Relevant bibliographies by topics / Feuilletonist

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Academic literature on the topic 'Feuilletonist'

Author: Grafiati
Published: 11 March 2023

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Journal articles on the topic "Feuilletonist"

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Mazurov, A. E. "Feuilletons by F. V. Volkhovsky (Ivan Brut) in the “Siberian newspaper”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 78–89. http://dx.doi.org/10.25205/2410-7883-2020-2-78-89.

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F. V. Volkhovsky lived in Tomsk since 1881. Almost immediately he began to actively cooperate with the “Siberian newspaper” and eventually became its leading feuilletonist. During his work, Volkhovsky published 89 feuilletons on its pages, more than half of the edition’s feuilletons. A huge role in the formation of the poetics of feuilletons by F. V. Volkhovsky is played by “literary masks” with characteristic features of his biography and personal qualities. The work of F. V. Volkhovsky with the images of feuilletonists is best manifested in the image of Ivan Brut. It is in the feuilletons of Ivan Brut that the dialogicity is manifested, which was not previously characteristic of the author, and also the diversity of satire is revealed even deeper – in the materials there are many characters with whom the feuilletonist discusses the phenomena of social life. Ivan Brut is the most frequent image of the feuilletonist used by F. V. Volkhovsky – 22 feuilletons have been written under this pseudonym. The purpose of this study is to clarify the features and meaning of the feuilletonist’s image in the materials of F. V. Volkhovsky on the example of the narrator Ivan Brut (1883–1888). As a result of the research, the author comes to the conclusion that Ivan Brut was perhaps the brightest character in the artistic and journalistic history of the first private newspaper in Western Siberia. This is the only full-fledged and thoughtful image of the feuilletonist – with his pedigree, biography and position, on many issues (in view of the democratization of the image) different from the author’s. Thus, Ivan Brut becomes not just a pseudonym, but a full- fledged co-author who constantly refers the reader to the same artistic images and thoughts. Despite a similar populist position with the author, Ivan Brut was able to “separate” from his personality and become a separate figure and a full-fledged member of the editorial board. The tradition of creating “literary masks” of feuilletonists was continued in the Tomsk newspaper “Sibirskaya Zhizn” (1894–1919), which to some extent was the “heir” of the “Sibirskaya Gazeta”. This technique expanded the satirical possibilities of feuilletonists, made it possible to involve readers in the literary game, and thereby increased interest in public problems that were discussed in the feuilletons. The image of Ivan Brut created by Volkhovsky in this respect turned out to be a kind of “reference point” for all subsequent generations of Tomsk feuilletonists of the 19 th – early 20 th centuries.
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Rybka, Małgorzata, and Marta Wrześniewska-Pietrzak. "„Czemuż nie zostawiłem tej kartki pustej?!” – obraz felietonopisarstwa i felietonisty w tekstach Macieja Stuhra pisanych dla „Zwierciadła”." Poznańskie Studia Polonistyczne. Seria Językoznawcza 23, no. 2 (December 4, 2016): 159–87. http://dx.doi.org/10.14746/pspsj.2016.23.2.10.

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The text presents linguistic image of a feuilletonist and writing a feuilleton in the texts written by Maciej Stuhr in “Zwierciadło” from January 2009 to April 2016. Analyses were conveyed according to the cognitive methodology and lead to the constructing the concept of writing a feuilleton that is combined with the problem of autotematism in the texts of Maciej Stuhr. The linguistic image of a feuilletonist is presented regarding the theory of autobiographism and the sender – reader relationship. The mentioned elements have enabled the authors of this article to read the entire image of a feuilletonist and present basic types of sender – reader relationship that characterizes Maciej Stuhr as a journalist – feuilletonist that is aware of his writing workshop.
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Hárs, Endre. "Ein Wiener Feuilletonist geht auf Urlaub. Ludwig Hevesis Die Althofleute. Ein Sommerroman (1897)." Neohelicon 45, no. 1 (April 16, 2018): 17–33. http://dx.doi.org/10.1007/s11059-018-0430-4.

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Fedotova, Svetlana V. "“A curious fellow”: Letters of Z.N. Gippius and D.S. Merezhkovsky to K.I. Chukovsky (1907–1920)." Literary Fact, no. 20 (2021): 31–81. http://dx.doi.org/10.22455/2541-8297-2021-20-31-81.

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The corpus of letters of D.S. Merezhkovsky and Z.N. Gippius to K.I. Chukovsky is published for the first time, which allow us to reconstruct the little-known story of the relationship between the writers-Godseekers and the critic- feuilletonist. Even in the absence of reciprocal letters, the epistolary is of great historical and literary interest, especially its first part, which documents the initial stage of Merezhkovsky’s personal communication during his first Parisian emigration with the young Chukovsky, as well as the circumstances and conditions for the emergence of their friendly interaction. The second part confirms the factual accuracy of Chukovsky's revolutionary diaries and is of great importance for the reconstruction of the biography of Merezhkovsky pre-emigration period.
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Proshchenko, Anastasia. "F. M. Dostoevsky in the Biased Opinions of the Feuilletonist and Critic V. P. Burenin." Неизвестный Достоевский 8, no. 3 (September 2021): 107–35. http://dx.doi.org/10.15393/j10.art.2021.5561.

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The influence of the critic V. P. Burenin on the public life of the 1860s — 1880s is great: his popularity was comparable to that of V. G. Belinsky in the 1840s. According to B. B. Glinsky, everyone has secretly read Burenin's feuilletons, even those who despised the newspaper Novoe Vremya (New Time) and personally hated its critical columnist for the sharpness and rudeness of his polemical style. The article examines the evolution of the critic's views of F. M. Dostoevsky’s work and his role in Russian journalism and literature. In the initial period of his activity, V. P. Burenin tended to adhere to common moods and assessments, and scolded Dostoevsky. Gradually, he realized the scale of Dostoevsky's writing gift. Already a famous and influential author of the Novoe Vremya (New Time), V. P. Burenin became a great admirer, friend and defender of the writer. He was one of the few critics who appreciated the Writer's Diary. After Dostoevsky's death, Burenin maintained good communication with the writer's widow. Their correspondence makes it clear that A. G. Dostoevskaya considered Burenin her colleague in preserving the legacy of her late husband. The letters contain previously unknown information, namely, that the correspondence of the Novoe Vremya (New Time) about the fire in Staraya Russa were penned by A. G. Dostoevskaya herself, as well as some other information about Dostoevsky and the fate of his legacy.
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Majewska, Magdalena. "Językowo-kulturowy obraz męskości w felietonach Tomasza Raczka." LingVaria 14, no. 27 (May 31, 2019): 67–76. http://dx.doi.org/10.12797/lv.14.2019.27.04.

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The Linguistic and Cultural Image of Masculinity in Tomasz Raczek’s FeuilletonsIn this paper, the author presents the linguistic layer of Tomasz Raczek’s feuilletons published in the “Wprost” weekly. Analysed are the various linguistic means, phraseologisms, and lexemes occurring in Raczek’s texts, which showcase masculine and non-masculine social attitudes, and thereby the subjective value system represented by the author of the “Ekran osobisty” (‘Personal screen’) series of feuilletons. Moreover, the paper presents the narrative strategies of Raczek’s feuilletons, revealing the linguistic and cultural image of masculinity in Raczek’s texts: the culture of intertextuality and conceptual metaphors.
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Ujvári, Hedvig. "Meilensteine der journalistischen Karriere von Theodor Herzl vor der Neuen Freien Presse •." Hungarian Studies 34, no. 2 (July 6, 2021): 223–38. http://dx.doi.org/10.1556/044.2020.00021.

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AbstractTheodor Herzls Name ist in erster Linie mit dem Zionismus und der Grundlegung dessen, was als Judenstaat bezeichnet wurde, verknüpft. Der gebürtige Ungar, der später in Wien studierte und sesshaft wurde, war allerdings in seiner Jugend weit davon entfernt und hegte noch ganz andere Pläne. Er wünschte sich anstelle einer juristischen Karriere vielmehr eine Laufbahn als erfolgreicher Bühnenautor des Burgtheaters und/oder als Feuilletonist der Neuen Freien Presse. Seine Anstrengungen blieben nicht erfolglos. Während er als Dramatiker eher als gutes Mittelmaß galt, etablierte er sich zuerst als Paris-Korrespondent, letztlich als gefeierter Feuilleton-Autor der angesehensten Zeitung Wiens, der Neuen Freien Presse. Dort anzukommen war aber ein Weg, der fast eine ganze Dekade in Anspruch nahm. Die vorliegende Studie hat sich als Ziel gesetzt, diesen bislang unerforschten, langen und oft nervenzermürbenden Prozess mit all den Versuchen, Ablehnungen, seelischen Tiefen, Hoffnungen und erneuten Anläufen darzustellen.
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Nesci, Catherine. "Feuilletons sans frontières ? Le « Monde » selon Delphine de Girardin." Études littéraires 40, no. 3 (February 15, 2010): 61–72. http://dx.doi.org/10.7202/039244ar.

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Cette étude des chroniques parisiennes que Delphine de Girardin publie au bas du journal La Presse, entre 1836 et 1848, vise à éclairer le décloisonnement des discours et le métissage des genres textuels que promeut la civilisation du journal dès le premier XIXe siècle. À l’époque, les feuilletons de Girardin firent l’objet de violentes attaques portant sur la mise en spectacle de la mondanité et les menaces qui pèsent sur les figurations genrées du journaliste, chez la feuilletoniste. L’analyse des images tendues de la distinction et celle de la mise en oeuvre de la polémique politique, dans le feuilleton, annoncent la refonte des discours et des représentations dans l’espace social et politique moderne.
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Fedotova, S. V. "Gender inversion in the ‘critique of a critic’. Zinaida Gippius on Korney Chukovsky." Voprosy literatury, no. 1 (April 5, 2022): 163–78. http://dx.doi.org/10.31425/0042-8795-2022-1-163-178.

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Examined in the article is an obscure feuilleton called ‘An immature critic’ [‘Nevzrosliy kritik’] (1914), penned by Anton Krayniy (Z. Gippius) with Korney Chukovsky in mind. The article sets out to identify the role of gender inversion in the feuilleton’s intended purpose and unique genre characteristics. Having analysed the semantics of two variants of the title and subtitle (‘A study in inverted commas’ [‘Etyud v kavychkakh’]), critical techniques and quotation strategies, the scholar finds that Gippius’ metacritical piece is a spoof. A female critic (in a male disguise) expounds on the ‘feminine soul’ of a male critic, employing his own techniques and making a witty use of a female stereotype according to Weininger (‘a prostitute’). It appears that the feuilleton’s initial title implied not just an individual characteristic of Chukovsky’s, but ‘journalistic prostitution’ in general and critical feuilletons in particular — a genre practised by Gippius as well. The final choice of the title stresses the distinction of Krayniy’s journalistic (‘masculine’) criticism from the aesthetic (‘feminine,’ ‘immature’) criticism espoused by Chukovsky.
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Fokin, Pavel E. "The Last Newspaper Fyodor Dostoevsky Read (Based on the Collections of Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and world culture. Philological journal, no. 4 (2020): 197–218. http://dx.doi.org/10.22455/2541-7894-2020-4-197-218.

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Throughout Dostoevsky's life, reading newspapers was one of the most important sources of his inspiration. Reading newspapers, Dostoevsky drew on real factual material that reflected both the characteristic phenomens of the postreform Russian reality and the most incredible “adventures” of lost human souls and hearts. Daily acquaintance with the latest news from Russian and world life was an essential necessity for Dostoevsky. Even while abroad, he regularly visited libraries to read the most recent Russian newspapers. Journalism was inherent in his type of thinking and personality. He began his literary career as a newspaper feuilletonist; in 1873–1874, he edited the Grazhdanin (The Citizen) weekly; in1876–1877, his monojournal A Writer's Diary was focused on Russian and European periodicals. In 1881, having completed his novel The Brothers Karamazov, Dostoevsky decided to resume the publication of A Writer's Diary. He prepared only one issue which came out on the day of his funeral. The manuscript collection of the Vladimir Dahl State Museum of the History of Russian Literature contains Anna Dostoevskaya’s collection that includes a memorial copy of the last newspaper read by Dostoevsky on the eve of his fatal illness, the Novoe Vremya (The New Time) newspaper, No. 1764 dated January 25 (February 6) 1881. This item is a valuable biographical material and allows one to put additional touches on the picture of Dostoevsky's intellectual life of his last days. The article provides an overview of the newspaper’s contents contextualized within Dostoevsky's spiritual, political, and aesthetic interests and particularly within the articles included in the first issue of The Diary of a Writer for 1881 and the preparatory materials for it.
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Dissertations / Theses on the topic "Feuilletonist"

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Du, Laney Michael A. "Joseph Roth's feuilletons as historiographical paradigm." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206388187.

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du, Laney Michael Anthony. "Joseph Roth's Feuilletons as Historiographical Paradigm." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1206388187.

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Prévot-Bombled, Noëlle. "Feuilletons, romans-feuilletons et pouvoirs sous la Monarchie de Juillet dans "La Presse" et "Le Siècle" (1836-1848)." Paris 4, 2003. http://www.theses.fr/2003PA040067.

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Ce travail propose une redécouverte des textes littéraires des grands auteurs de la Monarchie de Juillet, parus pour la première fois sous la forme de feuilletons dans La Presse et Le Siècle. Ces deux quotidiens, les plus importants entre 1836 - année de leur création - et 1848, offrent, en effet, un magnifique exemple de l'extraordinaire richesse de la littérature en feuilletons : romans, nouvelles, articles divers de critique dramatique, artistique ou littéraire, chroniques, poèmes et pièces de théâtre. Nous présentons ces textes en les confrontant aux archétypes de la littérature du 19e siècle et en analysant en même temps les rapports complexes qu'ils vont entretenir avec le monde de la presse et le pouvoir politique
The purpose of this doctorate research is to rediscover literary works of very important French authors published as serials in La Presse and Le Siècle during the July Monarchy. La Presse and Le Siècle thus revealed to many readers, between 1836 - the year of their first publication and 1848, the extraordinary value and richness of a wide range of serial literature such as novels, short stories, articles concerning dramatic, artistic and literary criticism, poetry and plays. We have chosen to present these literary works by comparing them with the most significant 19th century literature and by analysing their intricate ties with the press universe and the governing powers in place
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Koval, Yu. "Topics and issues of Pylyp Kapelhorodskyi's feuilletons." Thesis, Sumy State University, 2017. http://essuir.sumdu.edu.ua/handle/123456789/66238.

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The genre system of literary journalism quickly responds to current events and phenomena of public life. The beginning of the twentieth century was marked by many social changes in Ukrainian people’s life – First World War, the national liberation movement, the victory of Bolshevism and the establishment of the Soviet system. In the midst of political, cultural and religious changes satirical genres of literary journalism gave a reader an opportunity to orient in these processes.
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Koval, Yu. "Topics and issues of Pylyp Kapelhorodskyi's feuilletons." Thesis, Sumy State University, 2017. http://essuir.sumdu.edu.ua/handle/123456789/65302.

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The genre system of literary journalism quickly responds to current events and phenomena of public life. The beginning of the twentieth century was marked by many social changes in Ukrainian people’s life – First World War, the national liberation movement, the victory of Bolshevism and the establishment of the Soviet system. In the midst of political, cultural and religious changes satirical genres of literary journalism gave a reader an opportunity to orient in these processes. Feuilletons, pamphlets, parodies and comments were opinions on the problems of Ukrainian people.
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Van, Besien Hugues Dureau Jeanne-Marie Didelot Maurice. "Bibliographie des romans feuilletons du Nouvelliste de Lyon entre 1879 et 1914 /." [Villeurbanne] : [ENSB ], 1985. http://catalogue.bnf.fr/ark:/12148/cb410300994.

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Batista, Roselis. "La femme dans les telenovelas brésiliennes et mexicaines : entre stéréotypie et modernité." Rennes 2, 2002. http://www.theses.fr/2002REN20067.

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Analyse comparative, à travers un corpus de dix telenovelas des années 1980 et 1990, de la représentation de la femme dans les telenovelas brésiliennes et mexicaines. Ce genre hybride a un succès considérable dans tout le continent latino-américain, en particulier au Brésil et au Mexique. Cette fiction n'utilise pas que des stéréotypes. Elle a deux formes que nous avons appelées "traditionnelle" et "réaliste-moderne". Il y a un grand écart entre la thématique classique du feuilleton télévisé mélodramatique - amour t souffrance - et celle de la telenovela réaliste-moderne, où la femme interagit avec les contextes sociaux, culturels voire politiques. La seconde est plus caractéristique de la production brésilienne, qui ne laisse pas pour autant de côté l'amour, la féminité, la maternité, le bonheur du couple. L'étude a essayé de cerner le rapport à la stéréotypie de ces deux productions, à travers les différences dans la construction des récits, les statuts sociaux des personnages féminins et leur rapport aux modèles de la féminité. Cette pluralité d'approches a permis de conclure que les telenovelas brésiliennes et mexicaines, sous des apparences proches, relèvent de deux expériences télévisuelles et culturelles assez diférentes
This research is a comparative analysis of the representation of Brazilian and Mexican women through a compilation of ten telenovelas from the eighties and the nineties years. This hybride kind of fiction has a considerable success in the Latin American continent chieffly in Brazil and Mexico. Stereotype is not the only feature telenovela provides for its characters. It can be divided into two groups that we have called the "traditionnal" and the "modern realistic". There is a good distance between the classical subjects of melodramatic television novel - love and suffering - and the ones of realistic telenovelas where the woman interacts with social, cultural and even political contexts. The second one is a Brazilian typical creation for all that love, feminity, motherhood and happiness in the couple are not forgotten. This research presents the relation with stereotype in this two variations of telenovelas in their narrative construction, in their social status of femenine characters, as well as their own relations to feminity patterns. To conclude we realize that Brazilian and Mexican telenovelas seemed to be quite similar but they are culturally different also as the result of two special television experiences
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Benassi, Stéphane. "Télévision et sérialité : éléments pour une typologie des genres fictionnels télévisuels." Metz, 1998. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1998/Benassi.Stephane.LMZ9802.pdf.

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L'objectif général de cette thèse est de livrer une approche de la notion de sérialité dans le media télévision, en prenant pour point de départ les récits fictionnels télévisuels, programmes qui apparaissent comme étant les plus ouvertement assujettis aux phénomènes en série (sérialisation) et de mise en feuilleton ( feuilletorisation). Pour cela, nous avons tenté dans une première partie, d'établir une typologie des genres fictionnels télévisuels, en partant des classifications génériques endogènes (celles des instances émettrices) et des classifications génériques exogènes (celles des instances réceptrices) déjà existantes. Les différentes observations que nous avons pu faire nous ont permis de constater que les fictions conçues pour la télévision pouvaient connaitre trois formes de déterminations successives. Tout d'abord, elles sont classables en deux types idéaux, selon qu'elles sont singulières ou plurielles. Ensuite, elles peuvent être reparties en fonction de leurs formes syntaxiques dans les trois formes naturelles de la fiction télévisuelle que sont le téléfilm, le feuilleton et la série. Enfin, il est également possible de les regrouper dans plusieurs genres et sous-genres fictionnels, en fonction de leur degré d'affection sérielle et feuilletonesque, ainsi que du type d'image qu'elles mobilisent. Dans une seconde partie, nous nous sommes livres à une exploration généalogique et transmediatique des récits fictionnels en examinant l'évolution des deux formes sémiotiques que sont le feuilleton et la série au fil de leur développement mediologique. Cela nous a permis de voir que les fictions télévisuelles provenaient de catégories internes et de catégories externes, tout en suivant une double logique : une logique de flot et une logique éditoriale, cette dernière n'échappant que rarement a une sorte de contagion sérielle due à la modularisation ou à la paradigmatisation des produits de logique éditoriale. D'autre part, il semble que la présence parmi les genres fictionnels d'hybridations entre modes de représentation fictionnel factuel et virtuel puisse également être considérée comme une innovation propre à la fiction télévisuelle. Enfin, il semble qu'une approche sémio-pragmatique de la fiction télévisuelle ne pouvait se faire sans la prise en compte de sa dimension économique
The general aim of this thesis is to give an approach to the notion of seriality wittrin the television medium, taking as a starting point the fictional televised narrations, programmes which appear to be subject, most overly to the phenomena of mise-en-serie (serialisation) and of mise-en-feuilleton (episodisation). To achieve this aim, we have tried in the first part to establish a typology of the televised fictional genres, taking as a starting point the endogenous generic classifications (i. E. The transmitting authorities) and the exogenous generic classifications, (i. E. The receiving authorities), both categories already existing. The different observations that we have been able to make, have allowed us to see that the fictions created for television could be separated into three forms of successive determinations. Firstly, they are classifiable into two ideal types, according to their number (whether they are singular or plural). Then, they can be divided up according to their syntactic forms into the tree main forms of televised fictions : the tv movie, the episodes and the series. Finally, it is also possible to put them together into several fictional genres and sub-genres, according to their degree of serial and episodesque affection, as well as the type of picture that they summon up. In the second part, we have worked on a genealogical and trans-media exploration of the fictional narrations, while examining the evolution of both semiotic forms that are the episodes and the series following their mediological development. This has allowed us to see that the televised fictions come from inner and outer categories, while following a twofold logic : a logic of stream and an editorial logic, the latter seldomly escaping from some sort of serial contagion due to the modularisation or to the paradigmation of products following an editorial logic. On the other hand, it seems that the presence among the fictional genres of hybridization between methods of fictional, factual and virtual representation, may also be considered as a innovation suited to the televised fiction. Lastly, it seems that a semio-pragmatic approach to the televised fiction could not be done without taking into account its economic dimension
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Thevenet, Stéphane. "Les feuilletons télévisés sentimentaux sud-coréens : histoire et analyse d'un genre télévisuel (1992-2005)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030169.

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Cette thèse est une approche du feuilleton télévisuel sentimental sud-coréen de prime time, connu sous le nom de k.drama (korean drama) à l’étranger, en tant que genre fictionnel télévisuel. Dans une première partie présentant l’évolution du système télévisuel sud-coréen, nous montrons comment ce dernier s’est construit autour de la concurrence des chaînes généralistes KBS et MBC avec une nette accélération du phénomène à la suite de la fondation de la chaîne commerciale SBS, puis avec le début d’un phénomène d’engouement pour les contenus audiovisuels coréens en Asie (Vague coréenne). Après une présentation générale du feuilleton télévisuel en Corée (drama) à travers sa typologie et son histoire, nous procédons à une étude de la programmation de prime time entre 1992 et 2005, presque entièrement consacrée à la diffusion de dramas et constatons la place importante de fictions sentimentales courtes appelées « miniseries » par les diffuseurs et« trendy drama » par les spécialistes. Ensuite, nous interrogeons ces deux termes génériques, les rapprochons et concluons sur leur incongruité. Après cette première approche définitoire, nous analysons un corpus de quinze dramas diffusés pendant la période d’étude et sélectionnés parmi les plus représentatifs et les plus populaires.Cette analyse qui a pour but de mettre sur pied une formule générique, nous conduit dans un premier temps à rapprocher l’histoire de celle du roman sériel sentimental avec une spécification quant à la localisation et au nombre de fils narratifs secondaires. Ensuite une analyse du récit permet de montrer son caractère extrêmement fluide et ancré dans le temps présent. La troisième partie portant sur la mise en images et en sons du récit permet de souligner le soin apporté au choix des images et des musiques et de confirmer l’accentuation sentimentale.Une dernière partie consacrée à la médiatisation du récit audiovisuel porte sur le phénomène d’hybridation, le caractère genré du contenu et l’aspect commercial appuyé du drama dont la spécificité réside dans le placement de produits
This study investigates the genre of Prime Time South Korean Romantic TV serials (TV dramas),known as k.drama abroad. The first section introduces the history and evolution of the Korean television system.It shows how the system emerged from the influence of general-interest TV channels, such as KBS and MBC,but especially took shape after the foundation of the private TV Channel SBS, which helped to trigger the crazefor Korean audiovisual content in Asia (Korean Wave). The second section describes the history and typology of Korean TV Drama, which sets up my analysis of the Prime-Time TV Schedule from 1992 to 2005. The analysis shows the predominance of TV Dramas and short romantic serials, called “miniseries” by distributors but “trendy dramas” by specialists. I then question those two generic labels, compare them and show their incongruity. After problematizing these labels, I conduct an analysis of fifteen Prime Time TV dramas airedduring the study period and selected because of their audience or representative aspects. By trying to discover ageneric formula, I show the similarities with serial literary romance but differences regarding location and number of secondary narratives. I then demonstrate that the narrative process contains some particular qualities,with a focus on the fluidity of the narrative and the representation of time (coincidence of narrative time withviewing time). The third section of the analysis of the generic process shows the attention to displaying musicand images with an emphasis on sentimental tone. The final section deals with the “mediatization” of theaudiovisual narrative. The process entails the hybridization of content, the consideration of gender in messagingand the strong emphasis on marketing which concentrates on product placement
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10

Karamanoukian, Taline. "Les figures de femme moderne dans les feuilletons de la télévision française, (1963-1973)." Bordeaux 3, 2011. http://www.theses.fr/2011BOR30047.

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Cette recherche a pour but d'étudier la construction de l’identité féminine moderne dans les feuilletons télévisés français entre 1963 et 1973, période pendant laquelle les questions d’émancipation féminine émergent dans la sphère publique et médiatique. Au cours de cette décennie, la télévision intègre le quotidien des foyers et supplante le cinéma comme premier loisir populaire ; les feuilletons constituent alors un enjeu majeur de la production et de la programmation et sont parmi les programmes les plus regardés et les plus appréciés du public. Les feuilletons centrés sur une figure de femme moderne appartiennent à trois catégories : les feuilletons sentimentaux, les chroniques familiales « maternelles » et les chroniques sociales « féminines ». Destinées à un public familial, diffusées et financées (en grande partie) par une télévision d'Etat investie d'une mission de service public et d'un rôle de régulation sociale, ces fictions sérielles sont en phase avec les conceptions dominantes des normes sexuées et contribuent à leur élaboration. Cependant, elles s'adressent prioritairement aux femmes et doivent par conséquent tenir compte de leurs aspirations et de leur vécu. Entre respect des normes socio-sexuées et prise en compte des nouvelles réalités sociales, elles sont le lieu d’expression d’un féminisme populaire, travaillant à construire une version acceptable, pour la société de l’époque, de l’émancipation féminine
The aim of this research is to study the lead-up to the modern identity of women in French television series between 1963 and 1973, a time when issues regarding women’s emancipation were emerging in both the public and media spheres. During this period, most homes became equipped with televisions which replaced the cinema as the favourite public past-time; television series were therefore a major issue in production and programming and were among the most popular programmes that were watched and appreciated by the public. Serials that are centred around a modern woman fall into three categories: sentimental serials, family or “maternal” sagas and social “feminine” sagas. These fictional series, which are aimed at family audiences, are broadcasted and financed (for the major part) by state-run television, a mission of which includes public service and which has a role of social regulation, are in line with the dominating beliefs of sexual norms and contribute to their elaboration. However, they are essentially intended for women and consequently must take into account their hopes and experiences. Since they fall between respect for social-sexual norms and new social realities, these programmes provide a platform to express popular feminism, working towards building a version of women’s emancipation that would be acceptable for the society of the epoch
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Books on the topic "Feuilletonist"

1

Pem. Pem, der Kritiker und Feuilletonist Paul Marcus. München: ET+K, Edition Text + Kritik, 2009.

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Dollner-Koln, Max. Kleine Mitteilungen aus der Heimatgeschichte: Feuilletonist. Erg.zur Entwicklungsgeschichte der Stadt Neustadt a.d.Aisch. Neustadt a.d.Aisch: Schmidt, 1986.

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Wilhelm Scherer (26.4.1841 - 6.8.1886): Essayist, Feuilletonist, Sprach- und Literaturwissenschaftler : Aufbruch der Goethe-Forschung. 3rd ed. Freiburg i. Br: Rombach Verlag, 2015.

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Nathan, Michel. Lautréamont: Feuilletoniste autophage. Seyssel: Champ Vallon, 1992.

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Pia, Pascal. Feuilletons littéraires. [Paris]: Fayard, 1999.

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Eduard, Korrodi. Ausgewählte feuilletons. Berne: P. Haupt, 1995.

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Morgenstern, Soma. Dramen, Feuilletons, Fragmente. Lüneburg: zu Klampen, 2000.

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Scherer, Hans. Feuilletons eines Globetrotters. Frankfurt am Main: Umschau, 1987.

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Scherer, Hans. Feuilletons eines Globetrotters. Frankfurt am Main: Umschau, 1987.

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Institut national de l'audiovisuel (France) and Documentation Française, eds. Feuilletons et séries. Paris: INA et La Documentation Française, 1987.

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Book chapters on the topic "Feuilletonist"

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Braun, Bettina. "»Der neue Feuilletonist in Deutschland marschiert auf der Straße mit«1. Die Konzeption einer ›deutschen‹ Textgattung in der zeitungswissenschaftlichen Forschung Wilmont Haackes." In Feuilleton, edited by Hildegard Kernmayer and Simone Jung, 79–104. Bielefeld: transcript Verlag, 2017. http://dx.doi.org/10.14361/9783839437223-005.

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Tadday, Ulrich. "Funktionale Aspekte des frühen Feuilletons." In Die Anfänge des Musikfeuilletons, 8–27. Stuttgart: J.B. Metzler, 1993. http://dx.doi.org/10.1007/978-3-476-03484-7_3.

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Pfoser, Alfred. "Die Wiener Feuilletonisten ziehen in den Krieg." In Krieg in der Literatur, Literatur im Krieg, 415–30. Göttingen: Vandenhoeck & Ruprecht, 2020. http://dx.doi.org/10.13109/9783666301988.415.

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Schütz, Erhard. "Unterm Strich. Über Grenzverläufe des klassischen Feuilletons." In Feuilleton, edited by Hildegard Kernmayer and Simone Jung, 31–50. Bielefeld: transcript Verlag, 2017. http://dx.doi.org/10.14361/9783839437223-002.

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Thériault, Barbara. "Anstelle eines Schlusswortes. Kulturkritik im Namen der Menschlichkeit. Siegfried Kracauer und das Feuilleton." In Edition Kulturwissenschaft, 193–208. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839465288-012.

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Barbara Thériault wagt in diesem Beitrag ein kleines Experiment: Sie bildet in voller Länge einen Artikel Kracauers aus der Weimarer Zeit ab: "Kampf gegen die Badehose". Indem sie den Text durch Fußnoten kommentiert, macht sie auf seine Kulturkritik aufmerksam. Sie beschreibt, was sein Verfasser gerade macht, verweist auf andere seiner Texte, bezieht Referenzen von Kennern ein und versucht ihn in unsere heutige Zeit zu übersetzen. So wird auf die Themen Kracauers eingegangen, auf die Kritik der Verdinglichung und auf die Betonung der menschlichen Würde, auf die Aufgabe von Intellektuellen und auf die Praxis des Feuilletons.
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Sahner, Simon. "Unter dem Radar der Feuilletons - Gegenbewegung zur Gruppe 47." In Lettre, 13–30. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460146-001.

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Michael, Hendrik. "Between Feuilletonism and Social ReportageHans Ostwald's Literary Journalism in Berlin's Popular Press Around 1900." In The Routledge Companion to World Literary Journalism, 29–40. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429331923-3.

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Kernmayer, Hildegard. "Genre mineur oder Programm der literarischen Moderne? Zur Ästhetik des Wiener Feuilletons." In Literarisches Leben in Österreich 1848–1890, 395–413. Wien: Böhlau Verlag, 2000. http://dx.doi.org/10.7767/9783205126232-012.

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Schlösser, Hermann. "Der Einzug des Feuilletons in die kaiserlich privilegierte Wiener Zeitung. Eine pressegeschichtliche Fallstudie." In Literarisches Leben in Österreich 1848–1890, 414–30. Wien: Böhlau Verlag, 2000. http://dx.doi.org/10.7767/9783205126232-013.

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Schönborn, Sibylle. "Selbstreflexion und Poetik der Kritik und des Feuilletons am Beispiel der Kritiken und Essays Max Herrmann-Neißes." In Feuilleton, edited by Hildegard Kernmayer and Simone Jung, 181–96. Bielefeld: transcript Verlag, 2017. http://dx.doi.org/10.14361/9783839437223-009.

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Conference papers on the topic "Feuilletonist"

1

Goudmand, Anaïs. "Ethos et posture du feuilletoniste :interventions d’auteur dans Les Mystères de Paris." In Posture d'auteurs: du Moyen Âge à la modernité. Fabula, 2014. http://dx.doi.org/10.58282/colloques.2344.

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Mazurov, Aleksandr E. "“Survey” feuilletons of a mere mortal (F. V. Volkhovsky) in the “Siberian newspaper” (1885–1887)." In Communication and Cultural Studies: History and Modernity. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1258-1-57-64.

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