Relevant bibliographies by topics / Journalists as artists

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Journalists as artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Journalists as artists"

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Jones, Chelsea, Nadine Changfoot, and Kirsty Johnston. "Representing Disability, D/deaf, and Mad Artists and Art in Journalism: Identifying Ableist Fault Lines and Promising Crip Practices of Representation." Studies in Social Justice 15, no. 2 (March 7, 2021): 307–33. http://dx.doi.org/10.26522/ssj.v15i2.2433.

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This paper revisits the dynamic discussion about journalism’s role in representing and amplifying disability arts at the 2019 Cripping the Arts Symposium. Chronicling the dialogue of the “Representation” panel which included artists, arts and culture critics, journalists, and scholars, it reveals how arts and culture coverage contributes to the cultivation of disability, D/deaf, and mad art. Given that the relationship between journalism and disability communities continues to be fractured in Canada, speakers were invited to reflect on journalism and disability arts in relation to their own engagement with media as subjects, authors, and critics of disability arts reviews. The methods for presentation were cripped in multiple ways to provide the fullest access possible. The panel concluded with examples of ableist fault lines in representation practices where the disabled figure is an absent “ghost” in journalistic representation, warnings against journalistic reliance on traditional and objective narratives, and a call for artists to claim and write their own stories. Ultimately, disabled, D/deaf, and mad artists need both control over artistic endeavours and output and influence over representation. This article reconnects journalism and disability communities, ultimately demonstrating that representation is a critical, co-constitutive process that can become more aesthetically and politically oriented toward social justice in its focus on disability, D/deaf, and mad arts.
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Wasserman, H. "Revisiting reviewing: The need for a debate on the role of arts journalism in South Africa." Literator 25, no. 1 (July 31, 2004): 139–58. http://dx.doi.org/10.4102/lit.v25i1.249.

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The assault on the editor of a publication at a South African arts festival by an artist who disliked a review of his concert again highlighted an age-old rift between artists and critics. However, the response that this incident elicited among readers of this and other publications, showed surprising support for the artist rather than for the journalist. If this is read as an indication of a disillusionment among readers with regard to the standards of arts journalism in South Africa, the relationship between arts journalists and society should be re-examined. Ethical journalism rests upon a relationship between journalist and audience, and a sensitivity for the context in which journalism is practised. This article examines arts journalism within changing societal contexts, with a specific focus on the South African situation, where artistic production still bears witness to cultural and ethnic divisions of the past. Against the background of the changes that have occurred in society on a local and global level, it is argued that a re-evaluation of the roles and responsibilities of arts journalists is needed – especially in the light of the formation of new cultural identities after apartheid. In conclusion, an ongoing and indepth debate about the ethical responsibility of arts journalism is suggested in order to ensure its continued relevance within an increasingly commercialised cultural context on the one hand, and within a changing South African society on the other.
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FEIGENBAUM, ANNA. "‘Some guy designed this room I’m standing in': marking gender in press coverage of Ani DiFranco." Popular Music 24, no. 1 (January 2005): 37–56. http://dx.doi.org/10.1017/s0261143004000285.

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Examining ways in which gender is marked in the press coverage of self-produced, folk-rock artist and record label owner Ani DiFranco, this paper explores how language employed in rock criticism frequently functions to devalue and marginalise women artists' musicianship, influence on fans, and contribution to the rock canon. Investigating how the readerships of different publications may influence the ways in which journalists mark gender in rock criticism, this study utilises a corpus of 100 articles on Ani DiFranco published between 1993 and 2003 from print and online magazines and newspapers in Canada, the United States and the United Kingdom. Focusing on the use of inter- and intra-gender artist comparisons, adjectival gender markers and ‘metaphorical gender’ markers in artist background information, lyrical and musical analyses and descriptions of fans, this analysis maps the discursive conventions that music critics and theorists continue to rely on in reviews and profiles of women artists.
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Podstawka, Marian, and Agnieszka Deresz. "Ocena skutków zmian dotyczących stosowania kosztów uzyskania przychodów przez twórców, artystów, pracowników naukowych i dziennikarzy." Zeszyty Naukowe SGGW - Ekonomika i Organizacja Gospodarki Żywnościowej, no. 115 (September 30, 2016): 5–21. http://dx.doi.org/10.22630/eiogz.2016.115.29.

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The paper contains of evaluation of the results of changes in applying tax deductible expenses by artists, academic workers and journalists as copyrights and related rights-holders resulting from the limit of 42,764 PLN introduced on 1 January 2013. The research was based on: (i) the analysis of data from the Ministry of Finance regarding personal income tax settlement in 2012–2013, as well as the analysis of the data from POLTAX system from Urząd Skarbowy w Siedlcach (eng. Tax Office in Siedlce) regarding personal income tax settlement in 2012–2015 and (ii) the commentary of artists, academic workers and journalists regarding the abovementioned changes. The analysis indicated that changes in applying tax deductible revenues by the group of taxpayers in question hinders their revenues and has an anti-motivational influence on their professional activity.
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Lucena, Tiago Franklin Rodrigues, Ana Paula Machado Velho, Vinicius Durval Dorne, and Diana Maria Gallicchio Domingues. "The Drama of Dengue Fever: Civic-Oriented Journalists, Community and Artists Fighting Dengue." Leonardo 51, no. 2 (April 2018): 199–200. http://dx.doi.org/10.1162/leon_a_01529.

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This paper describes a transdisciplinary approach that takes places in South of Brazil with the aim to contribute with an eco-bio-social problem: dengue fever. Inspired by enactive theories about relation between body x environment, the authors present here a nontraditional multifaceted bottom-up intervention, designed by civic-oriented journalists and artists to promote health and mobilize a small community in Maringá. The intention is to promote healthier behavior in a participatory perspective when citizens can produce and share their narratives. The content was used as creative material to produce multimedia news, sketch and prototype mobile apps with the support of community.
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Mihaylova, Stefka. "Whose Performance Is It Anyway? Performed Criticism as Feminist Strategy." New Theatre Quarterly 25, no. 3 (August 2009): 255–73. http://dx.doi.org/10.1017/s0266464x09000438.

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By the 1990s, the feminist contention that gender norms inform the production and reception of art had become widely accepted in academia. Many theatre journalists, however, continued to insist on the possibility of writing about performance from an apolitical, gender-neutral position. This article examines the gendered history of this insistence from the early 1700s to the present, its effects on the production and reception of plays by women, and its implications for theatre scholarship. Focusing on Carolee Schneemann's critique of a masculine bias in art criticism in her performance Interior Scroll and the Guerrilla Girls' actions against gender discrimination in the art world, this article examines strategies adopted by female and feminist journalists in Britain and the US to counter women's inequitable status in art journalism and playwriting. By engaging with the gendered binaries mind–body and text–performance, Schneemann and the Guerrilla Girls help clarify how reviewing practices have informed critical thinking about femininity and performance. In doing so, these artists anticipate poststructuralist feminist critiques of visibility and the performing body. Stefka Mihaylova holds a PhD in Theatre Studies from Northwestern University. Her research focuses on performance theory, especially gender and racial aspects of spectatorship in contemporary American and British feminist and radical theatre and performance art.
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Brown, Stephanie J. "Claude McKay, The Workers' Dreadnought, and collaborative poetics." Literature & History 28, no. 1 (May 2019): 27–48. http://dx.doi.org/10.1177/0306197319829356.

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This paper considers the journalism and poetry Claude McKay produced for Sylvia Pankhurst's communist weekly Workers' Dreadnought in 1920 as a collaboratively produced body of work. This allowed Pankhurst to have a Black communist commentator on hand to cover workers' issues, and McKay used Pankhurst's periodical as a platform from which to dramatise the aesthetic and political potential inherent in collaboration between working-class activists, journalists, and artists for the paper's readers. In the Dreadnought's pages, McKay's poems very publicly weighed the value of collaborative labour and considered the arts' place in the class struggle. He simultaneously produced journalism that advocated collaboration among races to resist the racial antagonism that sparked violence in the most impoverished East End communities in the summers of 1919 and 1920. Ultimately, McKay's work for the Dreadnought produced a holistic representation of working-class intellectual life founded on the production of beauty and the exercise of aesthetic as well as political judgment, one that depicts these activities as inevitably commingled and collaboratively produced.
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Akiskal, Kareen K., Mario Savino, and Hagop S. Akiskal. "Temperament profiles in physicians, lawyers, managers, industrialists, architects, journalists, and artists: a study in psychiatric outpatients." Journal of Affective Disorders 85, no. 1-2 (March 2005): 201–6. http://dx.doi.org/10.1016/j.jad.2004.08.003.

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Timplalexi, Eleni, and Manthos Santorineos. "EXPERIMENTS IN DIGITALLY ENHANCED AUTOMATIC COLLABORATIVE WRITING AND PERFORMING." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 235–57. http://dx.doi.org/10.32621/acotaciones.2021.46.09.

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In the following paper, the case of Experiments in Automatic Writing, a festival-project that took place in October 2011 at Fournos Centre for Digital Culture in Athens, Greece, and involved collabora-tive writing and performance with the use of digital media, is presented and discussed. The project lasted for 4 days and involved 42 writers, playwrights, journalists, artists, poets, chat users, performers, actors, musicians, a visual artist and a chat bot. The article reflects on the so-cial, theoretical, writing and performative circumstances that gave rise to the project as well as its intentions and outcomes. By analyzing in depth the project, a reflective contribution to the field of digitally enhanced performance and theatre gamification practices is intended, from the point of view of the designer of the event as well as that of the practitioner. Some suggestions are made with regards to possible future uses of the methodology developed within the project framework in the arts and education sectors.
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Pajón Fernández, Alicia. "Mujer, música y Transición. Una perspectiva desde el diario El País." ZER - Revista de Estudios de Comunicación 24, no. 46 (May 28, 2019): 253–68. http://dx.doi.org/10.1387/zer.20602.

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En este artículo se busca indagar en los artículos relacionados con la música publicados en El País entre 1976 y 1982 la visión que se da de las artistas y la presencia de las mujeres como redactoras de información musical. Se analiza cómo el canon que esta publicación diseña en torno a la música en la Transición incluye o no a las artistas femeninas y la imagen que se proyecta de éstas. Observamos, además, los perfiles de las mujeres que consiguieron hacerse hueco en la redacción, como es el caso de Mercedes Domenech, Rosa María Pereda o Bel Carrasco. This article seeks to delve into the articles published about music by El País between 1976 and 1982 the perspective given towards female women and the women’s presence as musical journalists. We will analyze how the canon designed by the publication around music in the Transición includes or not certain female artists as well as the image that the newspaper projects of them. We will also look at the profiles of those women who did made a name for themselves in the publication as critics, such as Mercedes Domenech, Rosa María Pereda or Bel Carrasco.
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Dissertations / Theses on the topic "Journalists as artists"

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Carlsson, Oskar, and Sofia Sundström. "Zara Larsson och den manliga hatvågen : En kritisk diskursanalys på den tryckta pressens skildring av artisten Zara Larssons uttalanden om Bråvallafestivalen 2015." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-118912.

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Zara Larsson and the male haters. A critical discourse analysis of the medias depiction of the singer Zara Larsson’s commentary on Bråvallafestivalen 2015 Zara Larsson, born in 1997, is a famous, young swedish singer. Besides her career in music she is also famous for her feminist thoughts in social media. In 2015, she critizised the swedish festival Bråvallafestivalen for its lack of female artists. This critizism was first published in the swedish newspaper Dagens Nyheter and afterwards there was a huge reaction in social media where lots of people critizised and threatened Zara Larsson because of her thougths. Therefore, the purpose of this study is to explore how swedish newspapers reports about this situation and how Zara Larsson is portrayed, from a genderperspective. We are using a thematic analysis and a critical discourse analysis as a method. The analysis is based on articles and opinion journalism in swedish newspapers from all over the country. Theories we have used for the study is gendersystems and ideology. The main conclusion of this study is that the debate ended up to be very polarized, and that the supporting side of Zara Larsson dominated the debate, while the opposition tended to be some sort of hopeless contenders. We could also se that the main ideology was feminism, both visible and hidden in the texts. Keywords: Critical discourse analysis, Thematic analysis, gender, Zara Larsson, Bråvalla festival.
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Tuncer, Fatma Gökcen. "ATTENTION! ART IS ON THE STAGE : An Applied MasterProject onActivist Art Including theInterview Series withNine Artists from Seven Art Forms." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-25841.

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The balance of the world has been built on various empires, kingdoms, civilizations and economic systems for centuries. This study is written in the belief that the center of the world rule started to change. The determiners are not the leaders or the systems anymore but the individuals themselves. People are aware of that their voice can easily reach to the rest of the world. For most of the people it is not onlysharing their ideas on various social networks but also playing an active role in the world order. Since every human being has different ways of expressing themselves, their active role will also differ from each other. This study focuses on the active role of Art, which is one of the important ways when it is about self-expression. By this research, it is aimed to find answers to the following questions: "How can art be effective in the change of the world?" and "In what point activist art differs from propaganda?"
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Oliveira, Filipe Silva de. "A ciência do século XIX na visão do jornalista João Ribeiro em artigos de divulgação científica (1895-1934)." Universidade Federal de Sergipe, 2017. https://ri.ufs.br/handle/riufs/5112.

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This dissertation seeks to identify visions of science expressed in articles published by the journalist João Ribeiro at the turn of the 19th century for the 20th century, as well as to verify and analyse the context in which the journalist was inserted in the social, scientific, political and philosophical sphere. The methodological approach used in the analysis of the information present in articles of scientific dissemination was the Content Analysis contained in works by Bardin (1977, 2009, 2011), accompanied by the theory of Cachapuz (2005). The results point to 7 (seven) categories of science vision: 1. Permeated of contradictions, 2. Refutable, 3. Citizen; 4. Ironic; 5. Masculine; 6. Investigative; And 7. Criticism. Based on the two mentioned theorists we arrive at the definition of 4 (four) thematic types listed: Scientific Personality, Medicine, Scientific Discovery; And Education Sciences. The conclusions attest that João Ribeiro divulged science in the field of scientific journalism, acting in an advanced way for his time and reporting facts and discoveries during a period of many scientific achievements. The views of science of João Ribeiro serve as a parameter for the understanding of how the first initiatives of scientific dissemination were made in Brazil and of how was the dissemination of scientific knowledge among the common public.
Neste estudo buscou-se identificar visões de ciência expressas nos artigos de divulgação científica do jornalista João Ribeiro na virada do século XIX para o século XX, bem como verificar e analisar o contexto em que o jornalista estava inserido no âmbito social, científico, político e filosófico. A abordagem metodológica utilizada na análise das informações presentes nos artigos de divulgação científica foi a Análise de Conteúdo contidos em obras de Bardin (1977;2009;2011), acompanhada da teoria de Cachapuz et al. (2005). Os resultados apontam para 7 (sete) categorias de visão de ciência:1. Permeada de contradições, 2. Refutável, 3. Cidadã; 4. Irônica; 5. Masculina; 6. Investigativa; e 7. Crítica. Com base nos dois teóricos mencionados chegamos à definição de 4 (quatro) tipos temáticos elencados: Personalidade científica, Medicina, Descoberta científica; e Ciências da Educação. As conclusões atestam que João Ribeiro divulgou ciência no campo do jornalismo científico, atuando de maneira avançada para o seu tempo e noticiando fatos e descobertas num período de muitas conquistas científicas. As visões de ciência de João Ribeiro servem como um parâmetro para a compreensão de como foram feitas as primeiras iniciativas de divulgação científica no Brasil e de como foi a disseminação do conhecimento científico entre o público comum.
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Ogier, Thomas Everard. "The Bunker (a novel) ; and, The male nude : arrested development in the portrait of the artist novel (a journalistic essay)." Thesis, University of Kent, 2018. https://kar.kent.ac.uk/66713/.

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Santos, Cibelly Correia dos. "Livro-reportagem: uma proposta de criação de perfis de artistas paraibanos a partir do jornalismo literário." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9601.

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Submitted by Vasti Diniz (vastijpa@hotmail.com) on 2017-09-20T14:39:49Z No. of bitstreams: 1 arquivototal.pdf: 2509491 bytes, checksum: f01d0a5eb686bcd5b04e8a6c29c6133c (MD5)
Made available in DSpace on 2017-09-20T14:39:49Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2509491 bytes, checksum: f01d0a5eb686bcd5b04e8a6c29c6133c (MD5) Previous issue date: 2016-08-17
This project aims to create a creative nonfiction book that will have profile stories of artists from the Brazilian state of Paraíba, and that will be achieved through narratives of Literary Journalism. Because of the new technologies and the unstoppable flow of information, the majority of daily news is superficial and direct, which makes it hard deepening the subjects they refer to. Literary Journalism in the other hand puts together techniques from journalism and literature, as procedures of observation, description and narrative, in order to humanize as much as possible the reports and give cadence to the text. It‘s noticeable that news based on Literary Journalism is related to cultural events or press releases sent by media offices. That makes it difficult for society to have a clear idea of its own culture and knowledge about its own artists. Therefore, the creative nonfiction book purposed in this project will contain six profile stories of artists from Paraíba with established careers in many segments, willing to show their personal lives and production over the years as well as the historic and cultural context in which they have been involved. The option for a creative nonfiction book is due to the fact it is a tool that allows journalists to write deep reports with deeper investigation and also freedom on the narrative stylistics.
O presente projeto tem como proposta a criação de um livro-reportagem, contendo perfis jornalísticos de artistas paraibanos, utilizando o Jornalismo Literário como estilo de narrativa, visto que, devido à velocidade das informações e às novas tecnologias, as reportagens realizadas no jornalismo cotidiano, na maioria das vezes, são reducionistas, dificultando, assim, o aprofundamento do tema. O Jornalismo Literário reúne as técnicas do jornalismo com as narrativas advindas da literatura, como procedimentos de observação, descrição e narração, a fim de humanizar ao máximo a matéria e dar mais fluidez ao texto. Percebe-se também que, no jornalismo cultural, as matérias publicadas nos meios de comunicação são relacionadas a eventos culturais ou aos releases enviados pelas assessorias de imprensa. Isso limita a sociedade no sentido de ter uma visão mais crítica sobre sua cultura e mais conhecimento sobre seus artistas. Neste sentido, o trabalho apresentará seis perfis de artistas da Paraíba, de diversos segmentos, com uma carreira mais consolidada, de modo que se conheça a obra e a vida destes personagens e o contexto histórico-cultural no qual ele está envolvido. Para isso, a escolha de um livro-reportagem, como o produto a ser desenvolvido, é motivada, principalmente, por ser uma ferramenta que permite trabalhar com a reportagem em profundidade, na qual se pode ter uma investigação mais elaborada e maior liberdade narrativa.
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Marques, Ana Cristina Cirne. "Boas notícias – um retrato de Lifestyle Journalism em Portugal." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2012. http://hdl.handle.net/10400.5/4545.

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Dissertação de Mestrado em Comunicação Social na vertente de Jornalismo
A dissertação de mestrado em causa visa apurar a realidade nacional de um género de jornalismo ainda pouco explorado – Jornalismo de Lifestyle. Dada a escassa bibliografia, pelo menos em Portugal, foram considerados outros elementos para uma análise mais profunda, tais como entrevistas com três profissionais da área – duas jornalistas e um fotógrafo -, os quais foram sujeitos a três entrevistas distintas. Para compreender a prática do mesmo, a análise de conteúdo incidiu, também, em diferentes artigos de seis revistas mensais de lifestyle (à excepção de uma semanal). A escrita neles embebida foi escrutinada e dos textos foram extraídas determinadas características associadas à narração literária, bem como ao Jornalismo Literário.
The dissertation in question seeks to establish the national reality of a journalistic genre that has been little studied - Lifestyle Journalism. Given the sparse literature, at least in Portugal, other elements were considered for further analysis, such as interviews with three professionals - two journalists and a photographer - who were subject to three separate interviews. To understand its practice, the content analysis focused also on various articles of six monthly lifestyle magazines (except for one that is weekly). Certain characteristics were pinpointed via the analysis of the texts’ style of writing, all of them associated with literary narrative as well as literary journalism.
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Göransson, Josefine. "Den starka kvinnan och den manliga mannen : En analys av svenska artisters framställning i Dagens Nyheters artiklar." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49178.

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In this study I have examined how Swedish artists are portrayed in the Swedish newspaper Dagens Nyheter. I have been using a critical discourse analysis to analyze twelve articles, whereof six interviews with female performing artists and six with male performing artists. The main findings show that the journalist mostly describes the artists in ways that can be seen as normative for the female and male gender. The female artists are described  as strong and caring about relationships, while the majority of the male artists are described as brave and tough. Both the female and male performing artists are described as outreach and people who are not affraid to express themselves.
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McCormack, Meghan E. "Close to the Source." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1372.

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Abstract Close to the Source is comprised of a series of nonfiction vignettes about the artisan, agricultural, and culinary methods of Italy. In Close to the Source the human relationship with nature, food, and art is reexamined while a series of rich characters help bring the material to life. Through interviews, research, and first-hand experiences, the author attempts to archive fading artisan and food-related techniques and rituals. In the process, a cultural critique about the importance of the practical arts in contemporary times emerges. The thesis contains four sections: Terra/Land; Art and Artisans; Pane/Bread; and Compagnia/Company.
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Hydén, Malin. "Sanning och konsekvens : En studie av den estetiska intentionen hos tre verk av Felix Gmelin." Thesis, Södertörn University College, School of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3075.

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You could say that the Swedish artist Felix Gmelin in his art uses media to get closer or further away from what we consider to be the reality and also truth. The purpose of this study is to discuss what this means for the intention of his art works. The starting point is my own aesthetic experience of his painting and the installations A Gentleman’s agreement (1996), Farbtest, Die Rothe Fahne II (2003) and Tools and Grammar 2.5 (2007). Each of these works of art consists of different kinds of prefabricated material such as articles, films and documents. These kinds of material are often considered to stand in the way of the aesthetic experience, maybe because they are supposed to be closer to reality and therefore to truth. The thesis of this study is that the truth in art is inscribed in the aesthetic framework of each art piece and also in the technical support it uses. If for example the support consists of an investigative journalist’s documentary research, in Rosalind Krauss’ description, the truth might be found in the authenticity of the documentary material. If the technical support has to do with sampling instead, as in the re-use of existing materials to create new works of art, the truth can probably not be found in the different pieces of material but in the work ofart in itself. It does not matter then if the different pieces of material it consists of is traditionally considered unaesthetic. The conclusion of this study is that Gmelin’s Gentleman’s agreement, Farbtest, Die Rothe Fahne II and Tools and Grammar 2.5 actually discuss what truth is and if there is an aesthetic truth.


Examensarbetet består dels av en vetenskaplig rapport (se Huvudtitel och Abstract), dels av en vetenskaplig artikel (se Alternativ titel).
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Longhi, Julien. "Les objets discursifs : doxa et évolution des topoï en corpus." Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20014.

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Cette thèse contribue à l'intégration de la sémantique et de la linguistique du discours, en cherchant -sur le plan théorique et pratique- à définir une méthodologie et un cadrage épistémologique pour l'étude de la constitution du sens en discours. Notre problématique se concentre sur l'analyse de corpus discursifs, afin de repérer de manière topique (le topos est défini comme un lieu commun argumentatif) les divers degrés de stabilité et de plasticité des constructions sémantiques. Nous définissons dans cette recherche le concept d'objet discursif, analysé dans trois corpus : "Le Monde" et "Le Figaro" de mai à octobre 2003 (pour l'étude de intermittent), des discours prononcés par Chirac, Madelin, et Le Pen de 1997 à 2004 (pour l'étude de libéral(e) et libéralisme) et le corpus des oeuvres de Balzac et de Stendhal fourni par Frantext (pour l'étude de libéral). Le corpus est défini comme un ensemble de propositions énoncées, à la fois observatoire pour l'analyse des objets discursifs, et entité dynamique. Notre démarche s'inscrit dans la linguistique du sens commun (Sarfati) : l'inscription de la doxa dans la langue est postulée relativement à l'organisation d'un système du sens commun lui-même régi par un dispositif de topoï. La relation entre le système du sens commun et l'apparition de formes linguistiques (ellipses, catégories grammaticales) permet d'étayer l'hypothèse d'un dispositif antérieur à la prise de parole, caractérisable aussi par le choix opéré lors de la mise en expression au cours du processus énonciatif. Cherchant à saisir les processus sémiotiques à l'oeuvre dans l'activité langagière, la phénoménologie permet d'envisager le passage de l'analyse des énoncés à celle de l'expérience. L'invite à se doter d'un niveau de saisie proprement linguistique nous fait rejoindre la "Théorie des sémantiques (Cadiot et Visetti), dans laquelle la constitution d'une forme sémantique peut être saisie lors de phases appelées motifs, profils, et thèmes. Nous substituons le concept de topos à celui de thème : les topoï constituent l'aboutissement des dynamiques sémantiques, et sont par conséquent linguistiquement motivés, et profilés en discours. La performativité propre à une énonciation est intégrée à la dynamique elle-même, et contribue au travail argumentatif des unités : elle est décrite comme catalyseur dans la constitution d'une forme sémantique (agissant à la fois au niveau des motifs avec les dimensions institutionnelles et énonciatives, et au niveau des profils avec les formes porteuses de force illocutoire). Nous montrons que les phases de saisie du sens sont redistribuées selon la tripartition canon-vulgate-doxa : nous relevons les apports de la démarche discursive dans la constitution de formes sémantiques, grâce au phénomène d'anticipation lexicale. Les motifs constituent à la fois une zone de stabilité, mais aussi d'instabilité, à l'intérieur des Formations Discursives. Les dimensions discursives du corpus induisent une anticipation des motifs vers ce que nous appelons des motifs "insérés" : ils permettent de saisir une généricité du sens propre à un corpus donné. Ils se situent donc sur la voie des opérations de profilages, constituant une zone de stabilisation pré-syntaxique, qui contraint en particulier la mise en syntagme. Les profilages, au sein de leur dynamique de constitution en corpus, qui prend en compte les dimensions discursives, génériques et argumentatives, tendent à devenir doxiques (selon les contraintes plus ou moins prégnantes de ces dimensions), permettant ensuite la construction de topoï par thématisation
Nous définissons le concept d'objet discursif, analysé dans trois corpus (médiatique, littéraire et politique). Le corpus est défini comme un ensemble de propositions énoncées, à la fois observatoire pour l'analyse et entité dynamique. Selon la linguistique du sens commun (Sarfati), l'inscription de la doxa dans la langue est postulée relativement à l'organisation d'un système du sens commun lui-même régi par un dispositif de topoï. La relation entre le système du sens commun et l'apparition de formes linguistiques permet d'étayer l'hypothèse d'un dispositif antétieur à la prise de parole caractérisable également par le choix opéré lors de la mise en expression. La phénoménologie permet de s'intéresser aux processus de sémiotisation : au niveau linguistique, la "Théorie des sémanitques (Cadiot et Visetti), envisage la saisie d'une forme sémantique en motifs, profils, et thèmes. Nous substituons le concept de topos à celui de thème : les topoï constituent l'aboutissement des dynamiques sémantiques, et sont par conséquent linguistiquement motivés et profilés en discours. La performativité est intégrée à la dynamique (elle est décrite comme catalyseur dans la constitution d'une forme sémantique). Les phases de saisie du sens sont redistribuées selon la tripartition canon-vulgate-doxa : nous relevons les apports de la démarche discursive grâce à l'anticipation lexicale. Les motifs insérés permettent de saisir une généricité du sens propre à un corpus donné, ou à une Formation Discursive. Sur la voie des profilages, ils constituent une zone de stabilisation pré-syntaxique, qui contraint la mise en syntagme. Les profilages doxiques permettant ensuite la construction de topoï par thématisation
We define this research the concept of discursive object, analyzrd in three corpora (media, literature, and politics). Corpus is defined as a collection of "uttered propositions", considered both as an observatory for analysis, and as a dynamic entity. According to the linguistics of common sense (Sarfati), the inscription of doxa in language is postulated in connection with the organization of a system of common sense, wich is governed by a topoï-based device. The analysis of linguistic forms (ellipses, grammatical categories) makes the link between this system and the choices operated during enunciation. Phenomenology underlines the processes of semiotisation : at the linguistic level, the Theory of semantic forms (Cadiot and Visetti) studies the construction of semantic forms along three dimensions of meaning, named motives, profiles, and themes. We substitute themes for the concept of topos : topoï are linguistically motivated, and profiled in discourse. Performativity is integrated into the dynamic movement itself, and contributes to the argumentative work of the units (it is described as a catalyst in the constitution of a semantic form). We show that these phases can be evaluated according to the tripartition "canon-vulgate-doxa" : we raise the contributions of the discursive levels into the constitution of a semantic form, thanks to the phenomenon of lexical anticipation. What we call "intserted motives" reveals the genericity of specific corpora, or of Discursive Formations. In the course of "profiling", they constitute a pre-syntactic zone of stabilization. The "doxic profiles" finally permit the construction of topoï by thematisation
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Books on the topic "Journalists as artists"

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Dye, Kitty. Meet George Winter: Pioneer artist, journalist, entrepreneur. Port Clinton, Ohio: LeClere Pub. Co., 2001.

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Hackett, Mary. William "Bill" Walton: A charmed life. Boston: Branden Books, 2013.

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Quiroga, Adalberto Arturo Madero. Alfonso Reyes Aurrecoechea, el hombre. Monterrey, N.L: Casa Editorial Regiomonte Reinero, 1992.

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CorpoOtto: Scelte di carattere : giornali, giornalisti, antiche storie e altri incontri scritti e disegnati. Roma: Ponte Sisto, 2009.

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Tüm zamanların zamansız üç kadını. 2nd ed. Taksim, İstanbul: NoktaKitap, 2005.

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Invidia. Milano: Bompiani, 2006.

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Alastair, McEwen, ed. Envy. London: Pushkin, 2007.

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Elkann, Alain. Invidia. Milano: Bompiani, 2006.

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Rattiner, Dan. In the Hamptons too: Further encounters with farmers, fishermen, artists, billionaires, and celebrities. Albany: Excelsior Editions/State University of New York Press, 2010.

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Rattiner, Dan. In the Hamptons: My fifty years with farmers, fishermen, artists, billionaires, and celebrities. New York: Harmony Books, 2008.

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Book chapters on the topic "Journalists as artists"

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Veira-González, Xaquín, and Alberto Cairo. "From Artisans to Engineers." In Information Visualization in The Era of Innovative Journalism, 134–53. London; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367809638-10.

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Chandel, Amar. "Word Artist at Work: Subeditor's Role." In A Handbook of Journalism: Media in the Information Age, 257–60. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications, Inc., 2018. http://dx.doi.org/10.4135/9789353280277.n25.

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Mcnair, Brian. "Artists." In Journalists in Film, 114–32. Edinburgh University Press, 2009. http://dx.doi.org/10.3366/edinburgh/9780748634460.003.0008.

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Goldman, Shalom. "American Journalists, Artists, and Adventurers and the Zionist Movement (1917–1947)." In Starstruck in the Promised Land, 31–54. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652412.003.0003.

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Beginning with the “reconquest of Jerusalem” of the British over the Turks, this chapter details the transition to British rule and the seeds sown for future conflict. The Balfour Declaration served as a clarion call both to Jews and American Evangelicals, for whom the obsession with a Jewish return to Jerusalem resounded with Biblical import. The chapter also details opponents of Zionism, such as Joseph P. Kennedy, appointed by Franklin Delano Roosevelt as ambassador to Great Britain during the transition to British rule in Palestine. Further, it accounts for the two main branches of political belief in the Yishuv, Palestine’s Jewish community: Labor Zionism, embodied by David Ben Gurion, and Revisionism, embodied by Vladimir Jabotinsky. Finally, the chapter explores Ghandi’s relationship to Israel, the rise of the Nazi state vis a vis British Palestine, and American pro-Israel activism and fundraising in New York City and on Broadway, by such champions as Ben Hecht.
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Saper, Craig J. "Invent(st)ory: The Contributors and Their Readies." In Readies for Bob Brown's Machine, 211–39. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455053.003.0002.

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A detailed discussion of each contributor and their readies introducing new details about some of the most obscure contributors and new insights from some of the better known contributors. Taken as a whole, this chapter is a history of modernism and modernist writers, artists, journalists, poets, radicals and others.
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"Syrian Writers, Artists and Journalists Speak Out Against US and Russian Policy." In Occidentalism, Conspiracy and Taboo, 125–32. Gerlach Press, 2019. http://dx.doi.org/10.2307/j.ctvq4bzhx.19.

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Erdos, David. "Introduction." In European Data Protection Regulation, Journalism, and Traditional Publishers, 3–18. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841982.003.0001.

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This chapter introduces the tension between European data protection regulation and freedom of expression, including the heightened form this tension assumes as regards the activity of professional journalists and other traditional publishers. These actors not only play a central role in public discourse but also often possess a disproportionate ability to gather, process, and disseminate personal data. It is therefore important both to examine how these interactions have played out at different times, in different places and contexts, and to consider how they might best evolve across the European Economic Area (EEA) under the new European Union (EU) General Data Protection Regulation (GDPR). The concept of traditional publishers is often equated to professional journalists and the institutional media but should also encompass professional artists and writers including academics. The chapter delineates the scope of this empirical and normative study, explores the key concepts deployed, and elucidates the methodological approach adopted.
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Teukolsky, Rachel. "Realism." In Picture World, 84–142. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0003.

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While “realism” is usually studied in novels, paintings, or photography, Chapter 2 analyzes realism in the illustrated newspaper, newly invented in 1842. The chapter focuses on reportage of the Crimean War (1853–6), often dubbed the first “media war”: this was the first international conflict to be documented by independent war correspondents, on-the-spot sketch artists, and photojournalists. The chapter argues that the war’s disastrous turns prompted a representational crisis demanding a new visual vocabulary, one that pictorial journalists addressed using four kinds of reality effects. These are designated as the descriptive, the authentic, the everyday, and the plausible, and they are tracked through the Crimean War’s distinctive newspaper imagery, including the trenches, the amputee, the nurse, and “the Valley of Death.” Alongside new journalistic norms, the 1850s also saw the first use of “realism” as a term of literary criticism, reflecting the spread of realist paradigms across media and genres.
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Detloff, Madelyn, and Brenda Helt. "Introduction." In Queer Bloomsbury. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401692.003.0001.

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This introduction explains how and why the essays of Queer Bloomsbury combine the Bloomsbury Group’s personal lives with aspects routinely elevated to a higher status – art, politics, philosophy – understanding these as inseparable aspects of the same phenomenon. Contributors to this volume neither shrink from nor capitalise on sexual details, but are primarily interested in how group members’ queer perspectives enabled their thinking and its results. Sexual intimacy between friends of either gender was not only accepted, but understood as a rich source of intellectual, artistic, and philosophical affinity. Contemporary philosophical and political theory has returned to the insights cultivated by the Bloomsbury Group, if that return is characterised as a holistic way of living sexually, intellectually, artistically, ethically, and intimately, rather than in parts. Considering Bloomsbury as an interdisciplinary field – inhabited by artists, authors, philosophers, economists, political activists, art critics, journalists, and biographers – enriches our understanding of early twentieth-century cultures.
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Como, James. "8. The weight of glory." In C. S. Lewis: A Very Short Introduction, 108–16. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198828242.003.0008.

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‘The weight of glory’ discusses the varying responses to C. S. Lewis. His critics have often railed against him. Even some of his Christian colleagues found his apologetic militancy unpalatable. Conversely, distinguished scholars have written highly of him and praised his work, literary artists and journalists have cited him for his authority and breadth, and ordinary readers have found still other sources of his appeal. Lewis takes the reader from the possible to the plausible to the intensely pleasurable to the promising and thence to the glories of hope. The last book Lewis saw through the press was Letters to Malcolm, Chiefly on Prayer, a meditation on prayer and praying.
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Conference papers on the topic "Journalists as artists"

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Ngo Thi Thanh, Quy, and Minh Nguyen Thi Hong. "Vietnamese Proverbs: Values Preserved in Modern Society." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-4.

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Vietnamese proverbs has created long-lasting values which are being passed on to the modern society with numerous passions. These values include humanistic values confirming the human position in life. They also comprise social values and human philosophy as well as aesthetic values. Therefore, typical proverbs of the Viet people which have beem transferred to the younger generations via literary works such as Việt điện u linh (A collection of Vietnamese misteries) in the 14th century, Lĩnh Nam chích quái (A selection of the Viet extraordinary stories) in the 15th century are still being passed on until the present days. With the foundation of traditional Vietnamese proverbs, modern proverbs have undergone profound changes as seen in modern life through different forms of media including printed and audiovisual media as well as internet. It is obvious that traditional proverbs has regenerated in the new appearance. Proverbs are reproduced in modern literary works. Proverbs are also recreated and transformed in prose, poetry and drama. The movement and development of proverbs in our modern society confirm their deep values of the traditional culture. Writers, journalists and artists of other art forms have not only received the art tradition of word use of the ancestors but more importantly they have inherited the culural environment, humanistic values and life philosophies in order to transfer to the next generations. Henceforth, in the modern society Vietnamese proverbs are not obliterated but remain their vitality with different forms and have been of the Vietnamese people’s favourite.
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Savchenko, T. I., and E. G. Abramtseva. "ARTISTIC AND PUBLICISTIC FUNCTIONAL SPEECH STYLES AS AN ELEMENT OF MODERN LINGUISTICS." In Люди речисты - 2021. Ulyanovsk State Pedagogical University named after I. N. Ulyanov, 2021. http://dx.doi.org/10.33065/978-5-907216-49-5-2021-335-338.

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The article shows that the specificity of artistic speech in comparison with journalistic speech is due to the structure of speech. The main feature of the structure of artistic speech is the discrepancy between the producer of speech (the author) and its subject. The presence of a narrator is a prerequisite for artistic speech. The article analyzes the nature of the speech representation of the narrator in publicistic and artistic speech.
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Crone, Vincent C. A., and Floris Müller. "The Polysemic Documentary: Authenticity, Artistry and Change. Documentary filmmakers and their strategic use of contradicting repertoires." In Annual International Conference on Journalism & Mass Communications. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2301-3729_jmcomm12.106.

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Milovanovic-Bertram, Smilja. "Lina Bo Bardi: Evolution of Cultural Displacement." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.61.

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In recent years much has been written and exhibited regarding Lina Bo Bardi, the Italian/Brazilian architect (1914-1992). This paper aims to look at the phenomenon of cultural displacement and the dissemination of her design thinking as a major female figure in a male dominated profession. This investigation is distinguished from others in that it addresses the importance of regional and cultural influences that formed Lina’s design philosophy in her early years in Italy. Cultural displacement has long played a significant role in the creative process for artists. Often major innovators in literature are immigrants as elements of strangeness, distance, and alienation all contribute to their creativity. The premise is that critical distance is paramount for reflection as a change of context unfolds unforeseen possibilities. Displacement was a consistent element throughout the trajectory of Lina’s architectural career as she moved from Rome to Milan, from Milan to Sao Paolo from Sao Paolo to Bahia and back to Sao Paolo. Viewing this form of detachment and dislocation permits insight into her career and body of work as displacement mediates the paradoxical relationship between time and space. The paper will examine three distinct periods in her career. The first period is set in Rome, where she assimilated the city, showed artistic aptitude and spent her university years studying under Piacentiniand Giovannoni. The second period is set in Milan, where she developed impressive editorial and layout skills in publications work with Gio Ponti and BrunoZevi. and was influenced by Antonio Gramsci’s writings. The third is set in Brazil, where she builds and evolves as an architect via what she absorbed in Rome, wrote in Milan, and finally realized in Brazil. After Italy’s collapse in WWII Lina writes, draws, edits, critiques the plight of the Italians in need of better housing and circumstances. She leaves Milan with her new husband, PM Bardi (a prominent journalist, art critic) for Brazil. In Sao Paolo she absorbs the optimism and positive direction of Brazil. Her early design work in Brazil echoes European modernism, but when she travels to Bahia and becomes aware of the social conditions, she draws from her Italian experiences of and ideas of transforming lives through craft. Her architectural projects become directly responsive to the culture of Bahia and the politics of poverty. Lina’s design thinking evolves and parallels George Kubler’s study, The Shape of Time, and the history of man-made objects by bridging the divide between art and material culture.
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Reports on the topic "Journalists as artists"

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Yablonskyy, Maxym. «NEW DAYS» WEEKLY AND PETRO VOLYNIAK, PUBLISHER AND AUTHOR. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11058.

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In the article on the material of the Salzburg weekly «New Days» (1945–1947) various spheres of activity of Peter Volyniak are presented. It is noted that this edition was a business card of the publishing house of the same name and had a history of continuation: in Toronto Petro Volyniak restored the publishing house of the same name and continued the publication in the format of the universal monthly «New Days» (1950–1969). The article also presents periodicals («Latest News», «New Days», «Timpani», «Our Way») and literary, artistic and scientific collection «Steering Wheel», which were published in the Salzburg publishing house of Peter Volyniak «New Days». The purpose of the publication is to trace the path of Petro Volyniak from a writer to a literary critic, journalist and publisher. This trend is reproduced in chronological order. Peter Volyniak as a writer is informed in the article «Literary Evening of P. Volyniak» (author – M. Ch-ka). O. Satsyuk’s literary-critical article is devoted to the coverage of ideological and artistic aspects of Petro Volyniak’s collection «The Earth Calls» (Salzburg, 1947). Petro Volyniak as a literary critic is presented in an article devoted to a collection of literary tales by A. Kolomiyets (Salzburg, 1946), which was published by «New Days». Petro Volyniak as a journalist presents the essay «This is our song…». With the help of content analysis it was observed that the text is divided into two parts: the first contains the author’s reflections on the Ukrainian song, its role in the life of the Ukrainian people; in the second, main, Peter Okopny’s activity abroad is presented. The publisher Petro Volyniak in 1947 in a separate publication of the February issue of the weekly summarizes the third year of activity, providing statistics on the publication of periodicals, books, postcards, calendars, various small format materials. The analyzed material demonstrated the experience of combining creative work and commercial activity.
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