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Books on the topic 'Syndicates (Journalism)'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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1

A year in the life of a "working" writer: A memoir to the best of the recollection of--. McKinleyville, Calif: Fithian Press, 2009.

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2

100 ans de journalisme: Une histoire du Syndicat national des journalistes (1918-2018). Paris: Nouveau Monde éditions, 2018.

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3

Elizabeth, Hasten, ed. The 1992-1993 guide to newspaper syndication. [Irvine, Calif: Newspaper Syndication Specialists, 1992.

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4

Professional's guide to public relations services. 5th ed. New York, NY: Public Relations Pub. Co., 1985.

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5

Richard, Weiner. Professional's guide to public relations services. 6th ed. New York, NY: American Management Association, 1988.

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6

Elizabeth, Hasten, ed. How to make money in newspaper syndication: A step-by-step guide which shows you how to market your feature to newspaper syndicates. Irvine, Calif: Newspaper Syndication Specialists, 1985.

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7

Johanningsmeier, Charles. Fiction and the American literary marketplace: The role of newspaper syndicates, 1860-1900. Cambridge: Cambridge University Press, 1997.

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8

Strip for murder. New York: Berkley Prime Crime, 2008.

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9

Collins, Max Allan. Strip for Murder. New York: Penguin Group USA, Inc., 2008.

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10

International Federation of Journalists. Africa Regional Office. Étude sur le genre dans les médias et les syndicats de journalistes d'Afrique Centrale. Dakar, Senegal: Bureau Afrique FIJ, 2009.

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11

Fradet, Louise. Les 50 ans du Syndicat de la rédaction du Soleil, 1950-2000: Un combat pour la profession. Sillery, Québec: Septentrion, 2001.

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12

al-Mūrītānīyīn, Niqābat al-Ṣiḥafīyīn. Documents du premier congrès: 18-19 décembre 2009. [Nouakchott, Mauritania]: Publications du Syndicat des journalistes mauritaniens, 2009.

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13

Aiello, Thomas. Grapevine of the Black South: The Scott Newspaper Syndicate in the Generation Before the Civil Rights Movement. University of Georgia Press, 2018.

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14

Sedge, Michael. Successful Syndication: A Guide for Writers and Cartoonists. Allworth Press, 2000.

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15

Lane, Susan. How to Make Money in Newspaper Syndication: A Step-By-Step Guide Which Shows You How to Market Your Feature to Newspaper Syndicates. 3rd ed. Newspaper Syndication Specialists, 1987.

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16

Collins, Max Allan, and Terry Beatty. Strip for Murder. Dover Publications, Incorporated, 2015.

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17

Fiction and the American Literary Marketplace: The Role of Newspaper Syndicates in America, 18601900 (Cambridge Studies in Publishing and Printing History). Cambridge University Press, 1996.

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18

Fiction and the American Literary Marketplace: The Role of Newspaper Syndicates in America, 18601900 (Cambridge Studies in Publishing and Printing History). Cambridge University Press, 2002.

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19

The Best of the rest: Non-syndicated newspaper columnists select their best work. Westport, Conn: Greenwood Press, 1993.

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20

Ritchie, Donald A. The Columnist. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190067588.001.0001.

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In the “Washington Merry-Go-Round,” a nationally syndicated newspaper column that appeared in hundreds of papers from 1932 to 1969, as well as on weekly radio and television programs, the investigative journalist Drew Pearson revealed news that public officials tried to suppress. He disclosed policy disputes and political spats, exposed corruption, attacked bigotry, and promoted social justice. He pumped up some political careers and destroyed others. Presidents, prime ministers, and members of Congress repeatedly called him a liar, and he was sued for libel more often than any other journalist, but he won most of his cases by proving the accuracy of his charges. Pearson dismissed most official news as propaganda and devoted his column to reporting what officials were doing behind closed doors. He broke secrets—even in wartime—and revealed classified information. Fellow journalists credited him with knowing more dirt about more people in Washington than even the FBI and compared his efforts to Daniel Ellsberg with the Pentagon Papers or Edward Snowden with WikiLeaks, except that he did it daily. The Columnist examines how Pearson managed to uncover secrets so successfully and why government efforts to find his sources proved so unsuccessful. Drawing on a half century of archival evidence, it assesses his contributions as a muckraker by verifying or refuting both his accusations and his accusers.
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21

Syndicate, Glossary, and Leora Lutz. Color Point Grid: Workbooks and Bullet Journals by Glossary Syndicate. Independently Published, 2019.

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22

Aiello, Thomas. The Grapevine of the Black South: The Scott Newspaper Syndicate in the Generation before the Civil Rights Movement. University of Georgia Press, 2018.

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23

The Grapevine of the Black South: The Scott Newspaper Syndicate in the Generation before the Civil Rights Movement. University of Georgia Press, 2018.

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24

Riley, Sam G. The Best of the Rest: Non-Syndicated Newspaper Columnists Select Their Best Work (Contributions to the Study of Mass Media and Communications). Greenwood Press, 1993.

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25

Syndicate, Glossary, and Leora Lutz. Color Point Grid: Workbooks and Bullet Journals by Leora Lutz at Glossary Syndicate. Independently Published, 2019.

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26

My Time with Meta Given Biography: Herstory Author, Journalist, Editor, Home Economist, Photographer, Consultant, Syndicated Columnist, Teacher, Scientist. Danette Bishop Mondou, 2018.

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27

Diepeveen, Leonard. Modernist Fraud. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198825432.001.0001.

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Focusing on literature and visual art in the years 1910–1935, Modernism and Deception begins with the omnipresent accusations that modernism was not art at all, but rather an effort to pass off patently absurd works as great art. These assertions, common in the time’s journalism, are used to understand the aesthetic and context which spawned them, and to look at what followed in their wake. Fraud discourse ventured into the aesthetic theory of the time, to ideas of artistic sincerity, formalism, and the intentional fallacy. In doing so, it profoundly shaped the modern canon and its justifying principles. Modernism and Deception reaches broadly. It goes to reviews and newspaper accounts of art scandals, such as the 1913 Armory Show, the 1910 and 1912 Postimpressionist shows, and Tender Buttons; to daily syndicated columns; to parodies and doggerel; to actual hoaxes, such as Spectra and Disumbrationism; to the literary criticism of Edith Sitwell; to the trial of Brancusi’s Bird in Space; and to the contents of the magazine Blind Man, including a defense of Duchamp’s Fountain, a poem by Bill Brown, and the works of and an interview with the bafflingly unstable painter Louis Eilshemius. In turning to these materials, the book reevaluates how modernism interacted with its publics and describes how a new aesthetic begins: not as a triumphant explosion that initiates irrevocable changes, but as an uncertain muddling and struggle with ideology.
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