself and the artist as his autobiographical self - the two are never identical. I choose to define autobiographical illustration as an interpretative and experimental visual writing process used to affirm and negate perceived concepts of self through the filters of memory, language translation and imagination. Imagination acts as an extension of current memory from which perceived past, present and future identity constructs emanate and extend. These constructs are by no means indicative of historical fact but often appear to be so given autobiography's association as a referential text. The visual journal as an autobiographical object, like Bitterkomix, seeks to legitimise itself in 'naturalising narrative' by feigning to make it the outcome of a documentative process. It is exactly the tension between autobiography's perceived characteristic as a genre that involves 'real' experiences and its actual function as a narrative construction of identity that merits its use as a strategic device. I argue how my visual journals constitute autobiographical narrative objects and archives of autobiographical illustrative form and content. This tension is amplified in my visual journals in their association as deeply personal objects and as a result of what is perceived to be the artist's natural process. Most importantly, these narrative objects are placed within the public's gaze and are made to be read as autobiographical texts, ultimately as documents of this process.<br>AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek outobiografiese illustrasie wat direk verband hou met outobiografiese praktyke wat in Bitterkomix en in my eie visuele joernale gebruik word. Die resultaat is 'n praktisyn-spesifieke aanslag wat my eie werk binne die diskoers van stripkuns plaas, en sodoende binne die groter diskoers van visuele narratief. Hierdie praktyke word geanaliseer in die werk van Bitterkomix-kunstenaars wat outobiografie gebruik, nie net as 'n manier om meer intieme interaksies tussen die leser en die narratief te bewerkstellig nie, maar ook om die narratief legitiem te maak. Ek maak die afleiding dat outobiografiese skryfwerk deur die filters van geheue en taal werksaam is. In beide Bitterkomix en my eie werk is 'n skeiding tussen die kunstenaar self en die kunstenaar se outobiografiese self sigbaar – die twee is nooit identies nie. Ek verkies om outobiografiese illustrasie te definieer as 'n interpretatiewe en eksperimentele visuele skryfproses wat gebruik word om waargenome begrippe van die self deur die filters van geheue, vertaling en verbeelding te bevestig en te negeer. Die verbeelding dien as 'n voortsetting van huidige geheue waaruit waargenome identiteitskonstrukte van die verlede, hede en toekoms voortvloei. Hierdie konstrukte is geensins aanduidend van historiese feite nie, maar kom dikwels so voor gegewe outobiografie se assosiasie as verwysende teks. My argument is dat my visuele joernale beide outobiografiese narratiewe objekte én argiewe van outobiografiese illustratiewe vorm en inhoud is. Visuele joernale as outobiografiese objekte, soos in die geval van Bitterkomix, probeer sigself legitiem maak deur middel van 'naturaliserende narratief', deur voor te gee dat dit die resultaat van 'n dokumenterende proses is. Dit is juis die spanning tussen outobiografie se aard as 'n genre wat gegrond is op 'ware' ervaringe, en outobiografie se funksie as 'n narratiewe konstruksie, wat die gebruik daarvan as 'n strategiese middel die moeite werd maak. Hierdie spanning word in my visuele joernale verhoog deur hulle diep persoonlike aard, en as gevolg van wat gesien word as die kunstenaar se natuurlike proses. Belangriker nog is dat hierdie narratiewe objekte binne die publiek se sigveld geplaas word om as outobiografiese tekste gelees te word, en ook uiteindelik as dokumente van die proses.
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Krumheuer, Aaron Taylor. "LAVALAND ZINE: Community Writing and the Arts in Athens." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340130693.

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Cherubini, Matthew J. "Escaping Ohio: Fictional Journeys." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276614547.

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15

Fourcaud, Christine. "La phraséologie dans le journal d'informations Arte-Info." Paris 4, 2005. http://www.theses.fr/2005PA040037.

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Le recours à des locutions figées, imagées, préfabriquées et idiomatiques, appelées phrasèmes, est une constante du discours télévisuel. Leur emploi et leur fonction varient selon les thématiques et genres télévisuels. Le journal d'informations bilingue Arte-Info présente, de par son contexte rédactionnel particulier, une asymétrie sémiotique contraignante (une version images/deux versions sonores). Ceci élargit la problématique à l'aspect interlingal: les techniques de traductions, le statut des langues (langue source/langue cible), la double orientation du discours, etc. Quelles conséquences ces facteurs ont-ils sur la réalisation linguistique du journal? De quelles stratégies discursive relève la densité phraséologique particulièrement marquée de la version française? Trois paramètres d'analyse font apparaître, en évitant toute stéréotypisation nationale et/ou culturelle, l'interaction des mécanismes fonctionnels et pragmatiques: les genres du discours télévisuel, leur situationalité discursive et leur ancrage thématique<br>Recourse to established, illustrative and idiomatic expressions is a standard feature of journalistic discourse on television. The use of phrasemes is text-sort specific and provides added thematic reference to the relevant topic under discussion. In television journalism, the bilingual, French-German public affairs program Arte-Info is exceptional due to a particular feature of its journalistic format. Individual images are accompanied by to sound and, above all, linguistic tracks. Given this bilingual quality, variuos issues related to the program's inter-lingual format arise (translation and interpreting procedure, source and target language, orientation toward two linguistic communities, etc. ). What effects do these factors have on the production of the linguistic discourse? This study has been organized according to three parameters of analysis: parameter one concerns the specifics of the various sorts of texts; parameter two is addressed to the framing context of the entire discourse; the third parameter deals with the specifics of thematic reference
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Botma, Gabriel Johannes. "Manufacturing cultural capital : arts journalism at Die Burger (1990-1999)." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18065.

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Thesis (PhD)--Stellenbosch University, 2011.<br>ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies.<br>AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie. Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het. Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd om hegemonie te skep en teen te werk. Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering, aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente kunsjoernaliste aangelê. Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde “kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en- Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns. Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika. In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die veld van joernalistiek-studies kan verryk.
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Bracker, Alison Lee. "A critical history of the international art journal Artforum." Thesis, University of Leeds, 1995. http://etheses.whiterose.ac.uk/3870/.

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The American-based international art journal Artforum has proved one of the most prominent and influential of art history's discursive agencies, playing a critical role in framing, probing, and re-working particular beliefs of art practice, art history, and art criticism broadly conceived of as 'Modernist' and 'post-Modernist.' This thesis investigates the development of Artforum's critical and historical writing on 'Modernist,' 'post-Modernist,' and feminist issues. It takes Artforum, from 1962 to 1993, as its 'archive' and undertakes a critical history of the journal's personnel, policies, and textual discourse, as well as its look and design. The first chapter, "The Language of Another Generation," focuses upon the 'old' Artforum, a concept of the magazine which attempts to articulate a retrospective perception of its critical power from the mid -1960s to the mid' 70s. Specifically, it challenges a conception of the magazine which portrays it as a mouthpiece for Clement Greenberg's theories of Modernist artistic and critical practices. In attempting to elucidate this misconception of the journal, the chapter makes use of some of Michel Foucault's suggestions for a historical analysis that focuses on the ruptures, rather than the continuities of Lhe object of study. To this end, the chapter identifies factors which contributed to the construction of the idea of Artforum as a Greenberg-influenced journal and then locates a discourse working against that idea, a discourse that disrupts Greenbergian Modernism. Chapter 2, "Shameless Hussies," centres on Artforum's November 1974 and November 1980 issues and questions the journal's gendered biases toward the human figure in art. It considers the magazine's attempt to wrest from body and performance artists Lynda Bengiis, Lisa Lyon, and Carolee Schneemarln their artistic authority, and documents its struggle to maintain the producer/product, subject/object distinctions that these artists had blurred through their practices. Indeed, the chapter propounds that Artforum's resistance to images of the female figure waxed when the body represented belonged to the artist herself and, in view of the evidence presented by the November 1980 issue, waned when artist and body were either distinct identies or male. The chapter concludes with an analysis of whether or not the journal succeded in nullifying the artists' political power by preventing their bodies' final collapse into ambiguous representation. Chapter 3, "Autocritique," looks at Artforum's relationship to certain concepts of post-Modernism through its notable recourses to a self-referential criticality. It discusses examples of the journal's self-reflexivity under the editorships of John Coplans, Ingrid Sischy, and current editor Jack Bankowsky and proposes that the magazine oscillates between working with and exhibiting a Greenbergian notion of Modernist self-criticism on the one hand, and an idea of a post-Modernist deconstructive impulse on the other.
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Talkov, Andrew. "The Journal of Elizabeth Maxwell Alsop Wynne, 1862-1878." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/574.

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The experiences of Southern women during the American Civil War are often represented through the publication of their journals, diaries, and memoirs. This project consists of the transcription and annotation of the journal of Elizabeth (“Lizzie”) Maxwell Alsop Wynne, written from March 4, 1862, through March 20, 1878. During her most intense period of writing from 1862 to 1866, Lizzie Alsop recorded the effects of the American Civil War on an extensive network of friends and family in the Confederate capital at Richmond, Virginia, and at her home in Fredericksburg, Virginia. Lizzie’s journal offers valuable insight into the wartime politicization of adolescent women, courtship, religion, the changing relationship between enslaved African Americans and slave-owners, the effect of Union occupation on Southern civilians, and the social ties among family and friends during and after the war. The journal is among the Wynne Family Papers at the Virginia Historical Society (Mss1 W9927 a) and recorded in nine blank books. Transcribed for the first time in its entirety, Lizzie’s journals add her voice to the relatively small number of records left by female adolescents describing the dramatic experiences at the epicenter of civil war and growth into womanhood in its aftermath.
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Wong, Yong Yi. "Journeys through architecture : the body, spaces, and arts in Dorothy Richardson's 'Pilgrimage'." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12173/.

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The inter-arts potential of Dorothy Miller Richardson’s life’s work, Pilgrimage, has been gaining critical attention since the end of the twentieth century, with continuous scholarly efforts dedicated in revealing the cinematic, painterly, and musical depths of the novel sequence. Building on such established foundation, this study responds to this inter-arts call of Richardson scholarship by taking an architectural turn, and contends Pilgrimage as a piece of architectural construct—a literary work that demonstrates the coming together of the body, spaces, and arts. Interdisplinary in nature, this study draws on diverse fields of inquiry in its configuration of the architectural as manifested in Pilgrimage, with two interconnecting sections. Merleau-Ponty’s perceptual phenomenology and recent theorisations of body-space interaction in various disciplines, such as cultural geography and anthropology, underpin the first section of the discussion, which attempts to explicate the spatial significance implied in Miriam’s (the protagonist) sensuous interactions with the different kinds of space around or within her. While the first section underscores how the art of literature embodies Miriam’s sensuous-spatial dynamics, the second section illuminates how the spatial arts of painting and architecture come into contact with Pilgrimage. Collaborating biographical, painterly, literary, and phenomenological approaches, the thesis considers the sequence’s manoeuver over the issues of simultaneity, instaneity, moment, and subject matter as the manifestation of literary impressionism. After contemplating Pilgrimage as a piece of literary impressionism, the discussion concludes by considering the sequence as a piece of haptic architecture, with the notion of ‘fragile architecture’ formulated by Juhani Pallasmaa. By re-examining how Miriam’s body, spaces, and arts interact and integrate throughout Pilgrimage, the thesis aspires to bring to light its architectural disposition.
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konstantinidou, Ioulia. "Effects of emotions in journalism due to the Coronavirus Era." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21423.

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This research study explores the emotional landscape of the Coronavirus outbreak in twoonline news brands, British Broadcasting Corporation (BBC) and The Telegraph in theUnited Kingdom. By examining the content of articles according to the eight primaryemotions (fear, surprise, sadness, disgust, anger, joy/happy, trust, anticipation), of two online news brands, in order to understand to what extent did the BBC and The Telegraph online newspapers use the emotional words and which are the most dominant in their articles during the Coronavirus outbreak. The chosen research period was from 16th March to 6th April. It was selected due to the high amount of articles that were written at the early stage of the outbreak but also concerning the lockdown situation of the country after 23rd of March. A content analysis was conducted to answer the above research study. The 79 articles weregathered from both online media and a total number of 231 emotions corresponding to 34percent were used. The most dominant emotions, in The Telegraph, was up with 58 percentof ‘joy/happy’ emotions. Following the emotion ‘fear’ with 55 percent and next to theemotion of ‘sad’ with 50 percent. Similarly, in the BBC were, ‘joy/happy’, ‘fear’ and ‘anger’by 91 percent, 80 percent, and 41 percent representatively. As it can be summarised, bothmedia had two major emotions ‘joy/happy’ and ‘fear’. Two opposite feelings for the sametopic of Coronavirus.Last but not least, the thesis analyse and understand the use of the most dominant emotions from two news brands which are, ‘‘joy/happy’, ‘fear’ and ‘sad’. The existanstance of these words is to embrace emotional journalism, in a way to move beyond the individual level and bring the story closer to the reader in an emotional way. Keywords: Coronavirus, emotions, media, news, emotional journalism
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Madison, III Eddie, and III Eddie Madison. "Journalistic Learning: Rethinking and Redefining Language Arts Curricula." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12520.

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The purpose of this research is to address ongoing challenges in American education that relate to student engagement, retention, and achievement. The intent is to examine current high school language arts pedagogical practices and to explore journalism's potential to make a broader and more positive difference in the overall learning process -- in previously unconsidered ways. The study employs a multimethod approach. Through qualitative fieldwork, it examines the award-winning scholastic journalism program at Palo Alto High School, in Northern California. Quantitatively, this study surveys 664 high school language arts students from 10 high schools across the United States. Specifically, it investigates how journalism and non-journalism students self-report motivational beliefs and learning strategies, after controlling for school and student demographics (community type, class-standing, or socioeconomic status). Further, the study compares journalism students with Advanced Placement Literature students to investigate why they enroll in their respective courses. This study fills several significant gaps in the literature surrounding journalism and educational research. First, it applies situated-learning and communities of practice theories to journalism pedagogy by specifically looking at peer-to-peer mentoring within student publication staffs. Second, it applies self-determination theory to high school journalism students to explore variables that can catalyze intrinsic motivation and enhance learning. Finally, it examines the lived experiences of high school journalism students to explore how this course of study affects their personal growth, sense of self, and group affiliations.<br>10000-01-01
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Laslett, Alan. "A descriptive analysis of journal writing in four schools : language and personal growth /." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09EDM/09edml345.pdf.

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Woodruff, Daniel Mark. "Jumping from Journalism -- Why Broadcast Journalists Leave the Field." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8439.

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Journalism plays an important role in our society. But what happens when a journalist decides to pursue a new profession? The loss of a journalist from a newsroom can have a significant impact, particularly when that journalist takes with them institutional knowledge and a history of the market. This study uses qualitative interviews with 12 former broadcast journalists to investigate what factors cause them to leave the field and what the implications are for the industry. Relying on burnout theory as a framework, this study reveals three key reasons broadcast journalists decided to walk away. First, they faced increasing demands including long or unconventional work hours, a tenuous work-life balance, difficult stories to cover, and doing more with fewer resources. Second, they endured difficult issues with management including unfulfilled promises, the increasing commercialization of news, unrealistic and unethical expectations, the consolidation of the industry, and a lack of appreciation. Third, they felt they were not adequately compensated. This study recommends more support and professional development for broadcast journalists, more cross-training opportunities, and improved financial compensation.
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Simons, Gary. ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3347.

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Scholars have heretofore under-examined William Makepeace Thackeray's early critical essays despite their potential for illuminating Victorian manners and life. Further, these essays' treatments of aesthetics, class, society, history, and politics are all influenced by the pecuniary aspects of periodical journalism and frequently expose socio-economic attitudes and realities. This study explicates the circumstances, contents, and cultural implications of Thackeray's critical essays. Compensatory payments Thackeray received are reconciled with his bibliographic record, questions regarding Thackeray's interactions with periodicals such as Punch and Fraser's Magazine answered, and a database of the payment practices of early Victorian periodicals established. Thackeray's contributions to leading London newspapers, the Times and the Morning Chronicle, address history, travel, art, literature, religion, and international affairs. Based upon biblio-economic payment records, cross-references, and other information, Thackeray's previously skeletal newspaper bibliographic record is fleshed out with twenty-eight new attributions. With this new information in hand, Thackeray's views on colonial emigration and imperialism, international affairs, religion, medievalism, Ireland, the East, and English middle-class identity are clarified. Further, Thackeray wrote a series of social and political "London" letters for an Indian newspaper, the Calcutta Star. This dissertation establishes that Thackeray's letters were answered in print by "colonial" letters written by James Hume, editor of the Calcutta Star; their mutual correspondence thus constitutes a revealing cosmopolitan - colonial discourse. The particulars of Thackeray's Calcutta Star writings are established, insights into the personalities and viewpoints of both men provided, and societal aspects of their correspondence analyzed. In his many newspaper art exhibition reviews Thackeray popularized serious painting and shaped middle-class taste. The nature and timing of Thackeray's art essays are assessed, espoused values characterized and earlier analyses critiqued, and Thackeray's role introducing middle-class readers to contemporary Victorian art explored. Other Thackeray newspaper reviews addressed literature; indeed, Thackeray's grounding of literature in economic realities demonstrably carried over from his critical thesiss to his subsequent work as a novelist, creating a unity of theme, style, and subject between his early and late writings. Literary pathways originating in Thackeray's critical reviews are shown to offer new insights into Thackeray novels Catherine, Vanity Fair, Henry Esmond, and Pendennis.
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Sales, Lyndi. "Ancestral journeys : a personal reinterpretation of identity through the visual display of paper theatre cabinets and books." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7870.

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Pauliac, Sophie. "Les institutions artistiques françaises en débat dans la revue L'Artiste (1848-1904)." Paris 10, 2004. http://www.theses.fr/2004PA100187.

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Créée en 1831, la revue L'Artiste traverse le siècle pour disparaître en 1904. La période choisie 1848-1904 correspond à des bouleversements dans la société et le monde des arts, qui ont un impact particulier dans la revue. II s'agit donc de retracer l'histoire des idées de L'Artiste entre 1848 et 1904 en s'attachant particulièrement au regard qu'il porte sur les institutions artistiques françaises. C'est en effet dans ce domaine que L'Artiste est le plus engagé. Les institutions artistiques de la seconde moitié du 19ème siècle sont en pleine mutation : l’Ecole des beaux arts, le Salon, les expositions officielles et particulières, les musées, sont autant de Sujets discutés dans la presse de l'époque et particulièrement dans L’Artiste. Le débat que la revue engage sur ces sujets relève de la contestation et de la résistance, face à la concurrence ou au gouvernement, mais également de la discussion entre les différents critiques au sein même du journal<br>Created in 1831, l'Artiste journal lives through the century and disappears in 1904. The period from 1848 to 1904, chosen for this thesis, corresponds to radical changes in the society and in the world of art. These changes had a particular impact on the journal. The subject of the study is to follow the history of the ideas of L'Artiste between 1848 and 1904, with a particular emphasis on its approach regarding the French artistic institutions. L'Artiste was particularly committed in that field. French artistic institutions of the second half of the 19th century are going through profound mutations : the fine arts school, the "salon", the public and private shows and the museums are especially discussed at that time in the press and particularly in l'Artiste. The debate, initiated by the journal, is a form of contestation and resistance, against other journals or the government itself, but also is a form of discussion between the different reviewers within the journal
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Roloff, Bianka Nieckel da Costa. "Jornalismo cultural e megaexposições de artes visuais no Brasil (2010-2016) : mapa de um acontecimento espetacular." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/164228.

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Este trabalho investiga a cobertura realizada por jornais de referência brasileiros sobre as megaexposições de artes visuais no país de 2010 a 2016. Parte da perspectiva construcionista, pressupondo que os acontecimentos são a matéria-prima básica da atividade jornalística e que o jornalismo cultural é um lugar especializado de construção de sentidos sobre arte, além de mediador entre esta e os públicos. Lançando mão dos estudos do acontecimento, verificamos quais indícios o jornalismo acionou para cobrir as megaexposições de artes visuais no período de estudo. Foi escolhida a metodologia de Análise de Conteúdo, que, em uma etapa quantitativa, examinou 152 textos sobre seis exposições, e, na fase qualitativa, aprofundou o olhar sobre 20 dessas reportagens. Encontramos uma cobertura que se revela proeminente e mobilizadora de públicos para visitar as exposições. Verificamos que o jornalismo media o ciclo de existência do acontecimento, elaborando sobre ele um mapa de consensos e construindo-o de forma paulatina, em um reiterado roteiro desde a apresentação até o balanço posterior. Concluímos também que as coberturas promovem uma espetacularização das exposições, a partir de uma pré-mediação, oriunda das marcas envolvidas com sua produção, e praticamente apenas reproduzida pelos veículos jornalísticos. As matérias valorizam aspectos como biografias, mobilização de multidões e números e lançam mão de um discurso marcadamente superlativo, buscando recuperar a aura da arte das megaexposições, com forte acionamento de fontes ligadas à produção do evento e pouco espaço de fala aos visitantes.<br>This master thesis digs into the news coverage promoted by important Brazilian newspapers about blockbuster visual arts exhibitions that happened in Brazil between 2010 and 2016. It takes off from a constructionist approach, assuming that the events are the basic raw material of journalistic activity and that cultural journalism is a specialized environment for building senses about art, as well as a mediator between the craft and its publics. With that in mind, putting the event studies into use, we analyzed which evidences journalism triggers to cover the blockbuster art exhibitions in the referred period. For this research, it was chosen the Content Analysis methodology, that, in a quantitative phase, examined 152 texts about six exhibitions and, in the qualitative stage, took a deeper look on 20 of these stories. We found a prominent coverage and able to call on the public to visit the exhibitions. We verified that journalism mediates the cycle of existence of these happenings, gradually drawing over them a map of perceptions, in a repeated script since their initial presentation up to the final reviews. We also concluded that the news coverage promote a spectacularization of the exhibitions, from a pre-mediation role, originated in the brands involved with their production, and basically just reproduced by the journalistic media. The stories highlight aspects such as biographies, ability of driving crowds and event numbers through a clearly superlative speech, reaching to recover the art aura of the blockbuster exhibitions, with strong use of sources connected to the events’ execution and very little space dedicated to reflect the visitors views.
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Muir, Peter Evan David. "Against the will to silence : an intellectual history of the American art journal 'October' between 1976 and 1981." Thesis, Liverpool John Moores University, 2003. http://researchonline.ljmu.ac.uk/5621/.

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The thesis provides a critical staging of the major themes and associated texts appearing in the American art journal October between 1976 and 1981. October's project is defined here as the conceptualization of a particular notion of the contemporary avant-garde to politics, and the bringing of European theory into the purview of American art practice. Such a complex weaving together of representation and discourse is interpreted as the formation of a destabilizing dialectic, understood as a succession of critical interventions that respond with varying degrees of continuity and disjunction, to a single ongoing problematic. This dialectic is linked to the writings of October as the journal shifts its rhetorical locations in an attempt to break down the normative pictorial and discursive frames of reference. The resulting process of re-interpretation attempts the undoing of the modernist visual stereotype, a stereotype that functions under the dominant social metaphors of plenitude, autonomy and harmony, rather than the subsequent metaphors of fragmentation, instability and dispossession. The thesis gives particular emphasis to this idea in relation to the changing conditions of art's reception, the journal's major themes and related texts and the nature and operation of the publication's critical practice. The body of the thesis is divided into three interrelated case studies that act to stage this problematic. These studies form the matrix of the thesis and present a combination of theoretical discourse, interviews, and a synthesis and summary together with ideas for further research. The cultural locations considered as case studies are: the first essay published in October's first issue, Michel Foucault's 'Ceci n'est pas une pipe', the interplay of Foucault's narrative combined with Magritte's picture, is interpreted as a metaphor for the mediations of post-structural visual criticism itself as its practitioners seek to institute language into the visual sign. Secondly, the Peircean index understood as a de-disciplinary principle, this case study discusses two related issues central to October's re-construction of the object of criticism. The first being to provide the photographic with an art-theoretical rationale that might be used to disassemble the high modernist aesthetic and its modes of representation; the second being associated with the journal's critique of the nature of the sign. And finally, the Pictures exhibition, organised at Artist's Space N ew York, in the fall of 1977. The combination of ideas about originality and appropriation represented by this exhibition-and its associated theoretical texts-have become emblematic of the vocabulary of a certain post-modem theory exemplified by October. Each of the case studies provides insight into a particular aesthetic issue and acts to refine a theoretical explanation. In this way the thesis traces October's role in the transition from a culture of autonomous art to a culture of the textual.
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MaHusain, Lina. "Shaping This Space Between Us: using a reflexive journaling process to explore the complex and malleable space in which identity exists." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3294.

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While some parts of identity remain constant throughout one’s life, many aspects of a person’s identity are subject to rapid and constant change and negotiation. Using theories regarding the role possessions play in the construction, reinforcement, and manifestation of a person’s identity, this thesis project explores the potential to facilitate meaningful insights and awareness into one’s own identity. This will be achieved by designing a reflexive journaling process. A qualitative evaluation of this prototype journal process used by a pilot group of young creative individuals will generate an assessment of the proposed process
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Schuler, Annabel. "Michael King, journalist : a study of the influence of journalism on King's later writing : a thesis submitted in fulfilment of the requirements for the degree of Master of Arts in Mass Communication in the University of Canterbury /." Thesis, University of Canterbury. Political Science and Communication, 2006. http://hdl.handle.net/10092/913.

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Michael King is an acclaimed writer, author and communicator. When he died in a car accident he was eulogised as one of New Zealand's leading citizens for his literary contribution. He is celebrated as a writer who communicated history in a way that was palatable and comprehensible to all New Zealanders. He is also remembered for his commentary on New Zealand as a bi-cultural society. This thesis debates whether his years as a journalist gave him the skills to write, argue and communicate better. King was not a journalist for long and then he taught journalism, but those years served as a bridge between academia and a life in everyday New Zealand. Good writing and good journalistic writing have been analysed and refined down to basic rules which are then measured against King's work. Drivers to good writing have also been identified and these relate to the emotional and psychological characteristics of a good writer. Anecdotal evidence about King's work as a journalist and then as a writer has been gathered and tested against the rules and drivers. Two key themes have emerged. One that King was born with a natural ability to write and this was fuelled by strong reading and writing habits early in his life. The second is that King worked at being a good journalist, he learned rules and disciplines which improved his writing and these stayed with him throughout his literary career. The issue of objectivity is a moot point for journalists and there is debate about how objective journalists can realistically be. One of the reasons King left daily journalism was because he became frustrated with the constraints of objectivity. The thesis debates how this impacted on his writing and the direction of his later work.
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Jobse, Jonneke. ""De Stijl" continued : the journal "Structure", 1958-1964 : an artist's debate /." Rotterdam : 010 publishers, 2005. http://catalogue.bnf.fr/ark:/12148/cb40064743w.

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Texte traduit de: Dissertation--Amsterdam--Vrije universiteit, 2002. Titre de soutenance : Een nieuwe vormentaal der gemeenschap. Joost Baljeu en het tijdschrift "Structure" : een kunstenaarsdebat.<br>Bibliogr. p. 447-466.
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Rademakers, Lisa. "Examining the Handbooks on Environmental Journalism: A Qualitative Document Analysis and Response to the Literature." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000542.

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Sirena, Mariana Silva. "O circuito artístico de Porto Alegre na década de 1950 a partir do jornalismo : análise da coluna Notas de Arte, de Aldo Obino, no Correio do Povo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/97959.

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Esta dissertação busca identificar os referentes a partir dos quais o jornalista Aldo Obino (1913-2007) registrou o desenvolvimento do sistema das artes visuais de Porto Alegre, na década de 1950. A pesquisa parte dos pressupostos de que o jornalismo, a partir dos valores próprios do seu campo, constrói perspectivas do circuito artístico em épocas e lugares determinados; empresta visibilidade a certos espaços, agentes eventos e ideias; e orienta os leitores em relação à movimentação do circuito de cultura de seu território. Obino atuou na imprensa por aproximadamente 60 anos, produzindo relatos sobre a cena cultural do Rio Grande do Sul a partir do Correio do Povo, jornal em que assinava a coluna diária Notas de Arte, objeto empírico deste estudo. Para nos aproximarmos da trajetória e do legado do autor, recorremos ao seu arquivo pessoal, cedido por sua família. Utilizamos o método da análise de conteúdo e adotamos um corpus de 314 textos, que corresponde às colunas publicadas entre 1950 e 1959 que abordam temas ligados às artes visuais. A análise objetivou determinar os espaços, os sujeitos, os fatos e os valores estéticos e ideológicos que emergem da coluna, de forma a vislumbrar o mapa do sistema de artes visuais nela proposto. Observamos a centralidade de Porto Alegre como lugar mais recorrentemente mencionado, o que evidencia a importância do parâmetro da proximidade, típico do jornalismo, na estruturação desse conjunto de textos. Constatamos que os artistas, como sujeitos-criadores, foram os protagonistas das ações abordadas na coluna, o que aponta para a existência de um processo de personalização através do qual Obino participa da construção da notoriedade de agentes. Os eventos, como exposições e salões de arte, foram identificados como referência central enquanto pautas catalisadoras do atributo de atualidade nas Notas de Arte, inclusive em forma de morte e efeméride. Na abordagem de certas tendências e debates, notamos, por parte do colunista, a corroboração de alguns valores então hegemônicos no sistema artístico e também o elogio da renovação e do intercâmbio nesse meio. Dessa forma, verificamos um grau de ambiguidade em termos de posicionamento. No mais, vimos que Obino se vincula a um estilo impressionista de crítica de arte, utiliza um tom de intimidade para se aproximar do leitor e tematiza o desenvolvimento do circuito das artes em conexão com o crescimento da cidade. O seu registro se associa fortemente ao território, de forma que a capital gaúcha é presença constante, apresentando-se como cenário ou como personagem dos seus relatos.<br>This essay intends to identify the referents from which the journalist Aldo Obino (1913-2007), registered the development of Porto Alegre visual arts system held during the decade of 1950. The research makes certain assumptions given that the journalism, starting from its own field values, builds perspectives of the artistic circuit in determined places and times; it lends visibility to certain places, agents events and ideas; and orientates the readers regarding the movement of its territory circuit of culture. For approximately 60 years, Obino acted in the press, producing reports on the cultural scene of Rio Grande do Sul for Correio do Povo, the local newspaper in which he signed the daily column Notas de Arte, empirical object of this research. In order to approach Obino’s trajectory and legacy, we draw upon his personal archive, provided by his family. It was used the method of content analysis and a sample of 314 texts was adopted. This material corresponds to the columns published between 1950 and 1959 that discuss issues pertaining to visual arts. The analysis aimed to determine the spaces, the subjects, the facts and the aesthetic and ideological values that emerge from his column, to envision the proposed map of visual arts system. We observed the centrality of Porto Alegre as more recurrently mentioned place, which highlights the importance of the proximity parameter, characteristic of journalism, in the structuring of this set of texts. We noticed that the artists, as subject-creators, were the protagonists of the actions addressed in the column, which points to the existence of a customization process through which Obino participates of agent’s notoriety construction. The events, such as exhibitions and halls of art, were identified as points reference while catalytic guidelines of actuality attribute in Notas de Arte even in the form of death and ephemerid. In certain trends and debates approach, we perceived on the part of the columnist, some hegemonic values confirmation in the artistic system, and also the compliment of renovation and exchange in this environment. Therefore, we checked some ambiguity on positioning. We also visualized that Obino is linked to an impressionist style of art criticism; he uses an intimacy tone to bring close the reader and thematises the development of the arts circuit in connection with the growth of the city. His trademark is strongly associated to the territory, in such a way that the capital from Rio Grande do Sul is an on-going presence, performing itself as scenery or as a character of his chronicles.
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Kocak, Kenan. "The representation of Middle East identities in comics journalism." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6091/.

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The present thesis investigates comics journalism, which is a subsection within the comics medium combining sequential images and journalism, and which has met with popular acclaim in the wake of Joe Sacco’s popularity in the 1990s. Since then, many examples of comics journalism have been published. However, the subject has not been comprehensively studied except for extensive research focusing on Sacco. This study aims to go some way towards filling this gap. This thesis focuses mainly on comics war journalism covering the turmoil in the Middle East and the Israeli-Palestinian conflict by selecting graphic novels by two different authors from divergent backgrounds: Ayşegül Savaşta: Irak Şahini (Ayşegül at War: The Iraqi Falcon) by Kemal Gökhan Gürses from Turkey, and Jerusalem: Chronicles from the Holy City by the Quebecois author Guy Delisle. There are four main chapters in this thesis. The first chapter, ‘Comics Journalism’, analyses this hybrid genre and tries to place it with a theoretical framework. The second chapter, ‘National Identities and Comics Journalism’, discusses how national identities are represented in comics journalism. The third chapter examines Ayşegül Savaşta: Irak Şahini and shows how comics journalism can function as a response to a war. The fourth chapter discusses Jerusalem: Chronicles from the Holy City and explores comics journalism as cultural reportage. This thesis argues that the roots of comics journalism can be found in the Glasgow Looking Glass of 1825. While Joyce Brabner and Lou Ann Merkle together created today’s understanding of comics journalism, Joe Sacco popularized the genre via his coverage of the Palestinian issue and the Bosnian War. Another conclusion is that the September 11 attacks explain the rise of comics journalism, as output related to comics journalism has since blossomed. I will claim that comics journalism functions as an alternative to mainstream journalism and serves to show unreported news. Additionally this thesis will find that stereotypes play a very important role in picturing the relationship between comics and national identities, and will show how Muslim stereotypes have changed in comics, especially in superhero comics, produced after 9/11. This observation leads me to argue that comics journalists, regardless of their backgrounds, use essentially the same stereotypes when they draw Middle Easterners, Arabs especially, although negative Muslim stereotypes are very rare in comics journalism. Since religion and nationalism are undeniably intermingled in the Middle East, the comics journalists studied here employ Islam as a part of their narratives.
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Channel, Amani. "Gatekeeping and Citizen Journalism: A Qualitative Examination of Participatory Newsgathering." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1598.

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For nearly sixty years, scholars have studied how information is selected, vetted, and shared by news organizations. The process, known as gatekeeping, is an enduring mass communications theory that describes the process by which news is gathered and filtered to audiences. It has been suggested, however, that in the wake of online communications the traditional function of media gatekeeping is changing. The infusion of citizen-gathered media into news programming is resulting in what some call a paradigm shift. As mainstream news outlets adopt and encourage public participation, it is important that researchers have a greater understanding of the theoretical implications related to participatory media and gatekeeping. This study will be among the first to examine the adoption of citizen journalism by a major cable news network. It will focus on CNN's citizen journalism online news community called iReport, which allows the public to share and submit "unfiltered" content. Vetted submissions that are deemed newsworthy can then be broadcasted across CNN's networks, and published on CNN.com. This journalism practice appears to follow the thoughts of Nguyen (2006), who states that, "future journalists will need to be trained to not only become critical gate-keepers but also act as listeners, discussion and forum leaders/mediators in an intimate interaction with their audiences." The goal of the paper is to lay a foundation for understanding how participatory media is utilized by a news network to help researchers possibly develop new models and hypotheses related to gatekeeping theory.
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Zatorski, Stacey Lyn. "A Study of the relationship of daily journal writing to the literacy achievement of students in first grade." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2004. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.Ed. )--Kutztown University of Pennsylvania, 2004.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2761. Typescript. Abstract precedes thesis as 2 preliminary leaves ( iii-iv). Includes bibliographical references (leaves 39-41).
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37

Wallace, Kyle S. "An Exploratory Study of Learning Journeys for Makers in the Fields of Art, Craft andDesign: An Investigation of the Blurred Boundaries between Art, Craft, and Design." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460024614.

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38

Viné-Krupa, Rachel. "La peinture et le Journal de Frida Kahlo, lieux du questionnement identitaire." Thesis, Nancy 2, 2009. http://www.theses.fr/2009NAN21024.

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Notre travail analyse la peinture et le journal intime de Frida Kahlo comme les terrains d'une rencontre entre l'artiste et son identité. Sa production porte les traces d'un processus identitaire dynamique, conditionné par son parcours individuel mais aussi par le contexte historique, politique et culturel dans lequel elle évolue. Ainsi, après avoir fait le point sur la biographie de l'artiste, défini son univers esthétique et cerné ses influences intellectuelles et culturelles, nous déterminerons le rôle de sa production dans la recherche et l'affirmation de son identité. Aussi analyserons-nous comment se lisent, dans ses autoportraits, les éléments constitutifs de son identité personnelle. Puis, en élargissant notre corpus à l'ensemble des genres de sa production, nous verrons comment ses préoccupations intimes et personnelles rejoignent le questionnement identitaire national qui domine le panorama culturel mexicain post-révolutionnaire. Nous constaterons alors que cette quête identitaire débouche chez l'artiste sur une réflexion quant à la place de chaque individu, dans la société et dans le monde<br>This study will analyse the painting and diary of Frida Kahlo as areas where the artist explores her identity. Her output betrays signs of a dynamic process of identity creation, influenced not only by her life but also by the historic, political and cultural context in which she lived. Thus, after having taken stock of her life, defined her aesthetic universe and ascertained her intellectual influences, we will identify the role played by her art in the search for and assertion of her identity. We will thus analyse how the elements making up her personal identity can be read through her self portraits. Then, by expanding the scope of the study to all the genres encompassed in her output, we shall see how her intimate, personal preoccupations fit into the questioning of national identity which dominated the Mexican post-revolutionary landscape. We will then see that the artist's search for an identity culminates in a reflection on the place occupied by each individual in society and the world as a whole
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39

Garcia, Paula Riley. "Comparison of quiet and outgoing language minority students through journal writing." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/960.

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Outgoing students have the advantage over quiet students in oral class participation. Our problem was to determine whether this relationship was the same in the medium of writing by studying differences in quantity and quality of writing between a quiet and an outgoing group.
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40

Quipp, Rosemary. "MAPs without direction:media assistance projects in post-war Sierra Leone." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103602.

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Sierra Leone's brutal civil war devastated the country's population and left its infrastructure in disarray. Over the last decade, international organizations have provided financial and technical assistance to many areas of society, including journalists and the media. Media assistance programs, or MAPs, are designed to promote democratization and development by fostering a free and independent press. This free press – also known as the fourth estate – is intended to disseminate accurate and unbiased information upon which citizens can base informed choices in their personal and political lives. In this thesis, it is first argued that current underlying political and socio-economic conditions in Sierra Leone prevent the emergence of a true fourth estate, despite the efforts of MAPs. Secondly, it is argued that MAPs could have a greater impact through a more holistic approach to media assistance, engaging in institution-building to target the root causes of Sierra Leone's biased and politicized media landscape.<br>La guerre civile au Sierra Leone a dévasté la population du pays et a détruit son infrastructure. Au cours de la dernière décennie, les organisations internationales ont fourni une assistance financière et technique à de nombreux domaines de la société, y compris les journalistes et les médias. Les programmes d'aide des médias (MAPs) sont conçus pour promouvoir la démocratisation et le développement en favorisant une presse libre et indépendante qui diffuse des informations précises et impartiales. Cette presse libre – connu aussi comme le quatrième état – est destinée à diffuser des informations sur la base desquelles les citoyens peuvent fonder des choix éclairés. Dans cette thèse, il est d'abord soutenu que les conditions politiques et socio-économiques au Sierra Leone empêchent l'émergence d'un véritable quatrième état, malgré les efforts des MAPs. Deuxièmement, il est soutenu que les MAPs peuvent améliorer leur impact grâce à une approche plus holistique de l'aide aux médias, en s'engageant au renforcement des institutions pour cibler la vraie cause du biais et la politisation des médias au Sierra Leone.
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Bejerman, Ingrid. "Turning the inverted pyramid inside-out: Professional ideology, professionalization, and education of journalists reconsidered." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107609.

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Since the rise of citizen reporters, blogging, wikis, and pro-am newsroom collaborations, both the professional and academic spheres have come to contest the very definition of a journalist. These analyses, however, often fail to consider the historical complexity of the processes of professionalization in journalism, its systematic institutionalization as an intellectual endeavor, and the fact that there is not – and never has been – a single unifying activity defined as journalism. The lack of a consensual body of knowledge within journalism studies as a field of inquiry, and journalism's problematic status as a discipline within the critical humanities and the social sciences in general, only exacerbate this state of affairs. This thesis proposes to address these issues by reconsidering the historical narratives which shape them, in order to offer a critical review of the social advancement of the 'profession' and the institutionalization of journalism.The first chapter of this dissertation consists of an attempt to problematize the nature of journalism by providing a brief history of the haphazard, unplanned, and largely accidental way that journalism came into being by describing how journalism is the articulation of many genres and traditions of writing and communication. This provides a historical background for the second chapter, which explores the materialization of the values and ideologies that structure Anglo-American journalism as a profession in the nineteenth century, and which still form the basis of its occupational norms today. Following a discussion of the emergence of the reporter, both the modern ideal of objectivity in Anglo-American journalism and the rise of professionalism are situated within the broader context of modernism. The third chapter offers a review of the literature on the professionalization of journalism by considering the journalistic occupation within the system of professions, drawing on approaches from sociology, political economy, communications, and journalism studies. These chapters provide the foundation for an analysis of the emergence of journalism education, which has been historically linked to the notion of journalism as a profession. Considering journalism education as an agent of professional legitimization, the fourth chapter aims to historicize the establishment of journalism departments in a university setting in the United States and Canada by tracing the origins of models of journalism schools in order to provide a context for the study of journalism education and training. The fifth and final chapter of this thesis builds on the preceding chapters to demonstrate how all of these complex tensions contribute to the uncomfortable position that journalistic training occupies within the university. Academically, journalism draws on the humanities and the social sciences, while remaining outside of both. Pedagogically, journalism educators are asked to offer a 'critical' approach to phenomena while also teaching students practical skills of use to those seeking professional careers. This chapter also explores the troubled marriage between communication studies and journalism, culminating in the recent call for the reorganization of the various subjects of journalism (i.e. law, ethics, communication theory, political economy of journalism, media history, etc.) into a single field of Journalism Studies. The dissertation concludes by looking at the continuing impact of these unresolved difficulties on journalism education today.<br>Depuis la montée des reporters citoyens, des blogs et les wikis, la définition même de journaliste en est venue à être contestée tant dans les sphères professionnelles qu'académiques. Cependant, ces analyses ne tiennent pas compte de la complexité historique du processus de professionnalisation du journalisme, de son institutionnalisation systématique en tant que projet intellectuel, et du fait qu'il n'y ait pas – et qu'il n'y ait jamais eu – une seule et même activité unificatrice répondant de la définition du journalisme. L'absence d'un corps consensuel de connaissances au sein des études journalistiques en tant que domaine de recherche ainsi que le statut problématique du journalisme en tant que discipline au sein des sciences humaines critiques et des sciences sociales en général, ne font qu'exacerber cet état de choses. Cette thèse se propose d'aborder ces questions en reconsidérant les récits historiques qui les constituent. Le but est de présenter une analyse critique de l'avancement social de la «profession» et de l'institutionnalisation du journalisme. Le premier chapitre de cette thèse tente de problématiser la nature du journalisme à travers un bref historique de la manière hasardeuse, imprévue, et en grande partie accidentelle dont est apparu le journalisme. Ce survol historique met en exergue en quoi le journalisme est le fruit de l'articulation d'un ensemble de genres et traditions d'écriture et de communication. Sur cette toile de fonds repose le deuxième chapitre, lequel explore la matérialisation des valeurs et des idéologies qui ont structuré le journalisme anglo-américain en tant que profession au XIXe siècle et qui forment encore la base de ses normes professionnelles aujourd'hui. Ce deuxième chapitre aborde ensuite l'émergence du reporter pour enfin situer l'idéal moderne de l'objectivité et la montée d'un professionnalisme au sein du journalisme anglo-américain dans leur contexte plus vaste du modernisme. Le troisième chapitre propose une revue de littérature sur la professionnalisation du journalisme en considérant l'occupation de journaliste au sein du système des professions. À cet effet sont mobilisées des approches tant sociologiques, que de l'économie politique, des communications et des études journalistiques. Considérant l'enseignement du journalisme comme un vecteur de légitimation professionnelle, le quatrième chapitre vise à historiciser la création de départements de journalisme dans les milieux universitaires des États-Unis et du Canada en retraçant les origines d'écoles journalistiques. Ceci fournit un ancrage pour l'étude de l'enseignement et la formation journalistiques qui fera l'objet du chapitre suivant. Le dernier chapitre de cette thèse s'appuie sur les chapitres précédents afin de démontrer en quoi toutes ces tensions complexes contribuent à perpétuer le statut équivoque qu'occupe la formation en journalisme au sein du milieu universitaire. Sur le plan académique, le journalisme s'appuie sur les sciences humaines et les sciences sociales, tout en demeurant en dehors de ses deux sphères. Sur le plan pédagogique, les enseignants en journalisme sont appelés à mobiliser une approche critique à l'analyse des phénomènes tout en enseignant aux étudiants des compétences pratiques et directement utiles à ceux qui envisagent une carrière professionnelle. Ce chapitre explore également les eaux troubles liant les études en communication et le journalisme, tel que cela a récemment culminé dans l'exhortation à réorganiser les différents domaines du journalisme (droit, éthique, théorie de la communication, économie politique du journalisme, histoire des médias, etc.) en un seul et même domaine, à savoir celui des Études sur le Journalisme. La thèse conclut en examinant l'impact persistant de ces difficultés sur l'enseignement actuel du journalisme.
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42

Borlongan, Katherine. "Frontline: NGOs and the changing nature of news witnessing from disaster and conflict zones." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106598.

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Journalism as an institution has long sanctioned the status of witnessing as one of its favoured means of providing an accounting of reality. Due to shrinking resources and dwindling levels of public trust, many "traditional" news organizations are losing ground as the public's witnesses, especially with regard to conflict or disaster-stricken zones. One part of this erosion in professional foreign correspondence is that nongovernmental organizations (NGOs) have begun to appropriate the witnessing practice of the news genre, and in so doing, position themselves—not just as news sources for journalists—but as news producers themselves. Such NGOs face the difficult demands of gaining and maintaining support from their publics and constituencies without the cultural authority that "official" journalists enjoy. Guided by a sociocognitive approach to genre, this thesis tells the survival story of news witnessing in disaster and conflict zones. It employs a multiple case study of three NGOS, namely Médecins Sans Frontières, Reporters sans frontières, and the Democratic Voice of Burma, to explore how NGOs consolidate themselves as witnesses in reference to three varying figures of a witnessing agent: 1) witness as a third party; 2) witness as a survivor; and 3) witness as an expert. In so doing, these NGOs transgress the jurisdictional boundary established and policed by professional newsmakers that hold sway over the conventions of news production practices. They also actively repurpose witnessing so as not to objectively depict a world as it is, as journalists are expected to do, but to help reconstruct it, as NGOs believe it ought to be.<br>Le journalisme a depuis longtemps consacré le statut de témoin comme un maillon essentiel pour pouvoir rendre compte de la réalité. Mais en raison d'une diminution de leurs moyens et d'une crise de confiance du public à leur égard, beaucoup d'organisations médiatiques « traditionnelles » perdent du terrain en tant que témoins, particulièrement dans les zones touchées par un conflit ou un sinistre. Ce recul se traduit notamment par le fait que les organisations non gouvernementales (ONG) ont commencé à s'approprier depuis quelques années la pratique du témoignage journalistique, se positionnant ainsi comme source d'informations pour les journalistes mais aussi comme producteur d'informations. Dans ce rôle, les ONG font face au défi de devoir conquérir de nouveaux publics et satisfaire leurs sympathisants tout en souffrant d'un déficit de légitimité vis-à-vis des journalistes. Guidé par une approche sociocognitive du genre, nous analyserons dans ce mémoire l'évolution du genre du témoignage tel qu'il est pratiqué dans les zones de désastres et de conflits. Nous nous intéresserons plus précisément à trois ONG comme cas d'étude, à savoir Médecins Sans Frontières, Reporters sans frontières et Democratic Voice of Burma, afin de déterminer comment les ONG se construisent en tant que témoins selon les trois modèles suivant : 1) le témoin comme tierce personne, 2) le témoin comme rescapé, 3) le témoin comme expert. En agissant ainsi, les ONG franchissent les limites juridictionnelles établies et contrôlées par les professionnels de l'information, qui définissent les conventions et les pratiques de production de l'information. Les ONG réorientent également le témoignage de façon active, non pas pour décrire le monde tel qu'il est, comme on pourrait l'attendre de la part de journalistes, mais pour le transformer en ce que, selon elles, il devrait être.
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43

Vieira, Paulo Roberto. "Arte, erotismo, natureza e amizade: os diários de Max Martins." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-12122014-194501/.

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O poeta brasileiro Max Martins (1926 2009), radicado em Belém (PA), produziu 48 diários entre 1982 e 1999, cadernos que fundem, por meio da colagem, sua criação poética à plástica, configurando um universo de apropriações de imagens verbais e não verbais que se ligam à palavra, na literatura, e aos eventos do cotidiano, nas representações plásticas. Na esteira do conteúdo dos diários em cópias facsímiladas, os capítulos desta tese abarcam as linhas de força Natureza, Amizade e Erotismo aplicando-se principalmente à análise e à interpretação das invenções plásticas resultantes dessa confluência. O estudo detido de Max Martins diarista, poeta e artista plástico revela a transfiguração de sua vida operada em seus registros dos dias, na poesia, em desenhos, pinturas e colagens<br>The Brazilian poet Max Martins (1926-2009), rooted in Belém (PA), produced 48 notebooks between 1982 and 1999. The notebooks merge, through collage, his poetic creations into visual images, setting up a universe of appropriations of verbal and non-verbal images that connect to the word, literature, and daily events. Following the content in facsimile copies of the notebooks, the chapters of this thesis cover the lines of strength: Nature, Friendship and Eroticism, applied mainly to the analysis and interpretation of plastic inventions resulting from this confluence. This study of Max Martins as diarist, poet, and artist reveals the transfiguration of his life produced in their record of the days, poetry, drawings, paintings and collages
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44

Garcia, Wayne Scott. "Politics, journalism and Web 2.0 in the 2008 U.S. presidential elections." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002905.

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45

Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.

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46

Williams, Cheryl Lynn. "Mapping the art historical landscape : genres of art history appearing in art history literature and the journal, Art education /." Connect to this title online, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1102365647.

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47

Duncan, S. Heather. "A Comparison of the Origins, Goals, and Techniques of Storytelling and Literary Journalism." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-1026101-133401/restricted/duncanh112701.pdf.

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48

Dunnington, Jeffrey. "A Study of the Journal of Elisha P. Hurlbut, American Social Reformer, 1858-1887." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3325.

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The life of Elisha P. Hurlbut (1807-1889) has been mostly forgotten since his death. This examination of his personal journal, which he wrote from 1858 to 1887, brings back to the forefront an influential figure that lived most of his life in and around Albany, New York. Prior to beginning the journal, Hurlbut was a lawyer and then a Supreme Court justice in New York. Seven years after retiring from public life in 1851, he commenced work on the journal that provided a detailed social and political commentary on New York, the United States, and the world as a whole. While the journal offers detailed insight into many specific subjects, this thesis focuses on Hurlbut’s views and expertise in civil rights, religion, and phrenology. This body of work will demonstrate how he shaped arguments for equality for all people, despised the influence of organized religion, and was a leader in phrenological studies.
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49

Pick, Delysha. "A study of the emergence, impacts, and responses to trolling in the Australian news media." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2576.

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This study analyses the impact of trolling on journalists in the Australian news media between 2015 and 2021, mapping its emergence and the responses of a variety of stakeholders. By 2015, trolling had cemented itself as a complex social issue prevalent in media discourse and has been the subject of a growing body of media and communications research over two decades. A grounded theory approach,informed by feminist critical theory, functionalism and Ackoff’s (1974) Systems Theory,was used to investigate the impact of trolling on victims,and responses to trolling by anti-trolling campaigners, Twitter, Facebook, newsrooms, and the legal profession. Ackoff’s theory suggests that social problems cannot be resolved by considering stakeholders in isolation, and that a multi-site or multi-level approach to a problem is more likely to succeed. The research process included interviews with 10 trolled journalists, and content analysis of a range of archival evidence relevant to the other stakeholders, such as news articles, statements by social media companies,and Australian legislation. At points where professional insight into the results of the content analysis was required, the research included interviews with relevant experts. The results of the research include identification of types of trolling frequently encountered by journalists; documentation of widespread frustration with Twitter’s inconsistent enforcement of policies that ban abusive content on its service; and acknowledgement of Facebook’s attempts to address multiple stakeholders involved in trolling and cyber-bullying. Newsrooms’ responses were categorised into ten themes that address the needs of various stakeholders,and an analysis of the relevant current Australia legislation found that while a range of statutes can be drawn upon, their use in relation to trolling has been scarce to date, with experts suggesting that more education of the public and law enforcement officers would enhance legal protection. This study concludes that trolling is a wicked problem, meaning it is complex, dynamic, and difficult to navigate; thus, resolution strategies should involve collaborative approaches by multiple key stakeholders.
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50

Keri, Natalia Favrin. "Questão de gosto: o discurso da arte no jornalismo cultural impresso." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-12012016-112723/.

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A pesquisa levanta os discursos construídos pelos jornais diários sobre artes visuais, de forma a verificar quais representações são empregadas ao abordar este tipo de produção cultural. Por meio da análise do discurso, debruça-se sobre textos publicados pela Ilustrada, da Folha de S. Paulo, e Segundo Caderno, de O Globo. Desta forma, procura estudar a confluência entre os campos comunicacional e estético nos dias atuais, com investigação sobre os fenômenos da construção do gosto. Como resultado, mapeia posições e processos em vigência no campo artístico, delimitando os habitus de artistas curadores e críticos, a estrutura interna do campo, com seus mecanismos de legitimação, além da relação do artístico com os campos econômico e político. Com isso, aponta implicações desta configuração para o ambiente cultural atual, em especial na formação do gosto de jornalistas e de seu público. O presente trabalho identificou para o jornalismo impresso diário analisado um papel de síntese de segunda instância para um público que se posiciona em espaços fronteiriços do campo artístico. Seu papel é arranjar um conjunto de representações de origem artística, crítica, historiográfica e teórica de forma a amparar um grupo de práticas sociais de aquisição de capital cultural. Depreende-se desta postura discursiva que o autor-jornalista procura legitimar-se enquanto par do campo artístico, para um público que também se quer afirmar portador de um capital cultural elevado. Ao escrever o que deve ser visto e sentido, o autor-jornalista responde a uma necessidade do público por legitimação e inserção, ao mesmo tempo em que desbota possíveis tensões e deslocamentos causados pelo contato com a arte.<br>The research lists the discourses built by the daily newspapers on visual arts in order to inspect which representations are employed to address this type of cultural production. Through discourse analysis, it focuses on texts published by Ilustrada (Folha de S. Paulo), and Segundo Caderno (O Globo). Thus, it researches the convergence between communication and aesthetic fields today, investigating the phenomena of taste. As a result, it maps positions and processes of the artistic field, describing the habitus of curators, critics and artists, the field\'s internal structure with its legitimating mechanisms, as well the relationship between artistic, economic and political fields. Thereby, it points out implications of this setting for the current cultural environment, particularly in journalists\' and their audiences\' formation of taste. This work has identified for analyzed print daily journalism a role of second instance synthesis towards an audience that stands on the edges of the artistic field. Its function is to arrange a set of artistic, critical, historiographical and theoretical representations in order to support a group of social practices for cultural capital acquisition. It is deduced from this discursive stance that the author-journalist tries to legitimize him or herself as peer to the artistic field to an audience that also wants to stablish itself as owner of high cultural capital. When the author-journalist writes what should be seen and felt, he or she responds to audience need for legitimacy and inclusion, while he or she fades possible tensions and dissension caused by the contact with art.
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