Dissertations / Theses on the topic 'American editorials'

To illustrate Melville’s navigation of editorial politics in the periodical marketplace, this study analyzes two stories Melville published in Putnam’s in order to reconstruct the particular historical, editorial, social, and political contexts of these writings. The first text examined in this study is “Bartleby,” published in Putnam’s in November and December of 1853. This reading recovers overtures of sociability and indexes formal appropriations of established popular genres in order to develop an interpretive framework. Throughout this analysis, an examination of the narrator’s ideological bearings in relation to the unsystematic implementation of these ideologies in American public life sets forth a set of interrelated social and political contexts. Melville’s navigation of these contexts demonstrates specific compositional maneuverings in order to tend to the expectations of a popular readership but also to challenge ideological norms. Israel Potter, Herman Melville’s eighth book-length novel, serialized in Putnam’s from July of 1854 to March of 1855, is the focus of the second case study. This study tracks Melville’s engagements and disengagements with a variety of source materials and positions these compositional shifts amid contemporaneous political ideologies, populist histories, middle-class values, audience expectations, and editorial politics. This study will demonstrate that Melville set out to craft texts for a popular readership; however, Melville, struggling to recuperate his damaged credentials, seasoned by demoralizing business dealings, his ambitions attenuated by the realities of the literary marketplace, undertook the hard task of self-editing his works to satisfy his aspirations, circumvent editorial politics, and meet audience expectations.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2013.
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Esta dissertação objetivou investigar a atividade editorial de Rui Ribeiro Couto e Renato Costa Almeida enquanto estes intelectuais estiveram à frente do Pensamento da America, uma publicação mensal vinculada ao A Manhã, jornal porta voz do Estado Novo. Este suplemento panamericano veio a público entre 1941 e 1949, no entanto a pesquisa aqui apresentada focalizou o período que compreendeu desde seu início até 1945, representativo marco do final da segunda Guerra Mundial e do Estado Novo. A primazia do enfoque recaiu sobre o estudo de mecanismos editoriais que permearam uma publicação oficial, bem como sobre a relação estabelecida entre os intelectuais acima apontados e o governo estadonovista.

Abstract : This dissertation purpose is to study the editorial activity of Rui Ribeiro Couto and Renato Costa Almeida while these intellectuals were editors of a publication linked to the newspaper of Estado Novo (A Manhã). This publication was called Pensamento da America and was a monthly pan-American journal published between 1941 and 1949. However, this research focused on the period between 1941 and 1945, year that represents the end of the Second World War and the end of the Estado Novo. The focus was on the study of mechanisms that permeated the edition of an official publication, as well as on the relation between these intellectuals and the Estado Novo.

This study sought to test on the state level the validity of Thomas A. Bailey's theory on reactions to the proposal for a League of Nations following World War I. Bailey, a noted diplomatic historian, suggested that most groups were guided by partisan loyalties to either support or oppose the League. Indiana newspaper editors were chosen as the test group for study because of their influence with the public and the accessibility of their views. Ten Indiana newspapers were surveyed fully between January 1919 and the end of March 1920, and an additional eleven papers were spot-checked during that period. The state newspapers were divided as equally as possible based upon their support for either the Democratic or the Republican party, and then were compared to two national newspapers, one Democratic and one Republican.The results of these comparisons appear to validate Bailey's hypothesis. The editorial positions of most of the Indiana newspapers coincided with the positions of thepolitical parties with which they were identified. The study also revealed greater diversity of opinion among editors of both political persuasions during the early months of 1919 as the participants at the Paris Peace Conference worked toward the first draft of the Covenant. After President Wilson presented the Treaty of Versailles to the United States Senate, partisan debate ensued, and a narrowing of editorial opinion parallel to that debate was evident among newspapers on both sides. Pro-League newspapers supported Wilson's position from the time he presented it to the Senate in July 1919. Anti-League newspapers supported Senator Henry Cabot Lodge and his followers in the Senate from about the same time. Neither group changed significantly from then until the final defeat of the treaty in March 1920. Thus, it would appear that Bailey's hypothesis regarding the partisan origins of most group's positions was correct.
Department of History

The 2015 publication of Harper Lee’s Go Set a Watchman (2015) raised questions and concerns when it was read in the context of the author’s first novel, To Kill a Mockingbird (1960), a text with strong, direct statements related to civil rights and social injustice. This thesis examines textual similarities and differences between Watchman and Mockingbird, suggesting the likely influence of editor Thèrése “Tay” von Hohoff in Mockingbird’s published version. Additionally, the thesis examines Hohoff’s 1959 biography, A Ministry to Man: The Life of John Lovejoy Elliott, as a plausible inspiration for Lee’s Mockingbird hero, Atticus Finch. Containing corroboration from available correspondence, biographical information, interviews, and historical records, this thesis documents Hohoff’s editorial influence on Lee as the two worked together to create a lasting contribution to American literary history and culture.

Mestrado em Estudos Editoriais
Although teenagers are taught to never judge a book by its cover, studies have shown that many teens do in fact make their reading decisions based on a book’s cover art (Jones, 2007; Yampbell, 2009). In this context, I considered it important to conduct a visual analysis of young adult book covers to determine trends in terms of imagery, colours and typography. To do so, I analyzed a selection of 50 books drawn from the list put out in 2014 by the Young Adult Library Services Association (YALSA) naming the Best Fiction for Young Adults, and I reached some interesting conclusions. In terms of imagery, the human body is the most predominant motif, in particular the fragmented body with the focus on the upper part of body, such as the face and the eyes. Including body pictures in a book cover is an effective marketing strategy since teenagers tend to create a personal relationship with protagonists. However, this practice can also objectify the human body and strengthen the idea that it can be manipulated (as it is, both by the designer and the reader). In terms of colours, it was hard to establish a trend since colour seems to be used at random in the book covers analyzed. However, it was possible to determine that black is by far the most used colour. Black can make a cover appear sleek and sophisticated and also makes the book appealing to both male and female readers because black is liked by both sexes. Lastly, in terms of typography, I determined that sans serif typefaces are the most used. Although decorative typefaces are the ones generally used in book covers, the cleanness, simplicity and apparent neutrality of a sans serif type proves to be the best choice for these covers as it creates a balance with the emotionalizing nature of its images and colours.
Desde crianças que ouvimos dizer que não devemos julgar um livro pela capa, mas a verdade é que muitos adolescentes fazem as suas escolhas de leitura com base nas capas dos livros (Jones, 2007; Yampbell, 2009). Neste contexto, considerei importante levar a cabo uma análise visual de capas de livros para adolescentes com o objetivo de encontrar tendências em termos de imagens, cores e tipografia. Para tal, analisei uma seleção de 50 livros da lista “Best Fiction For Young Adults” lançada em 2014 pela Young Adult Library Services Association (YALSA). Em termos de imagens, conclui que o corpo humano é o símbolo mais prevalente, em particular o corpo fragmentado focado na parte superior do corpo, isto é, a cara e os olhos. A inclusão de imagens corporais na capa de um livro é uma estratégia de marketing bastante efetiva, uma vez que os adolescentes tendem a criar uma relação pessoal com os protagonistas. Contudo, esta prática pode também transformar o corpo humano num objeto e fortalecer a ideia de que este pode ser manipulado, tanto pelo designer como pelo leitor. Em termos de cores, foi difícil estabelecer uma tendência, já que nas capas analisadas, a cor parece ser utilizada de forma aleatória. No entanto, foi possível concluir que o preto é sem dúvida a cor mais utilizada. O preto torna a capa mais elegante e sofisticada e torna o livro apelativo tanto para homens como para mulheres, uma vez que o preto é uma cor apreciada por ambos os sexos. Por último, em termos de tipografia, conclui que as fontes sem serifa são as mais utilizadas. Embora as fontes decorativas sejam geralmente as mais usadas em capas de livros, a simplicidade e aparente neutralidade de um tipo de letra sem serifa torna-se na melhor escolha para estas capas, uma vez que cria um balanço com a natureza mais emocional das suas imagens e cores.

This thesis contends that, in the process of publication of the diaries of Virginia Woolf and Sylvia Plath, their husbands, Leonard Woolf and Ted Hughes, employed editorial strategies that created false portraits of the authors. Each of these men tantalized readers with the possibility of reading the 'truth' of these women's lives, but they edited their texts in ways that would minimize readers' understanding of Plath and Woolf while maximizing the benefits they would collect as heirs of the authors' literary estates. These examples are typical of a larger pattern in which women's private writings are edited by family and/or friends of the author in an effort to gain control of the author's public personae.

Cette thèse examine l’image de mode éditoriale en contexte(s), au sein de la presse magazine américaine entre les années 1960 et les années 1980, à travers une étude de cas sur les publications mainstream Vogue, Harper’s Bazaar et un nouveau magazine, Interview. On postule que la production photographique de ces trois titres représente à la fois le cœur de leur activité et de ces objets matériels, en raison de leur positionnement, de leurs codes et de leurs objectifs. On étudiera comment, dans ce cœur et à travers ses « grandes » séries éditoriales, se dégage un certain rapport à l’image comme plateforme entre une production collaborative et des réceptions, ainsi qu’une fonction de négociation par rapport au contexte historique. A travers l’étude des conditions de production des images, puis à travers leur analyse, et enfin par l’examen de leurs circulations, on démontrera l’existence d’une norme mainstream manifestant un certain conservatisme. Puis nous nous interrogerons sur les négociations éventuelles avec cette norme, sans cesse contestée, changeante en surface mais tenace.Un examen attentif de l’ensemble des tensions et des compromis au fil des moments de flottement que sont les décennies 1960 à 1980 nous permettra d’aboutir, sur la période étudiée, au constat qu’il existe bien un système articulé autour d’un discours hégémonique très difficile à questionner tant il est puissant et, en fin de compte, fermé. Ainsi, de manière transversale à tout notre travail, il émergera que l’ensemble des images de mode éditoriales est varié, mais lissé par un discours des magazines construit sur le long terme. Pourtant, il offre aussi bien des modèles que des contre-modèles, des contre-discours et des contre-points qui tous se déploient dans un cadre strict et souple, fermement orienté et adaptable, même s’il comporte quelques possibilités de subversion, toujours exercées à la marge. On conclura, en définitive, à la puissance de ce système, normé quoique toujours à l’équilibre entre des tensions contradictoires, structuré autour d’un format très fort, se nourrissant et s’exprimant par l’image de mode qui reste son fleuron
This doctoral thesis examines fashion editorials through a case study of three American magazines in context, from the 1960s to the 1980s: Vogue and Harper’s Bazaar, two mainstream publications, and a new magazine then, Interview. It is postulated that the photographic editorial production of those magazines is central to them – as material objects, and as the core of their activity as well, both aspects enabling and unfolding their positions, their codes and their purposes. By looking at major editorial series, I explore how these images stand out as "contact zones" between a highly collaborative production process and their receptions, and how their function is also one of negotiation with regards to its context.A close analysis of the conditions of production, the content and the circulations of these images demonstrates that magazines express undeniable conservatism through the perpetuation of a mainstream norm. However, as this norm constantly changes on the surface, I argue that conditions regularly emerge for it to be negotiated. An attentive study of the tensions and compromises unfolding in the « uncertain moments » that characterize the period running from the 1960s through the 1980s demonstrates the existence of a powerful system. Structured around a coherent and hermetic narrative, it proves indeed hard to challenge. Yet, as this thesis argues, the ensemble of editorial fashion images homogenized by these long-term processes is in fact varied and diverse. If these images construct models, they also offer counter-models, counter-narratives and counter-points. All these possibilities converge into a strict but agile framework, firmly oriented by its producers but adaptable, even though its subversive potential is only realized at the margins.This system—structured around a powerful format—is highly restrictive yet it still performs a constant balancing act between conflicting tensions and goals, fueled by and unfolded in the fashion images at its core

This thesis focuses on a transformational but disregarded period in New Zealand’s twentieth century history, the era from the arrival of the Marines in 1942 to the arrival of Rock Around the Clock in 1956. It examines one of the chief agents in this metamorphosis: the impact of American culture. During this era the crucial conduits of that culture were movies, music and comics. The aims of my thesis are threefold: to explore how New Zealanders responded to this cultural trinity, determine the key features of their reactions and assess their significance. The perceived modernity and alterity of Hollywood movies, musical genres such as swing, and the content and presentation of American comics and ‘pulps’, became the sources of heated debate during the midcentury. Many New Zealanders admired what they perceived as the exuberance, variety and style of such American media. They also applauded the willingness of the cultural triptych to appropriate visual, textual and musical forms and styles without respect for the traditional classifications of cultural merit. Such perceived standards were based on the privileged judgements of cultural arbiters drawn from members of New Zealand’s educational and civic elites. Key figures within these elites insisted that American culture was ‘low’, inferior and commodified, threatening the dominance of a sacrosanct, traditional ‘high’culture. Many of them also maintained that these American cultural imports endangered both the traditionally British nature of our cultural heritage, and New Zealand’s distinctively ‘British’ identity. Many of these complaints enfolded deeper objections to American movies, music and literary forms exemplified by comics and pulps. Significant intellectual and civic figures portrayed these cultural modes as pernicious and malignant, because they were allegedly the product of malignant African-American, Jewish and capitalist sources, which threatened to poison the cultural and social values of New Zealanders, especially the young. In order to justify such attitudes, these influential cultural guardians portrayed the general public as an essentially immature, susceptible, unthinking and puritanical mass. Accordingly, this public, supposedly ignorant of the dangers posed by American culture, required the intervention and protection of members of this elite. Responses to these potent expressions of American culture provide focal points which both illuminate and reflect wider social, political and ideological controversies within midcentury New Zealand. Not only were these reactions part of a process of comprehension and negotiation of new aesthetic styles and media modes. They also represent an arena of public and intellectual contention whose significance has been neglected or under-valued. New Zealanders’ attitudes towards the new cinematic, literary and musical elements of American culture occurred within a rich and revealing socio-political and ideological context. When we comment on that culture we reveal significant features of our own national and cultural selves.

En esta tesis se analiza el discurso de los editoriales del diario El País, publicados entre 2001 y 2010, sobre las empresas transnacionales españolas con intereses en Latinoamérica. Se identifica el encuadre discursivo, inferido a partir de un análisis lingüístico que permite reconocer el tema, las evaluaciones y las recomendaciones planteadas por el diario. El análisis se fundamenta en las categorías del Afecto propuestas por la Teoría de la Evaluación. A partir del Análisis Crítico del Discurso se ha comprobado que en los editoriales de El País se justifican actitudes y se recomiendan acciones que defienden la libertad total del capital financiero en el contexto económico global. Asimismo, se han constatado las evaluaciones negativas que expresa el diario acerca de los gobiernos de Argentina, Bolivia y Venezuela por la manera en que estos regulan la actividad empresarial extranjera, especialmente la española.
This thesis analyzes the discourse of the editorials of the newspaper El País, published between 2001 to 2010, about the Spanish transnational corporations with investments on Latin America. It identifies the discursive frame, inferred from a linguistic analysis that enable to recognize the themes, evaluations and recommendations put forward by the newspaper. The analysis is based on the categories of Affect suggested by the Appraisal Theory. The critical discourse analysis prove that the editorials of El País justify attitudes and recommend actions in favor of the total freedom of the financial capital in a global economic context. Furthermore, it is confirmed that the newspaper express negative evaluations toward the Argentinean, Bolivian and Venezuelan governments concerning the way they regulate the activity of foreign corporations, especially the Spanish ones.

Doctor of Philosophy
This is a study of the composition of three Modernist first editions: Ulysses (1922), The Making of Americans (1925) and A Draft of XXX Cantos (1930). The bibliographical and figurative commitments made to being in print by Ulysses, A Draft of XXX Cantos and The Making of Americans set a coherent program for reading Modernist texts in their perfected form: in print. The editorial reception of the Modernist book has proceeded, however, with reference to the editorial and bibliographical principles established by the New Bibliographers. In deferring to the authors and manuscripts of Modernist books as the highest source of textual authority, the vital significance of being in print to literary Modernism is obscured. The figure of the ideal Book concentrates the central aesthetic, intellectual and bibliographic problem posed the Modernist book: the making of literature. The rhyme with The Making of Americans is appropriate: this book intensifies and consolidates the propositions made about objective and autonomous composition made more hesitantly by Ulysses and A Draft of XXX Cantos. These three books display a gradual refusal to equate inscription and intention; their composition effaces all traces of a sovereign creative subjectivity. The vision of the book guides Modernist composition, and requires a critical distinction be drawn between manuscripts and printed letters. Modernism must be read in print. The vestigial nostalgia for Romantic modes of textual production and creation in Ulysses is repeated on the placards and proof-pages for the book. Printed drafts are revised and reformed by the pen of the author. The finality asserted by the printed letter is only reluctantly ceded on the publication of Ulysses. The composition of A Draft of XXX Cantos represents a further transition away from the script economy of Romanticism. The interplay between authorial typescripts, early publications and the first edition of A Draft of XXX Cantos assert an intermediate order of Modernist textuality which takes the printed page as its foundation. The Making of Americans relies on the absolute objectivity and anonymity of its composition for the effect of its narrative. Objectivity is the intellectual and aesthetic strategy which produces literature rather than the personality and memory of the author. The impersonality of the apparently automatically written manuscripts and scarcely revised typescripts for The Making of Americans severs the visible links between the writing author and her page. In their unwillingness to corroborate the modes of textual generation described by the New Bibliographers, these three books thematise their own composition as the exemplary Modernist and modern mode of textual generation. The Modernist book attenuates or denies a Romantic connection between the creative hand of the author and the surface image of the page: the mechanisms of print deliberately detach the author from the literary text. The distance of the author from the scene of textual reproduction is measured by the printed book. The composition of this analytical object is not a fallacy but an actuality, commemorated in the archive, enacted by the book. Modernism is the literature of the imprimatur rather than of authorial inscription and accordingly it is towards the first editions of Modernist texts that the attentions of editors and textual scholars must be directed.

Questo elaborato presenta la traduzione italiana del romanzo per young adults “Poison Ivy”, dell’autrice americana Amy Goldman Koss (Macmillan, 2006). Il romanzo affronta la tematica del bullismo ed è strutturato come una raccolta di interviste realizzate a diversi studenti che hanno preso parte alla simulazione scolastica di un processo civile tra la vittima, Ivy, e le tre ragazze che la maltrattano. Le otto voci narranti in prima persona alternano slang giovanile a terminologia legale, interventi ironici a riflessioni emotive dalla sonorità ricercata, dando vita a un romanzo estremamente variegato dal punto di vista stilistico. Il Capitolo 1 fornisce una panoramica generale sulla letteratura per young adults, i suoi lettori, le sue caratteristiche tematiche e stilistiche, e la narrativa d'attualità a tema sociale. Il Capitolo 2 esamina i problemi e le strategie tipiche della traduzione della letteratura per ragazzi, fornendo una breve panoramica storica e affrontando poi questioni quali l'identificazione del lettore e della dominante del testo, il dibattito tra tendenze addomesticanti e stranianti, l'impatto della globalizzazione e la resa del linguaggio giovanile. Il Capitolo 3 presenta la figura e l’opera di Amy Goldman Koss, e fornisce un'analisi dettagliata del romanzo “Poison Ivy”. Il Capitolo 4 si focalizza sulla proposta editoriale, presentando una panoramica delle case editrici italiane che potrebbero essere interessate alla pubblicazione del romanzo, una scheda di presentazione e alcuni suggerimenti sull'impiego del paratesto a supporto dell'edizione italiana. Al Capitolo 5 è possibile leggere la proposta di traduzione in italiano del romanzo, e infine, al Capitolo 6, il progetto si conclude con un commento della macro-strategia traduttiva e delle tecniche impiegate per risolvere i vari problemi culturali, linguistici, lessicali e sintattici riscontrati nel corso della traduzione, con l’ausilio di alcuni esempi.

Scholars and literary enthusiasts have struggled for decades to account for editor Maxwell Perkins’s unparalleled success in facilitating the careers of many of the early twentieth century’s most enduring and profitable writers, among them F. Scott Fitzgerald, Ernest Hemingway, and Thomas Wolfe. This study seeks to penetrate that mystery by dissecting Perkins’s editorial practice and examining how he navigated the competing tensions between commercial success and aesthetic integrity in various circumstances. At play in the construction of his literary legacy are prevailing perceptions of authorship, complex interpersonal relationships, and the inherent battle between art and commerce. Focusing on his day-to-day activities, it is apparent that Perkins was guided by a unique editorial double vision—the propensity to appreciate the aesthetic experience while retaining the critical detachment necessary to appraise a literary work from a commercial standpoint—when solving the paradoxical dilemmas inherent in modern publishing.

This dissertation deals with the translation into Italian of selected passages from the Young Adult historical novel Apache – Girl Warrior by English author Tanya Landman. The book was chosen after contacting Italian publisher Settenove, dedicated to preventing gender-based violence through children's books and essays. The novel, set in the second half of the Nineteenth Century, tells the story of Siki, a fourteen years old Native American girl who decides to become a warrior in order to avenge her family, killed by the Mexicans. The story also deals with the contact and conflict between Native Americans and white settlers during the so-called Apache Wars. Chapter I deals with Apache's genre; it consists in an overview of the historical novel form and its diffusion, both in Italy and in the English-speaking world. Typical features and themes are also dealt with in this chapter. Chapter II is dedicated to Apache's author. Landman's other works and her mission as a writer are taken into account, as well as the inspirations that led her to writing the novel and the process of research on American history it involved. This chapter also includes a comparison between Tanya Landman's and Louise Erdrich's works. In chapter III, Apache is compared to two well-known novels for children and young adults, The little house on the prairie and Caddie Woodlawn; the aim of this is to demonstrate how widespread misrepresentations about Native Americans are in mainstream literature. Chapter IV analyzes the novel and serves as an introduction to its translation, focusing on its plot, themes, characters and language, while chapter V presents the passages I've chosen to translate; their translation can be found later in the same chapter. In chapter VI, I comment on the choices made during the translation process; translation problems are divided into culture-specific, stylistic, semantic and linguistic.

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The objective of this dissertation is the critical analysis of the representation made by the media regarding the bankruptcy of Lehman Brothers, one of the largest banking institutions in the world, as well as the actors involved. There are always different ways of saying the same thing, and these modes are not accidental alternatives. Differences in expression bring ideological distinctions, and thus differences of representation. In the decade of 2008, the world went through an economic recession triggered by US mortgage lending, which led to bank failures, unemployment and rising poverty. Lehman Brothers’ bankruptcy is considered one of the most important milestones of the 21st century, equated only with the terrorist attacks of September 11. The analysis will be made in editorials of two newspapers: Folha de S.Paulo and The New York Times, with basic support of the Systemic-Functional Grammar (SFG). The SFG’s theoretical-methodological proposal makes it possible to relate the lexicographic choices of the text microstructure to the macro structure of ideology and force relations, establishing a link between social and individual, macro and micro, social and cognitive typology. This type of approach is especially useful in examining the discourse of different groups with specific ideological characteristics. For SFG, language has the function of constructing three meanings – or metafunctions: ideational (information), interpersonal (interaction) and textual (linguistic organization of metafunctions). SFG also involves Critical Linguistics, to which any aspect of the linguistic structure carries ideological significance – lexical selection, syntactic choice, etc. The research should answer the following questions: (a) How can ideational metafunction, through transitivity, construct the representation concerning Lehman Brothers bankruptcy? (b) What role do interpersonal metafunctions have, through modality and evaluativeness, in this process? The results show that the Brazilian editorial “Cada vez pior” describes and narrates the negative aspects of the crisis, however, without positioning against or in favor of the issue, while the American editorial “Wall Street Casualties” also describes and narrates, but suggests positive aspects of the collapse
O objetivo desta dissertação é a análise crítica da representação feita pela mídia com referência à falência do Lehman Brothers, uma das maiores instituições bancárias do mundo, bem como aos atores envolvidos. Há sempre modos diferentes de dizer a mesma coisa, e esses modos não são alternativas acidentais. Diferenças em expressão trazem distinções ideológicas, e assim diferenças de representação. Na década de 2008, o mundo passou por uma recessão econômica desencadeada pelos empréstimos hipotecários americanos, que acarretaram falências bancárias, desemprego e aumento da pobreza. A falência do Lehman Brothers é considerada como um dos marcos mais importantes do século XXI, igualado somente aos ataques terroristas de 11 de setembro. A análise será feita em editoriais de dois jornais: a Folha de S.Paulo e o The New York Times, com apoio básico da Gramática Sistêmico-Funcional (GSF). A proposta teórico-metodológica da GSF possibilita relacionar as escolhas léxicogramaticais da microestrutura do texto com a estrutura macro da ideologia e das relações de força, estabelecendo um elo entre o social e o individual, o macro e o micro, o social e o cognitivo. Esse tipo de abordagem é especialmente útil no exame do discurso de diferentes grupos com características ideológicas específicas. Para a GSF, a língua tem a função de construir três significados – ou metafunções: ideacional (informação), interpessoal (interação) e textual (organização linguísticas das referidas metafunções). A GSF envolve também a Linguística Crítica, para a qual qualquer aspecto da estrutura linguística carrega significação ideológica – seleção lexical, opção sintática, etc. A pesquisa deve responder às seguintes perguntas: (a) Como a metafunção ideacional, por meio da transitividade, pode construir a representação referente à falência do Lehman Brothers? (b) Que papel têm a metafunção interpessoal, por meio da modalidade e da avaliatividade nesse processo? Os resultados mostram que o editorial brasileiro “Cada vez pior” descreve e narra os aspectos negativos da crise, embora sem se posicionar contra ou a favor da questão, ao passo que editorial americano “Wall Street Casualties”, ao descrever e narrar, sugere aspectos positivos da derrocada

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Mudanças no forma de comunicação entre os cientistas ocorreram ao longo dos últimos séculos, mas a publicação em periódicos especializados, já no século XX, tornou-se o formato padrão e central da ciência. Em paralelo ao aumento exponencial da produção em periódicos, observou-se também um aumento no número de casos de má conduta, o que levou a uma série de iniciativas mundiais para auxiliar a elaboração de politicas e a formação de especialistas no tema, também tratado de Integridade em Pesquisa. A despeito da literatura crescente neste tema, ainda há poucos estudos sobre a responsabilização dos diferentes atores, a saber, autores, revisores e editores, em casos de má conduta. Considerando a relevância do tema e a escassez de literatura específica, este estudo parte da seguinte questão: como os editores de revistas científicas, brasileiras e de outros países da América Latina, percebem as diferentes práticas de má conduta no processo editorial? Outras questões mais específicas também direcionaram o estudo: Em que momento do fluxo editorial são identificadas as más condutas? Quais os procedimentos das revistas? As revistas têm políticas editoriais específicas para lidar com a prevenção e detecção de más condutas? Como definem plágio e outras más condutas? Qual a familiaridade dos editores com práticas de má conduta? Qual a responsabilização de autores, revisores e editores? Para responder estas questões, o estudo, de natureza quanti-qualitativa, focou na população de editores de revistas científicas das maiores coleções da Plataforma SciELO, ou seja, Brasil, Argentina, Chile, Colômbia, Cuba e México. Um questionário online foi enviado para os 858 editores-chefes, dos quais 209 retornaram. A análise das respostas utilizou tratamento estatístico para descrever as variáveis extraídas das questões fechadas e também análise de conteúdo, segundo Bardin, das questões abertas. Um primeiro conjunto de resultados mostra que 80% dos editores brasileiros e latino americanos indicam que as más condutas raramente ou nunca ocorreram em suas revistas; o momento mais frequente de identificação das más condutas é na análise dos pareceristas e os procedimentos mais frequentes é de rejeitar o artigo. Também identificou-se que a maior parte das revistas participantes do estudo têm políticas específicas de prevenção, mas 36,6% das revistas brasileiras e 24,7% das latino americanas indicaram que não as possuem. Sobre a familiaridade com algumas práticas, o editores brasileiros e latino americanos são mais familiarizados com envio simultâneo de trabalhos, conflitos de interesse e plágio. Sobre o conhecimento sobre plágio, autoplágio e redundância, identificou-se que a maior parte dos editores apresenta a definição uma clássica para estas práticas, ou seja, demonstram conhecimento sobre um conceito do senso comum. Por fim, sobre as responsabilidades nas ocorrências de fabricação, falsificação e plágio, a maior parte dos editores aponta que os autores são totalmente responsáveis, enquanto outros, especialmente os editores latino-americanos, delegam aos revisores esta responsabilidade. O trabalho, que não é exaustivo, teve o objetivo de primeiramente adentrar em temática ainda não explorada e buscar uma melhor compreensão sobre a relação entre questões éticas da comunicação cientifica, o fluxo editorial e os editores, cujas informações, espera-se, possam servir de referência para pesquisas e estudos futuros.
The way scientists communicate has changed over the last few centuries; however publication in specialized journals has become the standard and central format of science since the twentieth century. Parallel to the exponential increase of journals production, there has also been an increase in the number of misconduct cases, which has led to a series of global initiatives to assist with both, policy development and the training of experts on this theme, which is also referred to as Integrity in Research. In spite of the growing literature on this subject, there are still few studies on the accountability of the different actors, that is, authors, reviewers and editors, in misconduct cases. Considering the relevance of such a theme and the scarcity of specific literature, this study starts with the following question: how do the editors of scientific journals from Brazil and other Latin American countries perceive the different misconduct practices in the editorial process? Other more specific questions also directed the present study: at what point in the editorial flow are the misconducts identified? What are the procedures of the magazines? Do magazines have specific editorial policies to deal with the prevention and detection of misconduct? How do they define plagiarism and other misconducts? What is the publishers' familiarity with misconduct practices? What is the responsibility of authors, reviewers and editors? In order to answer such questions, this quantitative qualitative study focused on the population of scientific journals editors of the largest collections of the SciELO Platform, that is, Brazil, Argentina, Chile, Colombia, Cuba and Mexico. An online questionnaire was sent to the 858 chief editors, of which 209 returned. A statistical analysis was carried out to describe the variables extracted from the closed questions, in addition to the content of the open questions, according to Bardin. A first set of the results shows that 80% of Brazilian and Latin American publishers indicate that misconduct has rarely or never occurred in their journal. The analysis of the reviewers is the most frequent moment for identifying the misconducts; rejecting the article is the most frequent procedure. It was also seen that most of the journals participating in the study have specific prevention policies; however 36.6% of the Brazilian journals and 24.7% of the Latin American ones said that they do not. Concerning familiarity with some practices, Brazilian and Latin American publishers are more familiar with the simultaneous submission of papers, conflicts of interest, and plagiarism as well. Considering knowledge on plagiarism, self-plagiarism and redundancy, it was seen that most of the editors have the classic definition for these practices, that is, they show knowledge about a common sense concept. Finally, regarding responsibility for Fabrication, Falsification and Plagiarism, most editors point out that the authors are fully responsible, whereas others, especially Latin American publishers, delegate this responsibility to the reviewers. This non-exhaustive study had as its main purpose to enter into a not yet explored topic, in addition to seek a better understanding on the relationship among the ethical issues of scientific communication, the editorial flow and the editors, whose information is expected to be used for further research and studies.

Within the last three decades, contemporary North America came to reinvent a socially focused genre of literary personal narratives. These new editorial and writing projects, published in the form of collections of personal narratives, emerged as a tool for the socially voiceless to secure some measure of agency in their contemporary social and cultural situation. Projects such as the Freedom Writers’ Diary or volumes of the Voice of Witness book series fit in the process that is currently labeled social empowerment. Witnesses express a deep urge to share their story in the hope to denounce their experience of an enduring social injustice. The written word, primary a means for self-disclosure, serves to exorcise the suffering associated to this specific predicament. The narrators engage in a powerful self-investigative gesture oriented towards resilience and renewed enfranchisement in regaining control over their life and environment. At the moment of publication, however, these testimonies come to be validated as authentic examples of the injustices they disclose. These examples serve an educational purpose: raising the audience’s awareness and opening deliberative fora for these issues to be discussed and for solutions to be hammered out and eventually implemented.

The purpose of this dissertation is to propose a theoretical model for the subgenre of testimonials of social empowerment. With the concept of empowerment as groundwork, the model develops a textual approach framed in a psychosocial structure. I argue that testimonials may be described as examples of Jürgen Habermas’s communicative action. As speech acts aimed at reaching understanding, testimonials capitalize both on the binding and bonding aspects of illocutionary force in the hope to secure with their audience an ongoing dialogue over issues of social justice. The volumes, as unofficial public spheres, mobilize the normative and practical dynamics at work in social movements. These dynamics express as two narrative guiding threads: an aesthetic based on impact, and an ethics based on responsibility. The texts’ aesthetic develops a form of perlocutionary realism instantiating a sense of authenticity and sincerity embodied in the narrators’ voices. The resulting impact is coupled to moral concerns based on a polysemic understanding of social responsibility, on which narrators seek to build their narratives’ ethical potential. A series of case studies allowed to demonstrate that both narrative threads are realized as an appropriation of four paradigmatic forms of rhetorical ethos, each based on a specific realm of the social world: intimacy, justice, spirituality and activism.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

Research has revealed that more Americans than ever are turning to the World Wide Web as their primary source for news and information instead of legacy media outlets such as printed newspapers and magazines and broadcast news. As more and more people rely on the Internet as a primary source for news, it is important to analyze the characteristics and content of online news to expose and correct problems associated with the practices that inform its production and presentation. There are several longstanding practices in the American journalistic tradition that have been adapted to the online news environment. The practices of market segmentation and gatekeeping are two such practices. To date, few studies have explored how internet news coverage differs when the same story is altered to address the perceived interests of specific target audiences. This goal of this study was to collect and examine the characteristics of news stories presented on the homepages of three news websites—the Huffington Post, Huffington Post Black Voices and News One—to arrive at conclusions about the similarities and differences in how news content is reported to a general audience and to an African-American audience. This exploratory study used both Web sphere analysis and qualitative analysis to examine the collected homepage news stories. It used the results of the analyses to explore the possible effects continued market segmentation and selective exposure online could have on discourse in the public sphere. The study found that the legacy media practice of market segmentation was evident when online news reporting on targeted and untargeted news website homepages was compared. The study also revealed that the traditional role of the Black Press in legacy media has been resurrected in new media and is evident on news websites produced by African-Americans, for an African-American audience. Additionally, a qualitative examination of online news coverage of President Barack Obama’s 2012 State of the Union address and the death of Trayvon Martin revealed that the targeted audience influences the editorial slant through which news websites report stories.

Thesis (M.A.)--Indiana University, 2007.
Title from screen (viewed on March 6, 2008). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Ken Davis, Jonathan R. Eller, William F. Touponce. Includes vitae. Includes bibliographical references (leaves 214-228).

Cette thèse de doctorat a pour objet d'étude l'évolution des lignes éditoriales et des stratégies de programmation des chaînes de télévision historiques nord-américaines (NBC, CBS, ABC) entre 2004 et 2014. Cette recherche s'effectue par le prisme des séries télévisées, pierres angulaires de leur offre. Au début des années 2000, cette industrie culturelle est marquée par un basculement du contexte concurrentiel, conduisant à une redéfinition de la nature des séries télévisées. en effet, la chaîne NBC, pourtant initiatrice de la « Quality Television », s'effondre dans les audiences, laissant à son concurrent ABC imposer plusieurs succès critiques et commerciaux majeurs. Les années suivantes se caractérisent selon nous par un recul des fictions tenant un discours « pédago-ludique » au profit de divertissements tournés vers l'évasion et le spectaculaire, proches du cinéma hollywoodien. Sous l'impulsion de ABC, chaîne du groupe Disney, nous assistons alors à l'avènement d'un nouveau cycle de production symbolique, que nous proposons d'appeler « Escape Television ». Cette recomposition de l'offre répond selon nous à une évolution de la demande : à une ère « post-networks », caractérisée par une érosion des audiences ainsi qu'une montée en puissance de la VàD, les chaînes historiques ne tentent plus de capter prioritairement une audience nationale mais de séduire un public mondial consommant leurs contenus sur Internet, souvent illégalement. Notre approche, à la fois historique et socio-économique, s'appuie principalement sur l'analyse de quatre séries à succès : Lost (ABC, 2004-2010), The Office (NBC, 2005-2012), The Good Wife (CBS, 2009-2014) et Person of Interest (CBS, 2011-2014)
The purpose of this Ph.D. thesis is to study the evolution of the editorial lines and the programming strategies implemented by the North American traditional TV channels (NBC, CBS, ABC) between 2004 and 2014. This research focuses on the TV series sector which has a prominent place among the programs these TV channels offer. In the early 2000s, this cultural industry faced a changeover in the competitive environment which led the nature of TV series to be re-oriented. As a matter of fact, NBC Channel, yet initiator of « quality television » programming, saw its audience numbers dramatically reduce, allowing its competitor ABC to gain ground through critical and major commercial successes. The present analysis takes the view that during the following years the quantity of fiction programs with an educational and recreational approach decreased. Namely, fictions evolving in a realistic context, were abandoned in favour of entertainment programs turning to escapism and using spectacular effects close to the Hollywood production model. Then, under the leadership of ABC, one of the Disney channels, a new cycle of symbolic production arose that could be called « Escape Television ». This restructuration of the offer is here shown as a response to the change of demand turning to a « post-networks » era. This period is characterized by the decline in the audience numbers as well as the growth of VoD. From there on, the traditional TV channels no longer targeted a national audience as a key priority but aimed to attract a worldwide public used to obtaining their content from internet, often illegally. The present approach, both historical and socio-economic is mainly based on the analysis of four successful TV series: Lost, The Office, The Good Wife and Person of Interest

PhD (English)
Department of English
This study sought to analyse the discourse strategies in the editorials of the Daily Graphic newspaper as texts constructed in an African English as a Second Language (ESL) setting and the editorials of the New York Times of America as texts constructed in an Anglo-American English environment. The objective of the study was to discover the differences and the similarities that exist between the discourse strategies of the editorials of the Daily Graphic newspaper and the editorials of the New York Times. This objective is achieved by analysing five features of text. First, the rhetorical structure of the two editorials were analysed to find out the rhetorical strategies used in composing the editorials. Second, the micro-genre variation between the two editorials was examined. In addition, the thematic development of the two editorials was carried out. Also, the study investigated the rhetorical appeals preferred by the editorials from the two different socio-cultural settings. Finally, as newspaper editorials, the use of attribution was studied to find out how the editorials disclose the sources of their information to make it clear to their readers where they get their information from. The findings of the study revealed some differences and some similarities in the discourse strategies employed by the two editorials. The Daily Graphic as a newspaper published in an ESL setting in Africa exhibited the unique use of some discourse features that reflect the socio-cultural setting different from that of the New York Times as a newspaper published in the socio-cultural environment of Anglo-American English.
NRF

The journal América (Mexico City, 1940-1960) was founded as a leftist monthly focused on politically uniting Latin American and exiled Spanish youth and, by the end of its print life, was a semifrequent literary anthology sponsored by the Mexican government’s Secretaria de Educación Pública, publishing the early-career writings of Juan Rulfo, Rosario Castellanos, Rodolfo Usigli, and more. Despite its literary historical importance, the journal’s issues are not digitized nor are their contents publicly available; further, there is no library or archive that holds a complete collection of América’s issues. This index and editorial history catalogues the contents of sixty-nine of América’s seventy-four issues and gives a brief editorial and publication history of the journal.

This dissertation explores from an interdisciplinary point of view the textual impact of globalization processes and their concurrent transformation of the cultural industry in the Spanish-language novel of the late 20th and early 21st centuries. Here it is argued that the elimination of barriers to capital flows and foreign investment, in conjunction with changes in intellectual property laws and the implementation of new communication and information technologies, have led to the creation of multinational media conglomerates able to restrict the choices made by individuals on not only of what can be read, but also what can be listened to and watched. This work defends the idea that the metafictional frame found in works by the Chilean Roberto Bolaño (1953-2003) and the Spaniard Enrique Vila-Matas (1948) epitomizes a novel approach to transnational writing. In their narratives, both authors portray and resist globalization by proposing a bricolage of stateless literati scattered across the globe in search of enigmatic writers, tantamount in my interpretation to out of print or unpublished books. Coincidentally, both novelists began their career in the same independent publishing house, the Barcelona-based Anagrama, and were later published under major imprints. Moreover, these recognized novelists, both recipients of the prestigious Herralde and Rómulo Gallegos literary prizes, have become points of reference for the next generation of Latin American and Spanish authors.
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