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1
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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Leszczuk-Fiedziukiewicz, Anna. "Tabloidyzacja bluźnierstwa. Strategie medialne w debacie publicznej o granicach wolności artystycznej i obrazie uczuć religijnych." Studia Prawnoustrojowe, no. 43 (October 19, 2019): 217–37. http://dx.doi.org/10.31648/sp.4625.
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“Pop-cultural profanities” that are described in the article cause social and criminological consequences. They inform about cultural norms and point to the problem of freedom of expression in democratic societies as well as the subtlety of meanings of religious symbols used by artists in theatreperformances. This issue has a broader social context. On the one hand, there is growing secularization and phenomenon of “privatization of religion”in Europe. On the other hand, the social movements are grounded their cultural identity on religion. The polarization of these two perspectives i easily noticed in the media content. The more shocking artists are, the more innovative Christians reaction is. Outrage usually takes the form of street protests and demonstrations, occupying theatres and public places. Many ases end with lawsuits and debates about the boundaries of art. The content of this article are the media narratives used by professional and amateur journalists in the public debate on the plays of Golgota Picnic (2014) and Klątwa (2017).
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Marcus, Sharon. "How to Talk about Books You Have Read." PMLA/Publications of the Modern Language Association of America 130, no. 2 (March 2015): 474–80. http://dx.doi.org/10.1632/pmla.2015.130.2.474.
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I don't do much public writing, but each month I persuade others to do it in my role as the fiction editor in chief of public Books, a twice-monthly online review that I cofounded with Caitlin Zaloom in 2012. On the first and fifteenth of each month, Public Books publishes six to eight essays about books, nonprint works, the media, the arts, and ideas, written mostly by academics but also by journalists, novelists, activists, and artists. In addition to traditional reviews, we publish roundtables, interviews, visual essays, and Public Picks, our annual lists of best books and films.
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Pitman, Alexandra. "Romantic suicide." British Journal of Psychiatry 207, no. 2 (August 2015): 122. http://dx.doi.org/10.1192/bjp.bp.114.162370.
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The concept of ‘romantic suicide’ emerged in the 1770s following the suicide of the teenage English poet Thomas Chatterton, memorialised in Goethe's 1774 novel in the character of young Werther. Eighteenth-century authors embellished these men as romantic outcasts, triumphing over death through fearless individualism to achieve immortality in heaven. Such myths still persist today, exemplified in journalists' responses to the suicides of artists such as Kitaj, Kirchner, Rothko and Van Gogh. Glorifying their deaths by wreathing them in martyrdom is a dangerous practice. Awareness of the damage wreaked by propagation of these myths is the starting point for challenging them.
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Lazzeretti, Cecilia, and Marina Bondi. "‘A hypnotic viewing experience’. promotional features in the language of exhibition press announcements." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 22, no. 4 (December 1, 2012): 567–89. http://dx.doi.org/10.1075/prag.22.4.02laz.
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Museums have become fully active cultural agents, pursuing educational aims but also trying to attract the largest number of visitors. Exhibition press announcements (EPAs) issued by museums reflect this tendency and address journalists as if they were ‘customers’ in a very competitive market. Building on Bhatia’s work on promotional genres (1993, 2004) and recent corpus-based studies devoted to press releases (Catenaccio 2008; Lindholm 2008; McLaren and Gurâu 2005), this paper investigates lexico-grammatical forms typical of EPAs with the aim to demonstrate that they carry a strong promotional intent and reflect the value-system of the professional communities involved, i.e. art journalists and museum professionals. The study was carried out on a corpus of contemporary Anglo-American EPAs and shows the recurrent use of linguistic features that express positive evaluation of the exhibition, especially with regard to the semantic areas of novelty, quality, extensiveness and exclusiveness. Emotional linguistic features are also used in order to create ‘news value’ and excite curiosity around the artists and their artworks.
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Brooks, Jeffrey. "Socialist Realism in Pravda: Read All about It!" Slavic Review 53, no. 4 (1994): 973–91. http://dx.doi.org/10.2307/2500842.
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The adoption of "socialist realism" by the first All Union Congress of Soviet Writers (17 August-1 September 1934) was a seminal event in Russian cultural history on a par with Peter's embassy to the west or Catherine's Instruction to her legislative commission. Henceforth literature and the arts lost some of their public identification with civil society and gained a formal place in the official culture of the Soviet era and in the overbearing discourse of leading newspapers such as Pravda. Writers and artists had to accept the metamorphosis of public discourse itself, as editors and journalists plunged into a kind of hyperreality in the face of the disjunction between the promises and results of Stalinist policies.
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Pitman, Alexandra, and Fiona Stevenson. "Suicide Reporting Within British Newspapers’ Arts Coverage." Crisis 36, no. 1 (January 1, 2015): 13–20. http://dx.doi.org/10.1027/0227-5910/a000294.
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Background: Many suicide prevention strategies promote media guidelines on suicide reporting, given evidence that irresponsible reporting of suicide can influence imitative suicidal behavior. Due to limited resources, monitoring of guideline adherence has tended to focus on news outputs, with a risk of neglecting other journalistic content. Aims: To determine whether British newspapers’ arts coverage adheres to media guidelines on suicide reporting. Method: Purposive sampling was used to capture current national practice on suicide reporting within newspapers’ arts coverage of exhibitions. Recent major UK exhibitions by artists who had died by suicide were identified: Kirchner, Rothko, Gorky, and Van Gogh. Content analysis of all UK national newspaper coverage of these exhibitions was performed to measure the articles’ adherence to widely accepted media guidelines. Results: In all, 68 newspaper reviews satisfied inclusion criteria, with 100% failing to show full adherence to media guidelines: 21% used inappropriate language; 38% provided explicit descriptions of the suicide; 7% employed simplistic explanations for suicide triggers; 27% romanticized the suicide; and 100% omitted information on sources of support. Conclusion: British newspapers’ arts coverage of exhibitions deviates considerably from media guidelines on the reporting of suicide. The findings suggest scope to improve journalists’ awareness of the importance of this component of suicide prevention strategies.
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Simmons, Cynthia. "Women Engaged/Engaged Art in Postwar Bosnia: Reconciliation, Recovery, and Civil Society." Carl Beck Papers in Russian and East European Studies, no. 2005 (January 1, 2010): 51. http://dx.doi.org/10.5195/cbp.2010.150.
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In postwar and post-Communist Bosnia-Herzegovina, civil society has been developing along with a signifi cant recasting of women’s roles in public life. Researchers have equated civil society since the war in Bosnia almost exclusively with non-governmental organizations (NGOs). Certainly this has been the most infl uential sphere of both women’s work and of public activities contributing to a nascent civil society. Researchers have given insuffi cient attention, however, to the contributions of women in the burgeoning free press in Bosnia-Herzegovina, as well as to the increasing social engagement and infl uence of women artists and arts administrators. The contribution of the arts to civil society receives little attention, but women writers, artists, and arts administrators are addressing in their work and projects issues of justice, reconciliation, and human rights. Some who began their creative life in Yugoslavia, and who formerly sought independence from ideology in pure aestheticism, now embrace political engagement. They employ the potentially “free zone” of art to encourage the communication and mutual responsibility between the government and citizenry that underlies a civil society. Just as women have taken on new public roles since the war—as directors in non-governmental organizations and as editors and journalists in the independent press—women artists are addressing specifi c postwar themes, and women arts administrators are promoting publications, creating exhibitions, and organizing events that draw attention to issues that are critical to the success of Bosnia’s fl edgling democracy.
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Vlăduţescu, Ştefan. "Actants of Manipulative Communication." International Letters of Social and Humanistic Sciences 40 (September 2014): 41–47. http://dx.doi.org/10.18052/www.scipress.com/ilshs.40.41.
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The study starts from assumption that together with disinfomation, intoxication, and propaganda, the manipulation is a form of persuasion, a form of persuasive communication. The manipulation is a communicative action. By the way of meta-analytical method, we emphasize some ideas. The royal way of promoting the decisive interests is manipulation-, often accompanied by constraints and violence. The world is divided into amateur manipulators and professional manipulators. Professionals are those whose job is exactly to get something from the others. The action of manipulation is not an activity performed on inspiration, randomly and by ear. Manipulation is a structured, organised and planned persuasive intervention. As actants of manipulative communication are retained journalists, priests, businessmen, sellers, scholars, teachers, artists, writers, notabilities.
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Pastushkova, N. A. "Russians in Spain. Book 2. The 20th century. The Beginning." Voprosy literatury, no. 5 (November 9, 2019): 292–95. http://dx.doi.org/10.31425/0042-8795-2019-5-292-295.
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Second in the anthology, the volume offers a rich collection of materials, including descriptions of 1900s–1930s Spain by Russian travellers. Artists, musicians, journalists and people of the theatre, all of them share their expectations, recollections and impressions from visits to this Southern country. A poeticized image clashes with reality, which often stands in stark contrast to the idyllic picture. Spain beckons, mesmerizes, and reveals its luxurious self. The country is wrought with controversy: the archaic lifestyle in the provinces and the dizzying pace of life in big cities; its amiable, but very apathetic people; its glorious past and almost desperate present. Russians travel to Spain to experience its natural beauty and splendid cultural heritage. Many of them revelled in visiting the Prado Museum. Numerous performers would come to Spain to tour, spreading knowledge of Russian music, ballet and drama among local audiences.
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SYMES, COLIN. "From Tomorrow’s Eve to High Fidelity: novel responses to the gramophone in twentieth century literature." Popular Music 24, no. 2 (May 2005): 193–206. http://dx.doi.org/10.1017/s0261143005000462.
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Music and literature have long-standing links. Music has drawn on literature, and vice versa. The advent of the phonograph transformed the condition of music in myriad ways. It made music more accessible and more portable. It also created a new industry of music makers: record producers and engineers, recording artists and record journalists. In this paper I examine the literary responses to the phonograph, and argue that novelists such as Jules Verne, Sinclair Lewis, Bram Stoker and Thomas Mann were among the first to respond to the phonograph, helping to demystify many of the fears that accompanied a machine that was able to preserve sound. I suggest that novelists and short stories, well in advance of phonographic historians and analysts, identified the ways in which records and recordings were incorporated into the day-to-day lives of individuals.
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Gronow, Pekka, and Jānis Daugavietis. "Pie laika … Now is the time. The singing revolution on Latvian radio and television." Popular Music 39, no. 2 (May 2020): 270–93. http://dx.doi.org/10.1017/s0261143020000380.
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AbstractIn the Soviet Union, song competitions had an important role in presenting new artists and songs. The Mikrofona aptauja contest of Latvian radio (1968–1994) was the main forum for new Latvian pop music. It had a reputation for expressing nationalist feelings within the limits of Soviet censorship. In 1988, with the rise of new political movements in the Soviet Union, the competition became a venue for the Latvian independence movement. The winning song of 1988 was a demand for ‘freedom to the fatherland’. The competition also played a part in the rehabilitation of pre-war popular music which had been forbidden in Soviet Latvia. The paper discusses the role of journalists, politicians and songwriters in this process. After the privatisation of the economy, the song competition was taken over by private entrepreneurs, as public interest in political songs waned.
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SnitkuvienĖ, Aldona. "History of some antiquities from the collection of Michał Tyszkiewicz in Gródek." Światowit 57 (December 17, 2019): 259–63. http://dx.doi.org/10.5604/01.3001.0013.6856.
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The palace in Gródek, one of the palaces built by the Tyszkiewicz family in Lithuania, was located in present-day Belarus, a dozen kilometres from Minsk. The founder of the building was Count Michał Tyszkiewicz. Built in 1855, the palace remained in the hands of the family until 1918. Among the antique pieces of furniture documented on photographs and paintings are a table and a mirror, today kept in Lithuanian museums. The mirror, decorated with tusks of wild pigs, was offered to King Augustus II on the occasion of his coronation in 1697. In the middle of the 19th century it was purchased by Michał Tyszkiewicz, who then added it to the furnishings of a tent offered as a resting place for Tsar Alexander during a hunting trip organised by Michał Tyszkiewicz and his brother in 1858 near Vilnius. This event was recorded by journalists and artists on some lithographs.
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Kargar, Simin, and Adrian Rauchfleisch. "State-aligned trolling in Iran and the double-edged affordances of Instagram." New Media & Society 21, no. 7 (January 24, 2019): 1506–27. http://dx.doi.org/10.1177/1461444818825133.
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Online harassment is increasingly applied as a form of information control to curb free speech and exert power in online public spheres. In recent years, states have appeared to be particularly invested in weaponizing information against dissidents in an attempt at dominating social and political discourses. Reports by prominent human rights institutions, as well as anecdotal evidence, indicate that Iran remains among the states with a track record of such actions. The scope of targeted cyber abuse varies by case. This study investigates the size and perpetrators of online violence, harassment, and abuse against critical members of the Iranian diaspora, including journalists, civil society activists, and artists, among many others. This study substantiates findings of qualitative interviews with a quantitative study of Instagram accounts of related individuals and explores the patterns and communities involved in disseminating hate speech in an attempt at manipulating public opinion and suppressing voices of dissidents.
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Coleman, Kwami. "Free Jazz and the “New Thing”." Journal of Musicology 38, no. 3 (2021): 261–95. http://dx.doi.org/10.1525/jm.2021.38.3.261.
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Ornette Coleman’s Free Jazz was at the center of controversy in early 1960s music journalism. Released in 1961, the album contains a single thirty-seven-minute performance that is abstract and opaque. Its presumed cacophony and lack of order made Free Jazz emblematic of the “new thing,” the moniker journalists used to describe jazz’s emergent avant-garde, and links were drawn between the album’s sound and the supposed anti-traditionalism and radical (racial) politics of its artists and their supporters. This article does three things. It examines prominent reportage surrounding the album and the “new thing,” outlining the analytical shortfalls that helped to promulgate common misunderstandings about the music. It presents a new analytical framework for understanding Free Jazz, and it explains how the performance was organized and executed by exploring the textural provenance of its abstraction: heterophony. Heterophony, a term commonly used in ethnomusicology but with various shades of meaning, is theorized here as an opaque, decentralized musical texture. It opens up new epistemological terrain in the context of experimental improvised music by affording multiple simultaneous subjectivities (i.e., different sonified identities), interpolating the listener into a dynamic and constantly shifting sonic mesh. The experiment that was Free Jazz, I argue, is one of collective musical agency, in which the opacity of that sonic mesh—woven by the musicians in coordinated action—subverts traditional expectations of clarity, cohesion, and order, beckoning the listener to hear more openly, or more “freely.”
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Valentinova, Olga. "Word Image as a Cultural Sign in Language, art and Intellectual Journalism (on «Ontology of the Poetic Word Art and Ostrannenye» by M.L. Novikova)." Theoretical and Practical Issues of Journalism 9, no. 2 (May 27, 2020): 379–86. http://dx.doi.org/10.17150/2308-6203.2020.9(2).379-386.
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With the development of information technology, the influence of mass-media on the active processes in the language and society is steadily increasing. In this context, the problem of forming high professional culture of journalistic community, which involves working knowledge of information culture, linguistic culture and creative potential of the native language, is essential. Unlike an artist who does not invent images, but thinks in them, a journalist uses language imagery rationally, but not only a means of persuasion aimed mainly at manipulation. Intelligent journalism uses the image as an economical tool of expressing a complex idea, especially when logical thinking is ineffective. The monograph «Ontology of the Poetic Word Art and Ostrannenye» by M.L. Novikova explores imagery as a universal creative principle that enables one to see essential things, previously unnoticed, while conceptualizing the reality. This principle of creation, which features one mechanism, but different functions, works in the language, in the Arts - in oral lore, plastic and synthetic arts, and in intellectual journalism. The book will be of great interest for journalists. It allows readers to see the mechanism of forming the imagery and evaluate and master the creative word as both a tool for constructing new meanings that de-automatize perception, and a conductor of public attitudes, the latter being a special form of peoples interaction, a conceptual space that reflects the world view of a person and society in a particular period of time.
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Oosterman, Allison. "‘The silence of the Sphinx’: The delay in organising media coverage of World War II." Pacific Journalism Review 20, no. 2 (December 31, 2014): 187. http://dx.doi.org/10.24135/pjr.v20i2.173.
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None of those New Zealand men who served as official war correspondents in World War II are alive today to tell their stories. It is left to the media historian to try and piece together their lives and actions, always regretting that research had not started sooner. Sadly there is more information available about World War I and the life and actions of Malcolm Ross, the country’s first official war correspondent, than there is about New Zealand’s World War II correspondents. Nevertheless, remembering the work of these journalists is important, so this is a first attempt at chronicling the circumstances surrounding the appointment of the first of the official correspondents, John Herbert Hall and Robin Templeton Miller, for the 1939-45 conflict. The story of the appointment of men to cover the war, whether as press correspondents, photographers, artists or broadcasters, is one of ‘absurd delays’ which were not resolved until nearly two years of the war had passed.
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Pukelytė, Ina. "Front Theatre and Variety Theatre in Lithuania During World War II." Art History & Criticism 16, no. 1 (December 1, 2020): 95–104. http://dx.doi.org/10.2478/mik-2020-0006.
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SummaryThis article reveals how theatre on small stages functioned in Lithuania during World War II and what was its impact on different audiences. It discusses two topics: 1) specificities of the front theatre intended for German soldiers and their administration; 2) specificities of variety theatre intended to all kinds of audiences. Front theatres in the Third Reich were a well-structured and well-financed organisation that served not only German soldiers and army officials but was an attractive job place for artists. Shows were given in all the occupied territories and thus the morale of the German army was supposed to be maintained. Variety theatres, that is small stage performances, were dedicated to lower class audiences; these shows demanded no intellectual effort and were meant to entertain. Journalists, writing about this type of theatre, avoided to criticise it, because it nevertheless fulfilled its duty to stimulate citizens’ optimism and to make them more loyal to the Nazi government.
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Lebrun, Barbara. "Carte de Séjour: revisiting ‘Arabness’ and anti-racism in 1980s France." Popular Music 31, no. 3 (October 2012): 331–46. http://dx.doi.org/10.1017/s026114301200027x.
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AbstractThe French rock group Carte de Séjour rose to national fame in 1986 with their Charles Trenet cover ‘Douce France’, a North African-inflected song that provided an ironic commentary on the ties that bind Maghrebi immigrants and their descendants to France. Journalists and academics have hailed Carte de Séjour as the first example of an empoweredbeurmusic group in French popular culture, but their lack of extended success tells a different story. This article is the first full-length academic study to examine Carte de Séjour's exact contribution to French popular music and to the so-calledbeurand anti-racist movements of the 1980s. By questioning the common view regarding the ‘subversive’ power of French-Maghrebi artists, this article argues that Carte de Séjour's lack of success was due to their controversial representation of ‘Arabness’ in music and performance, their instrumentalisation by the Socialist Party, and their conflictual relationship with France's intellectual and political establishment at the time.
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Leurs, Koen, Irati Agirreazkuenaga, Kevin Smets, and Melis Mevsimler. "The politics and poetics of migrant narratives." European Journal of Cultural Studies 23, no. 5 (January 13, 2020): 679–97. http://dx.doi.org/10.1177/1367549419896367.
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Serving as the introduction to the special issue on ‘Migrant narratives’, this article proposes a multi-perspectival and multi-stakeholder analysis of how migration is narrated in the media in the last decade. This research agenda is developed by focussing on groups of actors that are commonly studied in isolation from each other: (1) migrants, (2) media professionals such as journalists and spokespersons from humanitarian organizations, (3) governments and corporations and (4) artists and activists. We take a relational approach to recognize how media power is articulated alongside a spectrum of more top-down and more bottom-up perspectives, through specific formats, genres and styles within and against larger frameworks of governmentality. Taken together, the poetics and politics of migrant narratives demand attention respectively for how stakeholders variously aesthetically present and politically represent migration. The opportunities, challenges, problems and commitments observed among the four groups of actors also provide the means to rethink our practice and responsibilities as media and migration scholars contributing to decentring media technologies and re-humanizing migrants.
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Wojdyło-Preisner, Monika, and Kamil Zawadzki. "Specificity Of Long-Term Unemployment Risk Among Creative Economy Workers." Comparative Economic Research. Central and Eastern Europe 18, no. 3 (September 25, 2015): 37–58. http://dx.doi.org/10.1515/cer-2015-0020.
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This paper investigates the determinants of long-term unemployment in Poland for workers in the creative economy. Over 2,100 unemployed artists, journalists, architects, designers, craftspeople and creative industry technicians registered in public employment agencies are examined to discover the relationship between the probability of long-term unemployment and basic socio-demographic variables, human capital characteristics, as well as type of the local labour market. The outcomes based on the sample of creative workers are compared to a study of almost 44,000 registered unemployed representing all professions. Results indicate that such characteristics as: male gender, age under 30, married, first unemployed registration within the last three years, extensive work experience, high qualifications and multi-skilling each considerably decrease the likelihood of being unemployed for more than 365 days, both among creative workers and among all unemployed. The strength of this influence, however, differs within these two groups, with some co-variates significantly affecting the likelihood of long-term unemployment in the general sample. For example health, having children, or a willingness to take any job all appear to be non-significant for creative workers.
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Satbai, T. Y., and K. M. Ilyassova. "The financial situation of creative unions of Kazakhstan in the post-war years." BULLETIN of L.N. Gumilyov Eurasian National University. HISTORICAL SCIENCES. PHILOSOPHY. RELIGION Series 130, no. 1 (2020): 64–74. http://dx.doi.org/10.32523/2616-7255-2020-130-1-64-74.
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The article discusses the socio-material situation of the artistic intelligentsia and creative unions of Kazakhstan in the post-war years. The most active of the creative unions was the Union of Writers of the country, which did not have their own premises, not to mention the rest of the creative associations. The building of the Writers ‘Union, consisting of five or six small rooms, housed five blocks: two magazines, a literary fund, a copyright office, and all departments of the Writers’ Union. Even in the fiftieth, this issue was acute on the agenda. And the Union of Composers did not even have such premises. The house of composers was built only in 1969. This circumstance was also characteristic of the Union of Architects, Filmmakers, Journalists and Artists. The difficult social and material situation of the artistic intelligentsia of Kazakhstan was due to the lack of independent publishing houses, their own printing houses and a fair assessment of the work of the artistic intelligentsia. And also, it is shown the role of other factors affecting the socio-material status of the artistic intelligentsia.
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Noguera, Hector. "The Parallel Chile: an Open Letter to Eugenio Barba." New Theatre Quarterly 6, no. 23 (August 1990): 261–65. http://dx.doi.org/10.1017/s0266464x00004565.
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On 11 September 1973 the Chilean armed forces, led by General Augusto Pinochet, overthrew the democratically elected Socialist–Communist coalition government of President Salvador Allende Gossens. The coup marked the beginning of severe repression against leftists, trade unionists, journalists, and artists, many of whom were exiled, killed, or merely ‘disappeared’ after being arrested. This letter focuses on the years following the coup: it was written almost one year before the plebiscite on 5 October 1988 when Chileans voted against Pinochet continuing in power as president for another eight years, preparing the way for the elections of December 1989. Despite these hopeful developments – and previous coverage of theatre under the dictatorship, by Catherine Boyle in NTQ 15 (1988) and Enzo Cozzi in NTQ 22 (1989) – we felt it important to publish this moving account by a Chilean actively involved in the struggle, written to Eugenio Barba following the UNESCO-sponsored meeting on Latin American theatre they both attended in Lima, Peru, in April 1987. Its author, Hector Noguera, is a professor in the Theatre Department of Santiago's Catholic University as well as director of the university's professional theatre company, a founding member of several independent groups where he continues to direct and act, and president of the International Theatre Institute in Chile.
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Flego, Clio. "Forensic Architecture: A New Photographic Language in a Factual Era." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 70–75. http://dx.doi.org/10.47659/m4.070.art.
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A group of visual activists, architects, software developers and archaeologists as well as a multicultural team composed of artists, investigative journalists and lawyers – an organic organization. Forensic Architecture ‘Investigative aesthetic’ is based on visual aggregation on data allowing viewers to enhance their perception-cognition of events by the integrated use of augmented photography. Their works have been presented in front of a court, but also exhibited at international shows all around the world. FA expanded use of photography, integrating in the urbanistic reconstruction of frames of any kind of multimedia information collected, consider it not simply as a medium, but as a proper tool for triggering critical reflections and political action. Forensic Architecture have mainly been investigating the area of conflicts with the aim to present counter- investigation on unclear circumstances, often underlining social constructs in the public forum. The particular role that FA plays, claiming social truth and assigning to photography the function to be a “civil act,” remarks its place in the history of war photography, and underlines the importance of also having a contra-culture in a post- industrial society, permeated by the presence of technology. Keywords: evidence, Forensic Architecture, forensic reconstruction of event, photography, truth-value
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Dovzhyk, Sasha. "Beardsley Men in Early Twentieth-Century Russia: Modernising Decadent Masculinity." Modernist Cultures 16, no. 2 (May 2021): 191–215. http://dx.doi.org/10.3366/mod.2021.0328.
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This article explores the reception of the Decadent artist Aubrey Beardsley (1872–1898) in Russia concentrating on new gendered meanings acquired by ‘Beardsleyism’ in modernist Russian culture. While the so-called ‘Beardsley Woman’ became a widely discussed literary construct and journalistic trope in Britain, the imagination of Russian artists and literati was captured by a ‘Beardsley Man’. Due to the circulation of the artist's portraits and descriptions by modernist periodicals such as Sergei Diaghilev's Mir iskusstva (1899–1904), a specific form of male (self-)representation emerged in the homophile art circles of St Petersburg and Moscow. Exploring this new urban Russian masculinity, I use the case studies of four men who were compared to Beardsley or used Beardsley as a model in their work and self-fashioning: artist Nikolai Feofilaktov, poet Georgii Ivanov, writers Mikhail Kuzmin and Iurii Iurkun.
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Monroy Zuluaga, Leonardo. "Entre el artista y el crítico: Basura de Héctor Abad Faciolince." LA PALABRA, no. 25 (September 3, 2014): 57. http://dx.doi.org/10.19053/01218530.2870.
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Este artículo interpreta la novela Basura de Héctor Abad Faciolince, enfocando el análisis en dos grandes personajes tipo: el artista y el crítico. La reflexión sobre el artista está basada especialmente en las tesis de Rafael Gutiérrez Girardot; en este sentido este artículo sugiere un diálogo entre Basura y la denominada "novela de artistas". El proceso de Davanzatti, el escritor dentro de la novela, desde su confianza en el arte a su fracaso en la vida es de esta forma explorado. Por otro lado, el crítico –un periodista que lee constantemente los productos de Davanzatti- es analizado en sus diferentes etapas: desde sus lecturas especializadas hasta el extraño interés por la vida de su vecino. Palabras clave: Basura, artista, crítico, novela colombiana. AbstractThis article interprets Basura, the novel written by Héctor Abad Faciolince, focuses on two main characters: the artist and the critic. The refl ection about the artist is specially based on the thesis of Rafael Gutiérrez Girardot; in that way, this article suggest a dialogue between Basura and the well known “artist novel”. The process of Davanzatti, the writer inside the novel, from confi dence on art to a failure in life is then explored. On the other hand, the critic –a journalist that constantly read the products of Davanzati- is analyzed in his different stages: from his specialized readings to a strange interest for the life of his neighbor. Key words: Basura, artist, critics, Colombian novel.
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Sadowski, Ryszard F. "„Religion and Ecology” – nowy paradygmat poznawczy." Studia Ecologiae et Bioethicae 7, no. 1 (June 30, 2009): 213–20. http://dx.doi.org/10.21697/seb.2009.7.1.14.
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Ecological Crisis is one of the most valid and actual issues of the 21st century. People became conscious of the danger for the whole life on our planet. Nowadays almost all are engaged in the issue: politicians, scientists, artists, community authorities, journalists, ordinary people and even religious leaders. Since the early 1980s scientists tried to involve religion in the ecological field because of the long-term experience of religions in changing ordinary people’s live style. It seems that without essential change of the live style we will not secure basic resources for the future generations. Significance of the situation recognized also theologians and religion scientists from many religious traditions who started scientific research on ecological crisis from their point of view. Mary Tucker and John Girm organized in Harvard University (1996-1998) series of twelve conferences on ecology and different religious traditions. As the outcome of the conferences they founded Forum on Religion and Ecology which became a great platform for exchanging ideas and starting cooperation for the research on the issue. In the late 1990s in some universities were started first lectures concerning religion and ecology. Now several American and European universities propose graduate, postgraduate and even doctoral programs on religion and ecology. It seems that the new scientific field – „religion and ecology” is shaping in order to help recognize the ecological crisis in a wider perspective.
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Herbst, Jan-Peter. "The formation of the West German power metal scene and the question of a ‘Teutonic’ sound." Metal Music Studies 5, no. 2 (June 1, 2019): 201–23. http://dx.doi.org/10.1386/mms.5.2.201_1.
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Despite being one of the oldest and largest metal nations, little research on metal music from Germany exists. This article focuses on the formation of the West German power metal scene. This subgenre was one of the first to be played in Germany, and bands such as Helloween, Running Wild, Gamma Ray and Blind Guardian produced a characteristic German sound that was to become famous worldwide. Based on interviews with music producers, musicians, journalists and academics, this study analyses stylistic musical features of (German) power metal, the artists’ influences and their different aspirations for international success. The findings suggest that a characteristic German power metal sound emerged in the 1980s and 1990s that might be called ‘Teutonic’. Germany was amongst the first countries to burst out countless successful power metal bands before the genre spread to other parts of the world. No standards existed in those days, and production resources were limited and individual. This restricted infrastructure – the unique characteristics of a few recording studios along with the small circle of professional musicians, engineers and producers – has shaped the classic German power metal sound. With standardization of production resources, new techniques and consequences of globalization such as internationally operating record labels, American culture in public media and increased English language skills, these national characteristics gradually diminished.
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D'Addezio, Giuliana. "10 years with planet Earth: the essence of primary school children's drawings." Geoscience Communication 3, no. 2 (December 16, 2020): 443–52. http://dx.doi.org/10.5194/gc-3-443-2020.
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Abstract. “10 years with planet Earth” is the title of the calendar created for primary schools, realized in 2016 by the Istituto Nazionale di Geofisica e Vulcanologia (INGV), the Italian Institute of Geophysical Research. The calendar is the outcome of a project created to support and complement 15 years of dissemination activities with schools. Each year for 10 years, we have printed calendars that represented different subjects related to a world in constant evolution. Each year we have launched a calendar competition among schools, asking children to send in drawings related to the chosen theme. The aim was to stimulate interest in learning about Earth sciences and the dynamics of planet Earth, as well as to raise awareness of water resources availability, the prevention of natural disasters and planet sustainability. We have received about 10 000 drawings from students of more than 400 schools. For each yearly competition, we have chosen the most significant drawings and we have included them in the calendar. The creators of the drawings were awarded by scientists, journalists, artists, science communicators and even by a government minister. In addition to the competition, the drawings reflect impressions and thoughts and illustrate the children's point of view. From the images, one can feel great sensitivity, consideration, responsiveness and respect for the planet as well as positive feelings towards science.
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Evetts, Julia. "Sociological Analysis of Professionalism: Past, Present and Future." Comparative Sociology 10, no. 1 (2011): 1–37. http://dx.doi.org/10.1163/156913310x522633.
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AbstractFor a long time, sociological analysis of professional work has differentiated professionalism as a special means of organizing work and controlling workers and in contrast to the hierarchical, bureaucratic and managerial controls of industrial and commercial organizations. But professional work is changing and being changed as increasingly professionals (such as doctors, nurses, teachers, social workers) now work in employing organizations; lawyers and accountants in large professional service firms (PSFs) and sometimes in international and commercial organizations; pharmacists in national (retailing) companies; and engineers, journalists, performing artists, the armed forces and police find occupational control of their work and discretionary decision-making increasingly difficult to sustain. This paper begins with a section on defining the field and clarifying concepts. This is followed by a second section on the concept of professionalism, its history and current developments. The third section discusses convergences between Anglo-American and Continental European systems of professions and the general, wider applicability of particular explanatory theories and analytical concepts in the field. Section four examines internationalizing processes affecting professions. Markets for professional services are increasingly international and professional regulation is now a matter for international professional federations as well as national and regional states. The final section provides summary and considers consequences for aspects of professionalism as an occupational value in the global world.
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Fodor, Gábor. "Hungarian Accounts from the Ottoman Fronts of the First World War." Archiv orientální 88, no. 3 (February 18, 2021): 473–92. http://dx.doi.org/10.47979/aror.j.88.3.473-492.
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Even though the annexation of Bosnia by the Austro-Hungarian Monarchy in 1908 raised the tension between the Monarchy and the Ottomans, Hungaro-Turkish political, economic, and cultural relations significantly improved from the beginning of the twentieth century until the end of the First World War. With the eruption of the Great War these friendly relations turned into a war alliance, where suddenly the battlefields became fields of joint effort. As a consequence, the outbreak of the war caused intensification of mutual visits and the arrival of Hungarian soldiers, journalists, and even artists and religious representatives in greater numbers in the Ottoman Empire.
In this paper the author mainly focuses on Hungarian accounts of different Ottoman fronts during the First World War, while not forgetting to put all these activities in the frame of the wartime alliance. War correspondents like Béla Landauer, István Dobay, and Jenő Heltai from different Hungarian journals, soldiers from the Austro-Hungarian Army like Dr Emil Vidéky and Dr László Király, the painter Géza Maróti, and even a military chaplain, Pál Schrotty left behind detailed memoirs of environments ranging from the picturesque Bay of Izmir to the desert of Palestine. These mostly unknown depictions reveal the cruelty of the war, research the healthcare system of the capital, and provide detailed accounts of the Berlin-Bagdad line and historical sites in the Empire, while also raising questions regarding the situation of Turkish women.
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Matyashevskaya, Angelina I. "Public Internet discussions on faith: The problem of persuasion effectiveness." International Journal “Speech Genres” 30, no. 2 (May 25, 2021): 154–62. http://dx.doi.org/10.18500/2311-0740-2021-2-30-154-162.
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Considering effective communication, linguists traditionally focus on the type of the addressee and the conditions of their interaction with the addresser. The paper analyzes some transformations of oral genres on the Internet, including public discussions on the role of Orthodox faith in modern life, the functions of the religion in the spiritual and moral education of the contemporary society and its relation to the scientific breakthroughs of the 21st century. The analysis of video materials shows that their main addressee is the youth audience. Thus, it determines the methods of argumentation chosen in public Internet communication. The YouTube program “I Don’t Believe in God: Talking to an Atheist” has guests of all ages and professions: clergy, scientists and popularizers of science, politicians, journalists, interpreters, doctors, artists, movie critics and bloggers. The speakers are obviously oriented toward the predicted audience, complicates philosophical issues are discussed using real-life examples and involving both logical and emotional arguments. The article also focuses on the relaxed and friendly atmosphere of the conversation. Notably, a lively exchange of opinion boosts the Internet users’ attention and encourages the multidimensional interpretation of the views. A variety of perspectives sparks the youth interest in the discussed issues, facilitates critical thinking, inspires viewers to search for the truth themselves and to form sound judgments on religious faith and atheism. The results of the research may be used to improve students’ public speaking skills.
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Deviana Fauziyyah Nabilah and Askurifa’I Baksin. "Kekerasan Seksual di Penjara Syariat Melalui @JurnalisKomik." Jurnal Riset Jurnalistik dan Media Digital 1, no. 1 (July 6, 2021): 13–17. http://dx.doi.org/10.29313/jrjmd.v1i1.48.
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Abstract. Today there are various new genres in the world of journalism, one of which is comic journalists who marry journalistic writing with comic illustrations. Like the report titled "Sexual Violence in Sharia Prison" that occurred in Langsa Aceh, through its comic @ journaliscomics conveys messages or signs contained in the picture, this indicates that a comic illustration contains many signs that have meaning, purpose, and purpose.Therefore the purpose of this research is to find out (1) the meaning of the denotation of the news content “Sexual Violence in Sharia Prison” which is packaged through comic journalism in Instagram @jurnaliskomik social media (2) the meaning of the connotation of news content “Sexual Violence in Sharia Prison” which is packaged through comic journalism on social media Instagram @ jurnaliskomik (3) knowing the myth in the news content “Sexual Violence in Sharia Prison” which is packaged through comic journalism on Instagram @jurnaliskomik social media.The study uses qualitative research methods with Roland Barthes's semiotic analysis approach through observation, interview and literature study data collection techniques. The object of the research is the news content in the form of comic panels in Instagram @jurnaliskomik which is manifested a “sexual Violence in Sharia Prison” The supporting informants to be a comparison of this research are comic artists from the JurnalisKomik. The results of this study are as follows: (1) The meaning of denotation in the news “Sexual Violence imprisoned by Shari'a” as quite striking contrast coloring and facial features in comic characters show various expressions according to the context that is happening, so it is easily digested by its readers (2) the meaning of the connotation in the news“Sexual Violence in Sharia Prison” shows the existence of sad feelings because the incident occurred in Langsa City, Aceh which has an image of a region with people who are religious and run Islamic law (3) Myth in the news“Sexual Violence in Sharia Prison” illustrates women's feelings are weak according to Eastern culture and there is no power and effort to defend themselves.
Abstrak. Dewasa ini terdapat berbagai genre baru di dunia jurnalistik, salah satunya jurnalis komik dengan mengawinkan penulisan jurnalistik dengan ilustrasi komik. Seperti pemberitaan berjudul “Kekerasan Seksual di Penjara Syariat” yang terjadi di Langsa Aceh, Melalui komiknya @jurnaliskomik menyampaikan pesan-pesan atau tanda-tanda yang terkandung di dalam gambarnya, hal tersebut menandakan bahwa sebuah ilustrasi komik mengandung banyak tanda yang memiliki makna, maksud, dan tujuan. Maka dari itu tujuan Penelitian ini adalah untuk mengetahui (1) makna denotasi konten berita “Kekerasan Seksual di Penjara Syariat” yang dikemas melalui jurnalisme komik dalam media sosial Instagram @jurnaliskomik (2) makna konotasi konten berita “Kekerasan Seksual di Penjara Syariat” yang dikemas melalui jurnalisme komik dalam media sosial Instagram @jurnaliskomik (3) mengetahui mitos dalam konten berita “Kekerasan Seksual di Penjara Syariat” yang dikemas melalui jurnalisme komik dalam media sosial Instagram @jurnaliskomik. Penelitian menggunakan metode penelitian kualitatif dengan pendekatan analisis semiotic Roland Barthes melalui teknik pengumpulan data observasi, wawancara, studi pustaka. Untuk objek penelitiannya adalah konten berita berupa panel-panel komik dalam Instagram @jurnaliskomik yang berujudul “Kekerasan Seksual Di Penjara Syariat” Adapun narasumber pendukung untuk menjadi perbandingan penelitian ini yaitu komikus dari JurnalisKomik. Hasil dari penelitian ini sebagai berikut: (1) Makna denotasi dalam berita “Kekerasan Seksual dipenjara Syariat” memiliki kontras pewarnaan cukup mencolok dan detail raut wajah dalam karakter komik menunjukkan ekspresi yang beragam sesuai dengan konteks yang sedang terjadi, sehingga mudah dicerna oleh pembacanya (2) makna konotasi dalam berita “Kekerasan Seksual dipenjara Syariat” menujukkan adanya perasaan miris karena kejadian tersebut terjadi di Kota Langsa, Aceh yang memiliki image wilayah dengan penduduk yang taat beragama dan menjalankan syariat Islam (3) Mitos dalam berita “Kekerasan Seksual dipenjara Syariat” menggambarkan perasaan wanita yang lemah menurut kebudayaan Timur dan tiada daya sertaupaya untuk membela diri.
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Kartveit, Kate. "How do they do it? Multimedia journalism and perceptions of the practice." Journalism 21, no. 10 (August 22, 2017): 1468–85. http://dx.doi.org/10.1177/1464884917726420.
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Implementing a phenomenographic approach, the question this article seeks to answer is how experienced journalists, editors and graphic designers perceive how multimedia journalism is executed. The study is based on qualitative interviews with experienced media workers who work with or manage work within online multimedia off-deadline feature journalism in mainstream online media outlets. In the outcome space, I categorise six different perceptions describing collective approaches to multimedia production: the learner, the developer, the artist, the collaborator, the publisher and the manager. Conclusively, these collective perceptions can influence how competencies are developed and how the workflow of multimedia production is implemented and organised in editorial rooms and educational situations.
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Whitman, Dan. "OUTSMARTING APARTHEID: An Oral History of United States–South Africa Cultural and Educational Exchange, 1960–1999." Oral History Journal of South Africa 2, no. 2 (March 22, 2015): 95–107. http://dx.doi.org/10.25159/2309-5792/11.
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Outsmarting Apartheid is an oral history of educational and cultural exchange programs conducted by the United States Government with citizens of South Africa during the apartheid period. The “OA” collection, published in one volume by the University Press of the State University of New York in April of 2014, conveys the stories of those who administered the programs, as well as those who benefitted, during three troubled decades of South African history. The exchanges involved some 2-3000 participants during a dark period of social unrest and institutionalized injustices. Quietly in the background, U.S. diplomats and their South African colleagues bent rules and stretched limits imposed by the apartheid regime. Collectively they played cat-and-mouse games to outsmart the regime through conniving and bravado. The author’s year as executive director of the Association for Diplomatic Studies and Training (Arlington, Virginia), 2006-07, provided a methodology and archiving structure forming the basis of the interviews, conducted over a two-year period in the United States and South Africa. There was little optimism at the time for South Africa’s political or social future during the 1960-1990 period. After Nelson Mandela’s release from prison in 1990 and during his presidency of 1995-99, the country discovered rich cadres from within, of intellectuals, artists, journalists, scientists, and political leaders prepared to take on the task of constructing the New South Africa. In no small measure, these exchange programs contributed to the quick and sudden realization of suppressed wishes and aspirations for a majority of South Africa’s citizens -- of all ethnic and racial backgrounds.
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Sobczak, Michael. "Karl August Varnhagen von Ense – „szara eminencja” dziewiętnastowiecznej niemieckiej publicystyki politycznej." Studia Litteraria 15, no. 4 (2020): 275–87. http://dx.doi.org/10.4467/20843933st.20.023.12544.
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Karl August Varnhagen von Ense – an “éminence grise” of German Political Journalism in the 19th Century Karl August Varnhagen von Ense (1785–1858) was a German diplomat, biographer and archivist-collector. He worked as a tutor in the homes of several families of the wealthy Jewish bourgeoisie. This allowed him to get in touch with prominent poets and writers of romanticism, such as Friedrich de la Motte Fouqué, Adelbert von Chamisso, Justinus Kerner and Ludwig Uhland. During the Napoleonic Wars Varnhagen served in Austrian and Russian army. 1814 he married Rahel Levin, a Jewish writer who hosted one of the most prominent German literary salons in the late 18th and early 19th centuries. Their home in Berlin became the meeting-place of high civil servants, philosophers, writers and artists. Although Varnhagen developed a reputation as an critical writer and journalist, he is most famous as a biographer and archivist-collector. The article investigates Varnhagen’s activities as a journalist and demonstrates journalism as an unknown and unexplored but significant and valuable aspekt of his work, which is substantial in volume.
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Lapolli, Mariana. "Infografia além da objetividade | Infographics beyond objectivity." InfoDesign - Revista Brasileira de Design da Informação 14, no. 3 (December 31, 2017): 309–20. http://dx.doi.org/10.51358/id.v14i3.560.
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O objetivo deste artigo é discutir o papel funcional e estético de um infográfico. Para isto, dados foram coletados a partir entrevistas semiestruturadas com infografistas e pesquisadores da área, bem como a partir de uma pesquisa bibliográfica. Para exemplificar esta discussão, são apresentados os trabalhos desenvolvidos pelo infografista, jornalista, artista, consultor e professor Jaime Serra. Seus infográficos demonstram um deslocamento da obra do âmbito jornalístico para o artístico, oferendo outra dimensão para o valor estético das infografias, demonstrando que com este recurso é possível ir além da objetividade.__________The purpose of this article is to discuss the functional and aesthetic role of an infographic. For this, data were collected from semistructured interviews with infographics and researchers in the area, as well as from a bibliographical research. To exemplify this discussion, works developed by the infographist, journalist, artist, consultant and professor Jaime Serra are presented. His infographics demonstrate a shift from journalistic to artistic, offering another dimension to the aesthetic value of infographics, demonstrating that with this resource it is possible to go beyond objectivity.
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Sátbaı, T. Ia. "Soǵystan keıіngі jyldardaǵy Qazaqstan shyǵarmashylyq odaqtarynyń quramy men qurylymy [Composition and Structure of Kazakhstan Creative Unions in the Postwar Years (after the Second World war)]." Iasaýı ýnıversıtetіnіń habarshysy 3, no. 117 (October 10, 2020): 253–62. http://dx.doi.org/10.47526/2020/2664-0686.024.
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The article examines the structure and composition of creative unions in Kazakhstan in the post-war years. In the post-war period, creative unions of writers, artists, architects and composers continued to function in the country. These unions were created in the 1930s, that is, before the great Patriotic war. In 1957–1958, the Union of journalists and cinematographers was additionally created, so the number of creative unions in the Republic reached six. The quantitative and qualitative composition of Creative Unions in Kazakhstan grew rather slowly. The reason for this was the constant lack of professional staff, and secondly, representatives of traditional Kazakh art were excluded from the activities of creative Unions, for the simple reason that they were not professionals by Soviet standards. In Soviet times, poets-improvisers, representatives of oral professionals by Soviet standards. In Soviet times, poets-improvisers, representatives of oral literature, masters of applied arts, melodists-composers were not recognized as professionals. The article also examines the national composition of the creative unions of the Republic. Мақалада соғыстан кейінгі жылдардағы Қазақстан шығармашылық одақтарының құрамы мен құрылымы қарастырылады. Соғыстан кейінгі жылдары жазушылардың, суретшілердің, композиторлар мен сәулетшілердің шығармашылық одақтары жұмыс жасап жатты. Бұл одақтар 30-жылдары, яғни соғысқа дейінгі жылдары құрылған болатын. 1957–58 жылдары бұларға қосымша журналистер мен кинематографистер одағы құрылды, сөйтіп олардың саны алтауға жетті. Қазақстан шығармашылық одақтарының сандық және сапалық құрамы баяу өсті. Өйткені маман кадрлар тұрақты жетіспеді, екіншіден, кеңестік өлшемдер бойынша дәстүрлі қолданбалы қазақ қол өнерінің өкілдері кәсіби мамандар болып саналмағандықтан шығармашылық одақтар қызметінің аясынан тысқары қалды. Кеңес жылдары суырыпсалма ақындар, ауыз әдебиетінің өкілдері, қолданбалы өнер, мелодист-композиторлар кәсіби мамандар болып саналмады. Мақалада сондай-ақ республика шығармашылық Одақтарының ұлттық құрамы қарастырылады.
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Souiah, Farida. "Humoriste, journaliste et artiste engagé." L'Année du Maghreb, no. 15 (December 15, 2016): 97–113. http://dx.doi.org/10.4000/anneemaghreb.2827.
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Owj, Sara. "Comics Journalism and Fine Art: War, Massacre, and The Individual, in works of Pieter Bruegel, Joe Sacco and Otto Dix." Journal of Arts and Humanities 6, no. 2 (February 16, 2017): 01. http://dx.doi.org/10.18533/journal.v6i2.1104.
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<p>As a pioneer of Comics Journalism, Joe Sacco’s works have been linked to conflict studies, migration, education, and so on. But despite references that Sacco makes to 16th Century master painter, Pieter Bruegel, and 20th century New Objectivity painter Otto Dix in his interviews, there have been few studies on the potential link between comics of Sacco and works of these masters of fine art. In this study I explore this connection by examining the questions of war, individuality and portrayal of massacre in paintings of Bruegel and Dix and journalistic comics of Sacco. My greater aim is to demonstrate the potential of further comparative studies between arts and comics journalism, especially between Renaissance and modern artists. </p>
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Busby, Mark, and J. F. Kobler. "Ernest Hemingway: Journalist and Artist." South Central Review 4, no. 2 (1987): 118. http://dx.doi.org/10.2307/3189176.
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