Dissertations / Theses on the topic 'Journalism in art'

English
Ph.D.
Can journalism be avant-garde? This question arises from the body of work produced by the New Journalists, whose leading figures include Truman Capote, Tom Wolfe, Joan Didion, and Norman Mailer. Today, this question is urgent for considerations of the journalist’s role within a political landscape increasingly hostile to the news media. Yet it is a question that has not been sufficiently explored in the field of literary study. Scholars of literary journalism have identified the features of an experimental journalism, traced its historical origins, and made claims about how to situate the New Journalism generically. While important, this scholarship overlooks the relationship between experimentation with conventional journalistic form and similar experimentations in other artistic fields. As a result, the stakes of the New Journalism’s experimentations with conventional reporting have not been sufficiently mined. In order to remedy this, I place the New Journalism within a broader history of avant-garde art. The agitation of mainstream journalistic practice undertaken by each of the writers above was spurred by a questioning of a foundational journalistic practice: objectivity. The New Journalists challenged the authority of fact and its capacity to represent the human condition. This challenge to objectivity drove an experimentation with journalistic form that produced a deeply innovative body of work; however, these innovations are not merely formal. They also call into question the epistemological assumptions that tether journalism to a phenomenal world assumed to be fully representable. Significantly, the challenges to objectivity posed by the New Journalists parallel the challenges to representation posed by avant-garde artists like Paul Cezanne and Karel Appel. My dissertation thus situates the challenges to journalistic form undertaken by the New Journalists within a broader history of artistic experimentation and demonstrates that the significance of these experimentations exceeds the fields in which they occur. These arguments provide a framework for understanding not only the formal innovations of avant-garde artists, but also the epistemological consequences, and ethical imperatives, inherent in these innovations. My understanding of avant-garde art is informed by the work of Jean-Francois Lyotard. Over the course of his career, Lyotard illuminated the philosophical dimensions of artistic innovation. For Lyotard, one of the hallmarks of avant-garde experimentation is its ability to confront and redress problems across a variety of discursive fields. That is, Lyotard values avant-garde experimentation because it responds to discourses beyond its own, and much of Lyotard’s writing about avant-garde art establishes connections between artistic innovation and broader issues of ethics, politics, and justice. Over the course of this dissertation, I demonstrate how the New Journalism participates in this tradition by asking questions about the role and responsibility of the reporter through the self-conscious development of an experimental journalistic aesthetic.
Temple University--Theses

The balance of the world has been built on various empires, kingdoms, civilizations and economic systems for centuries. This study is written in the belief that the center of the world rule started to change. The determiners are not the leaders or the systems anymore but the individuals themselves. People are aware of that their voice can easily reach to the rest of the world. For most of the people it is not onlysharing their ideas on various social networks but also playing an active role in the world order. Since every human being has different ways of expressing themselves, their active role will also differ from each other. This study focuses on the active role of Art, which is one of the important ways when it is about self-expression. By this research, it is aimed to find answers to the following questions: "How can art be effective in the change of the world?" and "In what point activist art differs from propaganda?"

This project aims to determine if and how the relatively new journalistic tool of Twitter is impacting journalistic decision-making and news production as a legitimate tool amongst sports writers. Using the methods of qualitative textual analysis and in-depth interviewing, this project analyzes the words and tweets of nine journalists at prominent U.S. newspapers in an attempt to fill a void in research among the topics of journalistic decision-making, sports journalism, and Twitter and to answer questions that arise from the marriage of a certain type of journalism and a particular new media platform.

Thesis (PhD)--Stellenbosch University, 2011.
ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies.
AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie. Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het. Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd om hegemonie te skep en teen te werk. Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering, aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente kunsjoernaliste aangelê. Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde “kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en- Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns. Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika. In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die veld van joernalistiek-studies kan verryk.

This practice led thesis is an exploration of the ways in which theory can inform practice in documentary filmmaking. Section 1 of the thesis provides an embedded review of literature in order to offer the reader a critical evaluation of the theoretical debates that have informed my documentary practice. This section analyses issues associated with definitional debates on documentary film, while also addressing the formal features associated with what Bill Nichols (1991; 2001) called modes of documentary. The work of particular filmmakers will be discussed, namely Dziga Vertov, Jean Rouch and the city symphony makers of the early 20th century, in relation to how their ideas and film work have had a major impact on my own approach to filmmaking. Section 2 is the practical portfolio of work itself and acts as an exploration of theory within a practical context. The audio-visual texts include, A Film About Nice (2010), a dawn-to-dusk city symphony, which focuses on capturing the everyday life of a European city. It echoes the tradition of the City Symphony makers of the early 20th Century, however the significant difference here is that I explore some of the visual techniques adopted by the filmmakers and explore them within a sonic context. This film can be seen as an exploration of the impact rhythm has on signification within film. Mechanized Deconstruction (2011) is a recording of a live performance at Documentary Now 2011. This was my first venture into producing documentary films within a live context, via the use of DJ/VJ technologies. There is a cine-poem, which acts as a collaborative approach to documentary, combining the work of the poet and the work of the filmmaker. It also acts an example of how some of the techniques I have developed during the live performance of documentary have had an impact on the documentary films that I have since produced. The Mill (2016) adopts a similar structure to The City Symphony, however this film can be seen as an Industrial Symphony, in that the focus here is on the rhythm, movement and the sonic dimension of the machine. In many ways this film can be seen as that which encapsulates the essence of the formalist approach I adopt when producing documentary films. Driven By Machines (2017) uses footage from The Mill and provides an example of how a filmmaker can de-familiarize actuality footage through post-production technique. This film acts as an ode to the abstract filmmakers such as Man Ray, Len Lye, Viking Eggelling and Hans Richter, all of who used actuality footage and abstracted this footage through manipulation techniques available to them at the time. In summary, Section 2 acts as an audio-visual explication of theory within a practical context. Section 3 is a critical reflection of the practical portfolio of work. Here I aim to explain how I have used certain filmmaking techniques as a way of exploring some of the theoretical concepts outlined in Section 1. This offers the reader an opportunity to gain insight into how theory can inform practice; as such the reader of my films is able to gain insight into authorial intention, therefore the reader is able to make a more informed analysis of my practical portfolio.

Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 10, 2008) Includes bibliographical references.

The cultural sensation known as the movida madrileña has been a subject of fascination since its origins in Madrid throughout the late 1970s and 1980s. This dissertation examines one of its most famous products, the journal La Luna de Madrid (1983-1988). This dissertation explores examples of illustration and photography throughout the journal's first seven issues, from November 1983-May 1984. Concentrating on the use of strategies from tourism promotion, this framework reveals how visual elements work with text to encourage readers to become tourists of modern Madrid.

Chapter One provides a background of how tourism images and messages have shaped perceptions of Spanish cultural identity from dictatorship to democracy, from the 1950s to the 1980s. Within this context, it is possible to understand the efficacy of tourism promotional tropes in portraying an attractive vision of Madrid in the journal's pages.

Chapter Two emphasizes how the movida represented the positive changes developing in Post-Franco Madrid, leading local and regional political leaders to employ this phenomenon in programs focused upon cultural revitalization and civic participation. This chapter argues that the movida not only appears as the main cultural tendency of interest within La Luna de Madrid , but that its treatment within the journal allows it to be viewed as an attractive tourism destination.

Chapter Three and Chapter Four provide close readings and in-depth visual analysis of certain repeated illustrated and photographic segments within La Luna de Madrid from November 1983-May 1984. By narrowing the research scope to these first seven months of publication, we can examine how patterns of viewing are established that encourage readers to contemplate selective historical and contemporary cultural trends in Madrid from the perspective of a tourist.

The combination of text and imagery at work in La Luna de Madrid reinforces the efforts of the various creative practices of the movida while giving readers opportunities to participate in this cultural scene. This dissertation argues that experiments with the visual and rhetorical tropes of tourism in La Luna de Madrid attempt to foster favorable impressions of the Spanish capital's past and present.

Scholars have heretofore under-examined William Makepeace Thackeray's early critical essays despite their potential for illuminating Victorian manners and life. Further, these essays' treatments of aesthetics, class, society, history, and politics are all influenced by the pecuniary aspects of periodical journalism and frequently expose socio-economic attitudes and realities. This study explicates the circumstances, contents, and cultural implications of Thackeray's critical essays. Compensatory payments Thackeray received are reconciled with his bibliographic record, questions regarding Thackeray's interactions with periodicals such as Punch and Fraser's Magazine answered, and a database of the payment practices of early Victorian periodicals established. Thackeray's contributions to leading London newspapers, the Times and the Morning Chronicle, address history, travel, art, literature, religion, and international affairs. Based upon biblio-economic payment records, cross-references, and other information, Thackeray's previously skeletal newspaper bibliographic record is fleshed out with twenty-eight new attributions. With this new information in hand, Thackeray's views on colonial emigration and imperialism, international affairs, religion, medievalism, Ireland, the East, and English middle-class identity are clarified. Further, Thackeray wrote a series of social and political "London" letters for an Indian newspaper, the Calcutta Star. This dissertation establishes that Thackeray's letters were answered in print by "colonial" letters written by James Hume, editor of the Calcutta Star; their mutual correspondence thus constitutes a revealing cosmopolitan - colonial discourse. The particulars of Thackeray's Calcutta Star writings are established, insights into the personalities and viewpoints of both men provided, and societal aspects of their correspondence analyzed. In his many newspaper art exhibition reviews Thackeray popularized serious painting and shaped middle-class taste. The nature and timing of Thackeray's art essays are assessed, espoused values characterized and earlier analyses critiqued, and Thackeray's role introducing middle-class readers to contemporary Victorian art explored. Other Thackeray newspaper reviews addressed literature; indeed, Thackeray's grounding of literature in economic realities demonstrably carried over from his critical thesiss to his subsequent work as a novelist, creating a unity of theme, style, and subject between his early and late writings. Literary pathways originating in Thackeray's critical reviews are shown to offer new insights into Thackeray novels Catherine, Vanity Fair, Henry Esmond, and Pendennis.

In the field of alternative journalism, my work seeks to build empathy and combat inequalities of representation within a specified community of viewer-participants. Through MA thesis work, I built flexible, minimalist design systems that succeeded by receding—by eliminating expressive elements and pushing contributor content (visual and literary work in a variety of styles) to the foreground. In response to the highly technological, reductive mindset that had come to dominate my creative life, I engaged in exploratory exercises that were antithetical to this prior work. Through expressive engagement with analog materials, I isolated the skill of making and responding to a range of personal marks that were free of the constraints associated with developing marketing materials or periodicals for a general audience. Slowed into a more contemplative mindset, I explored abstraction, symbolism and personal history in works that engaged on different levels, and became more open to discovering images through the process. I found that at the heart of my work—from clean, legible layouts for books and magazines to the most abstract, personal or expressive wall-hanging pieces—is a desire to connect, to bring about preferred (clearer, deeper) states of information transfer by fusing content, form, and viewer participation into moments of contemplative engagement. Whether in pictures, objects, publications, or the user interfaces and platforms of the future that are yet unknown, this understanding will help me respond to changing media environments with work that connects and resonates.

This thesis analyses the content, tone, form and authorship of the national newspaper gossip column 1918-1939, as a new means through which the qualities of the popular press in this period can be more closely defined. Often dismissed as an example of the sensational, Americanization of early twentieth-century popular culture, the celebrity gossip column has been loosely grouped with the friendly, informal language and bolder formatting of the ‘New Journalism’ of the late nineteenth century and the development of the dramatic ‘human-interest’ stories of ‘everyday life’ in the interwar period (LeMahieu, 1988; Wiener, 1988). Through a comparative study of six newspapers including the Daily Express, Daily Mail and News of the World, I analyse the changing representation of the celebrity subject, and, originally, the shifting character and persona of the gossip columnist. Whereas some historians have analysed the content of newspapers without considering the questions of the newspaper’s production, I analyse newspaper employment records, gossip columnists’ memoirs and their unpublished letters and diaries to define the specific economic, social and cultural circumstances which, I argue, influenced their public portrayal. Also, in examining the unpublished correspondence between editors, proprietors and columnists and the burgeoning print culture of journalistic training manuals and professional memoirs, I provide a history of the press’s professionalization in this period. The national popular press has often been used as a historical source to define national character and national identity in the interwar period (Bland, 2008; Kohn, 1992). By scrutinizing the content and production of the gossip column and particularly the class, behaviour, interactions and subject matter of the columnist, I argue that the gossip column presented a version of ‘Britishness’ that was not so inward-looking and domesticated as so many accounts of interwar Britain suggest.

This thesis assesses the role of the interview form within literature from the late nineteenth century to the present day. The project contends that the interview, although styling itself as a revealing, authentic, private confession, is a genre of life writing that deeply troubles the model of singular Romantic authorship that it simultaneously promotes. The thesis argues that the interview has been a key site for negotiating conceptions of authorship since its inauguration. Exploring issues of publicity, life writing and gossip, through nineteenth-century newspaper depictions of scandals (chapter one), I argue that the act of interview publication is a staging of the speaking self in the public sphere. In chapter two I triangulate discussions of journalism, celebrity and material modernism to argue that the characteristic modernist authorial persona, far from being revolutionary, avant-garde or iconoclastic, was in fact deeply retrograde. Chapter three examines how the interview operated as a negotiation of the study, the marketplace and the middlebrow in the 1930s, with reference to the popular Everyman magazine series “How Writers Work.” The development of an interrogative interview model in the postwar era forms the subject of chapter four, as I demonstrate how the backdrop of the Cold War transformed the ways in which writers as diverse as Ezra Pound and the Beat poets responded to the interview in their work. The penultimate chapter argues that the Paris Review interview offers a hitherto unrecognised link between New Criticism and New Journalism and can revitalise discussions around the historical institutionalisation of literary studies. Chapter six considers the interview’s prominent contemporary position within world literature as a purveyor of literary value and archive of global cultural memory. Overall, the project illustrates how central the interview has been in the cultural construction of authorship in the last 150 years.

The aim of this bachelor thesis was to examine how cultural art journalistic critique manifests on different digital platforms today. I chose to focus on film criticism as it not only tells a story about the movies but also about the society. The bachelor thesis also aims to examine if there are any differences in how amateurs and professional journalists frames film criticism and in extension the society. The research questions examined were:How are the reviews composition and content arranged? How does the reviews rhetoric get constructed? How do the writers approach appraisements in their texts and how do these get framed? Do the texts have an inclination towards the aesthetic or the journalistic paradigm? I used Hulténs mass media rhetoric analysis which is a form of qualitative media content analysis in order to find differences and similarities in the texts. By closely examining the reviews, I found that references to popular culture were of great significance in the field of journalistic film criticism. They do not only show the journalists habitus but also their position in the field and the fields doxa. The study shows that the amateurs often emulates and are inspired by the professional journalists. The amateurs also largely depend on the aesthetic paradigm whilst the professionals strives for an equiponderant relation to both paradigms. My conclusion is that the amateurs compose a heterodox rebellion towards the current doxa on the field and that the professionals reigns the field with their knowledge and their complex and critical portrayal of movies and the society.

Institution mythique du monde de la photographie, l’agence Magnum, fondée en 1947 par un groupe de photographes entrepreneurs, est plus qu’une coopérative. Dans l’histoire de la photographie de la seconde moitié du XXe siècle, c’est un modèle prestigieux pour l’ensemble de la profession, qui revendique son excellence et défend un canon d’images d’exception. Magnum ne serait-elle pas davantage une académie,institution éternelle et renommée, où l’on entre par cooptation ? Cette thèse propose, à partir de l’étude d’archives inédites, de retracer l’histoire de Magnum. Le prisme académique permet d’articuler l’évolution économique d’une entreprise, l’analyse des images produites, le récit des débats d’un groupe de photographes, l’histoire de leurs rêves collectifs.La première partie interroge les sources de l’académie, à commencer par la propagation du mythe Magnum et les dix premières années d’existence, lorsque l’agence fait corps avec le monde cosmopolite de l’après-guerre. La deuxième partie analyse le renouvellement académique de la fin des années 1950 à 1981, de la refondation d’une photographie engagée dans l’urgence mémorielle des années 1960,à la réponse cynique face au péril conformiste et commercial des années 1970, en passant par la dialectique coopérative qui déchire et réconcilie les membres. La troisième partie montre comment l’académie revendique son immortalité de 1981 à nos jours, s’imposant comme un monument patrimonial et une référence sur le web, et revient sur l’histoire des femmes à Magnum.Cette thèse met en lumière un chaînon méconnu de la production des photographies.Magnum est un point nodal qui définit la valeur économique des images, leur statut juridique, leurs usages commerciaux, journalistiques, documentaires et artistiques au sein de circuits de diffusion et de légitimation. Plateforme d’échanges partagée par plusieurs auteurs, Magnum invite à repenser, à l’heure de l’économie collaborative connectée, l’histoire et le rôle des « communs »
Founded in 1947 by a group of entrepreneurial photographers, Magnum Photos, amythic institution in the world of photography, is more than a cooperative.Throughout the second half of the 20th century, it remained a prestigious model for the whole profession, claiming its excellence and promoting a canon of exceptional images. More than a mere agency, may Magnum be seen as an academy, a prestigious institution whose access is controlled by peers? The concept of an “academy” brings together the economic evolution of a business, the analysis of the pictures produced,the account of numerous debates amongst photographers, and the story of their collective dreams.This dissertation offers to retrace Magnum’s history, based on the study of unpublished archives. The first part investigates the sources of the academy, starting with the dissemination of Magnum’s myth and the first ten years of existence, when the agency was at one with the post-war cosmopolitan world. The second part analyzes the academic renewal from the end of the 1950s until 1981. It explores there-rooting of concerned photography into the memory urge of the 1960s; thecooperative dialectics, which divided and reconciled Magnum members; and the cynical answer to the conformist and commercial threats of the 1970s. The third part demonstrates how the academy claims its everlasting fame from 1981 until today,establishing itself both as a heritage landmark and an online reference; it alsointerrogates the history of women within Magnum.This dissertation sheds new light on a little-known stage of photographs’ production.Magnum is a nodal point defining the economic value of images, their legal status,their commercial, journalistic, documentary and artistic uses within circulation and legitimating networks. As an exchange platform shared by many authors, it invites us to rethink, within the context of a digital and collaborative economy, the history and the role of the “commons”

Cette thèse analyse les processus de politisation et dépolitisation de films documentaires attachés à l'urbain stigmatisé et prend pour objet 42 films tournés dans les quartiers du Centre-ville Basilique à Saint-Denis et de la Joliette à Marseille entre 2000 et 2010. L'enquête s'appuie sur une série d'entretiens semi-directifs auprès des réalisateurs et d'analyses filmiques, ainsi que sur un ensemble de sources afférentes à l'activité promotionnelle ou théorique des réalisateurs. Au croisement des sociologies de l'art, du cinéma, du journalisme et des professionnels engagés, cette thèse vise à dresser les contours d'un espace documentaire en voie d'autonomisation. Elle propose une analyse des trajectoires sociales et professionnelles des documentaristes, des clivages qui le constituent et des collaborations nécessaires à la fabrique et la diffusion des documentaires. Elle est l'occasion de revenir sur nombre de représentations couramment accolées à cette pratique allant du rapport à la politique entendu au sens large, à la place accordée au réalisateur dans le processus de création et à la division entre cinéma et journalisme. En plaçant au centre les logiques de professionnalisation et les relations avec des acteurs, intervenants filmés et publics, étrangers à l'espace documentaire, ce travail reconsidère les conditions d'un engagement politique par et au travers des films
This thesis analyzes the process of politicization and de-politicization of documentary films that focus on stigmatized urban areas. It is based on 42 films made between 2000 and 2010 in the neighborhoods of Centre-ville Basilique in Saint-Denis and La Joliette in Marseille. This research draws from open-focused interviews with directors and content analysis of the studied films, as well as of other promotional or theoretical productions by the same directors. This thesis aims at understanding the structure and logics of a “documentary world” which is gaining structural autonomy towards other social fields. At the intersection of the sociologies of art, cinema, journalism and politically involved professionals, this study analyses the ambiguous positioning of the filmmakers when it comes to taking a political stand in the light of their social and professional backgrounds, of the professional collaborations that develop around the making and distribution of the films, and of the structural divisions organizing the documentary world. This approach allows us to question several dimensions of documentary film making that are often taken for granted: from the creative power of the director and his/her place in the creative process, to the opposition between cinema and journalism, and the relationship between documentary and politics generally speaking. By placing professionalization mechanisms and the relationships that directors develop with filmed participants and the public at the center of the study, this work sheds new light on the process of political commitment by and through cinematographic productions

Today’s journalism students are learning in a time in which new technology innovations, including online news sites, blogs, and social media, have become a prominent part of the journalism industry. Whether it’s newspapers, public relations, or broadcast, technology has become a part of every area of journalism. While several studies have focused on how journalism classes should be taught in lieu of this change, how students are learning and how they feel about this changing industry has yet to be shared. This research uses both a survey of 203 current, undergraduate pre-journalism students at a large, Southwestern university, as well as focus group interviews with several subgroups of 11 of those students. The results show, not surprisingly, that journalism students are heavy users of technology and social media. They also show that a majority of journalism students prefers consuming media online. However, although students use technology and social media frequently, and also consume media online, there is evidence that suggests that they would rather learn face-to-face with an instructor than take online classes. In addition, they feel positive about their future in the changing industry.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
The objective of this master‟s dissertation is to analyze the narrower and narrower relation between the so-called performance art and the communicational phenomena. In some examples which are part of the corpus of this study such as the Apartment Festival and the series Estranho, um cara comum , from Flávio Rabelo the classic dichotomies between the artist and the public, object of art and daily fact appear more and more hybridized. Considering the nature often unclassifiable of these manifestations, their presence on the cultural journalism is practically inexistent, as well as in the edicts to stimulate art. In this way, another type of hybridization is identified, different from the classic definition of performance which identified it as an example of miscegenation among different artistic languages. The hypothesis of the study is that the performance crosses the areas of art and communication in such a way as to question the limits between these two areas of knowledge. For the theoretical grid authors such as Boaventura de Souza Santos (2008), Giorgio Agamben (2009), Katz e Greiner (2005; 2010), Schechner (1970), Cohen (2002; 2004) and Thompson (2008) were studied. The methodology is supported on the bibliographical research and on the analysis of the examples mentioned above. The expected result is a modest collaboration to the theoretical discussion which has been maturing since the 70s in countries such as the United States and Germany, but is still incipient among us Brazilians
O objetivo desta dissertação de mestrado é analisar a relação cada vez mais estreita entre a chamada performance art e os fenômenos comunicacionais. Em alguns exemplos que fazem parte do corpus da pesquisa como o Festival de Apartamento e a série "Estranho, um cara comum", de Flavio Rabelo , as clássicas dicotomias entre artista e público, obra de arte e fato cotidiano parecem cada vez mais hibridadas. Tendo em vista a natureza muitas vezes inclassificável destas manifestações, a sua presença no jornalismo cultural é praticamente inexistente, assim como nos editais de fomento à arte. Neste sentido, identifica-se um outro tipo de fenômeno, diferente da clássica definição de performance que a identificava como um exemplo de hibridação entre diversas linguagens artísticas. A hipótese desta pesquisa é a de que a performance aproxima os campos da arte e da comunicação, de modo a questionar os limites entre estas duas áreas de conhecimento. Como grade teórica, foram estudados autores como Boaventura de Souza Santos (2008), Giorgio Agamben (2009), Katz e Greiner (2005; 2010), Schechner (1970), Cohen (2002; 2004) e Thompson (2008). A metodologia consiste em uma pesquisa bibliográfica e na análise dos exemplos que constituem o corpus da pesquisa. O resultado esperado é uma modesta colaboração com uma ampla discussão teórica que vem sendo amadurecida desde os anos 1970 em países como os Estados Unidos e a Alemanha, mas ainda se mostra bastante insuficiente no mercado editorial brasileiro

Thesis (M.A.)--University of Nevada, Reno, 2005.
"May 2005." Includes bibliographical references (leaves 105-109). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.

Este estudo trata da crítica de arte de Geraldo Ferraz durante o período das primeiras Bienais de São Paulo. Foi dada especial atenção aos artigos sobre as IV, V e VI Bienais, publicados no jornal O Estado de São Paulo. Através da pesquisa nos arquivos da Fundação Bienal (Arquivo Histórico Wanda Svevo), do Museu de Arte Moderna de São Paulo (MAM SP), do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), do Arquivo Edgard Leuenroth da Universidade Estadual de Campinas (AEL UNICAMP), do Centro de Documentação e Memória da Universidade Estadual de São Paulo (CEDEM UNESP) e do Arquivo do Estado de São Paulo, foram selecionados e analisados documentos em critica de arte. O crítico Geraldo Ferraz, proveniente do jornalismo e da literatura, contribuiu para difusão da crítica de arte e para o desenvolvimento do jornalismo na área da cultura. Na análise de sua trajetória como crítico, destacou-se a sua reflexão sobre a organização das Bienais e seus posicionamentos estéticos.
This paper regards the art criticism articles written by Geraldo Ferraz about the early Art Biennials in São Paulo. We focused our analysis in the articles written about the 4th, 5th and 6th Biennials, published by the newspaper O Estado de S. Paulo. We used articles, documents and other materials from the following institutions: Fundação Bienal (Historic Archive \'Wanda Svevo\'), Museum of Modern Art of São Paulo (MAM SP), Museum of Contemporary Art of São Paulo University (MAC USP), State University of Campinas\' Arquivo Edgard Leuenroth (AEL UNICAMP), Documentation and Archive Center of the State Universty of São Paulo (CEDEM UNESP) and Archives of the State of São Paulo. The art critic Geraldo Ferraz was an author and journalist, and his work contributed to the establishment of art criticism sections in Brazil\'s media, as well as the development of cultural journalism in the country. In this analysis of his career as a critic, the study highlights his reflections about the organization of the Art Biennials and its aesthetic postures.

Solutions journalism, rigorous reporting on responses to social problems, has gained great traction in the last decade. Using positive psychology theory, also known as the theory of well-being, this qualitative study examines the impact of reporting while using solutions journalism techniques. Applying the five pillars of positive psychology theory: positive emotion, engagement, positive relationships, meaning and accomplishment (PERMA), this study used interviews and content analysis to investigate how journalists are applying the tools of solutions journalism as well as what they hope to accomplish in the process. Findings revealed that the application of solutions journalism techniques produces hope and community engagement resulting in flourishing and positive change for individuals, communities and all involved in the reporting process.

The journalistic field is currently disrupted by digital networked technologies and by the rise of public participation. In the case of Hong Kong, the journalists' situation is complicated by the political uncertainties of the territory and the high economic pressures local journalists are facing. This research aims to understand how the legacy press and digital-only media in Hong Kong are patrolling and strengthening their professional borders in order to continue doing their work in this new environment. The journalistic field is analysed in relationship with four main themes: 1) technological convergence and actants, 2) public participation, 3) political pressures, and 4) economic imperatives. Anchored in Pierre Bourdieu's field theory and borrowing from Thomas Gieryn's concept of boundary-work, this comparative study highlights the historical developments that have led to the current configurations of the journalistic field. This empirical research is carried out while fully taking into account social and cultural characteristics of the territory, but especially of the journalistic field in Hong Kong. Apart from such an investigative effort, this research analyses where new actors (e.g. the audience through its participation) and recent technological developments are located within the broader journalistic field. Through a case-study method, relying on in-depth interviews, newsroom observations, and annual reports, this study points out to what extent legacy journalists and digital-only journalists adopt similar or different tactics to enforce their professional boundaries and how they adapt to a new environment brought forward by technological convergence, public participation, growing political and economic pressures. On the theoretical level, this research contributes with an inclusive re-conceptualization of the journalistic field and the concept of boundary-work.

This thesis describes a pretest - posttest study to increase the effectiveness of art journals at the high school level. The targeted population consisted of students in the ninth through twelfth grades in a middle class community, located in central Virginia. The visual art students were involved in the journaling (art workbook, sketchbook) process as a part of their curriculum. Following a pretest students were surveyed and adjustments were made from their input to make the art journals more effective. Often students were not picking up instructional cues introduced through demonstrations and art history integrated into the class structure. The researcher was concerned about the impact of standardized testing and the effect it was having on critical thinking. He hypothesized improved journaling techniques would facilitate the connection between class participation and student art projects.A review of the solution strategy revealed a need to adjust the number of pages required, provide more visual cues for research, and offer alternative two-dimensional design strategies. While these changes were made, the assessment tool was maintained as a consistent standard of measurement. Post intervention data indicated that adjustments to the journaling process significantly improved student's effective involvement and their scores.

Amb el títol de «Joventut» (1900-1906) i el darrer modernisme presentem la recerca sobre aquest setmanari que, a més de la tasca catalanista i cultural en sentit ampli empresa durant els seus set anys de vida, va impulsar, primer en paral.lel i després en solitari fins al 1914, l'edició d'obres dels més reputats autors catalans i estrangers. El nostre treball s'estructura en catorze apartats els quals, a banda del capítol I. ESTAT DE LA QÜESTIÓ, destinat a revisar els materials bibliogràfics més significatius que d'ençà de la fi de l'editorial i fins a l'actualitat han estudiat o valorat la tasca dels homes de «Joventut», segueixen a grans trets aquest doble vessant de reconstrucció de la història externa de la revista i de l'editorial, per a passar després a analitzar els àmbits més significatius que vertebren i donen caràcter a la publicació. En el capítol II. LA FORMACIÓ DEL NUCLI INTEL.LECTUAL DE «JOVENTUT», reconstruïm la prehistòria del grup, és a dir, com es coneixen, quines són les seves col.laboracions en l'àmbit literari i la seva primera temptativa periodística al capdavant de «Setmana Catalanista». En el capítol III.«JOVENTUT» (1900-1906): DESCRIPCIÓ I FUNCIONAMENT, es comenten els inicis del setmanari, la composició del cos de redacció i els col.laboradors; la descripció més general de la revista; els motius que addueix la Redacció per posar fi al setmanari; i aspectes relatius al seu finançament i a la seva política comercial. En el capítol IV. LA BIBLIOTECA JOVENTUT (1901-1914), oferim una descripció general i completa de la tasca desenvolupada per l'editorial. En un segon bloc, comprès dels capítols V a l'XI, focalitzem l'atenció en el comentari analític, i contrastat amb la bibliografia, dels diferents àmbits temàtics en què «Joventut» estructura els seus continguts. Així, en el capítol V. EL DISCURS DE LA MODERNITAT, analitzem des d'un enfocament ampli, tres camps d'actuació en què el setmanari orienta els seus esforços de renovació: la construcció d'un espai liberal i de progrés en el si de la Unió Catalanista, el distanciament respecte a Espanya i la presentació d'alguns aspectes característics de l'obertura a Europa (feminisme, conreu de la ciència...). En el capítol VI. LA CREACIÓ I LA CRÍTICA LITERÀRIES, ens enfrontem a un complex i eclèctic panorama de les lletres, que analitzem des d'una triple perspectiva que segueix un eix cronològic: a) l'estudi de la recepció de la literatura vuitcentista i el debat sobre la funció dels Jocs Florals en els primers anys de segle )0C; b) el reflex de l'eclecticisme estètic com a paradigma de la modernitat contemporània, enfocant l'anàlisi per gèneres i singularitzant, en el cas de la poesia i de la prosa, l'estudi concret de la recepció de Joan Maragall, de Joaquim Ruyra i de Víctor Català; i c) la lectura dels clàssics a «Joventut», en la confluència amb el noucentisme emergent. En el capítol VII. LA CRÍTICA TEATRAL, emprenem l'estudi d'aquesta secció, al capdavant de la qual Emili Tintorer s'encarregà de fer balanç de la situació del teatre català, de formular propostes de futur per tal de regenerar l'escena catalana i modernitzar-la, i es va responsabilitzar de la recepció crítica de les obres dramàtiques representades a Barcelona. En el capítol VIII. LA CRÍTICA MUSICAL, en primer lloc, analitzem el perfil del primer i principal responsable, Joaquim Pena, i resseguim les seves aportacions crítiques i el grau d'intervenció del setmanari en la creació i l'impuls de l'Associació Wagneriana; i, en segon lloc, abordem l’evolució de la secció de crítica musical, després de la baixa de Pena, quan aquesta passa a mans de Jeroni Zanné i d’altres col·laboradors. Semblantment, en el capítol IX. ART: CREACIÓ I CRÍTICA, analitzem la tasca dels diversos directors artístics del setmanari (Alexandre de Riquer, Joan Brull i Sebastià Junyent, principalment), i comentem la posició de «Joventut» sobre el modernisme artístic, els debats sobre art, catalanisme i moral, i la defensa de l’art antic i del patrimoni, entre altres qüestions. Els dos apartats següents centren l’atenció en l’àmbit lingüístic. En el capítol X. EL DECIDIT IMPULS A L’ESPERANTO, analitzem la important feina de divulgació que el setmanari va emprendre, a partir de 1905 i de la mà de Frederic Pujulà i Vallès, a favor del coneixement i l’ús d’aquesta llengua internacional. I, finalment, tot i que no respon com en els altres casos a l’estudi d’una secció, en el capítol XI. «JOVENTUT» I LA LLENGUA CATALANA, tractem la defensa aferrissada de l’ús de la llengua catalana en tots els àmbits i les diverses opinions i controvèrsies a l’entorn de la llengua normativa. L’apartat d’estudi estricte del setmanari «Joventut» es completa, després dels obligats capítols XII. CONCLUSIONS i XIII. SELECCIÓ BIBLIOGRÀFICA, amb el capítol XIV. ANNEXOS: a) Índexs: General d’autors i col·laboracions anònimes, Matèries i complementari de noms, Alfabètic d’autors de poesia, Alfabètic d’autors de narracions, Poemes, Narracions, Obres teatrals, Il·lustradors, Autors traduïts, Traductors, Llibres ressenyats, Crítics i obres ressenyades, Revistes ressenyades, Crítica teatral i Crítica musical; b) Textos inèdits i articles; c) subscripcions, censos i llistes diverses; i d) Documents gràfics.
Our research entitled «Joventut» (1900-1906) and the last modernism is about this weekly publication which, besides the Catalanist and cultural task carried out in a broad sense during its seven years of existence, it also promoted, firstly in parallel and later by itself, the edition of literary works by the most highly reputed Catalan and foreign authors. Our research work is organised in fourteen parts which, with the exception of Chapter 1, deal with the twofold perspective of the reconstruction of the external history of the weekly paper and the editorial department. This is followed by the analysis of the most meaningful fields that are essential and also provide its own character to the publication. Differently, Chapter I. THE STATE OF THE QUESTION (L'ESTAT DE LA QUESTIO) is intended to examine the most relevant bibliographic materials that have studied and valued the job of the editors of «Joventut» from the end of the publishing house to the present time. In chapter II. THE FORMATION OF THE INTELLECTUAL CORE OF «JOVENTUT» (LA FORMACIO DEL NUCLI INTELLECTUAL DE «JOVENTUT»), we reconstruct the prehistory of the group, that is to say, how they meet, what their collaborations in the literary field are, and their first journalist attempt when being in charge of the publication «Setmana Catalanista». In chapter III .«JOVENTUT» (1900-1906): DESCRIPTION AND OPERATION («JOVENTUT» (1900-1906): DESCRIPCIO I FUNCIONAMENT), we mention the beginnings of the weekly paper, the composition of the editors team and the collaborators; the general description of the publication; the reasons that the Editors claimed to put and end to the magazine; and the aspects related to their funding and their commercial policy. In chapter IV. THE LIBRARY JOVENTUT (1901-1914) (LA BIBLIOTECA JOVENTUT) we provide a general and complete description of the task carried out by the publishing house. In a second section, which includes chapters V to XI, we focus our attention on the analytic commentary, and corroborated with the current existing bibliography, of the different thematic fields that «Joventut» arranges its contents. In this way, in chapter V. THE DISCOURSE OF MODERNITY (EL DISCURS DE LA MODERNITAT), we analise, from a broad point of view, the three different domains that the weekly publication took into account in order to become updated: the construction of a liberal space and also a space of progress in the bosom of the plotical party Unio Catalanista, the rift from Spain and the introduction of some common features of the opening to Europe (feminism, a growing interest for science...). In chapter VI. THE LITERARY CREATION AND CRITICISM (LA CREACIO I LA CRITICA LITERARIES), we face a complex and eclectic literary scene, which we analise from a triple point of view, following a timeline: a) a study of the literature of the 19th century and the debate about the purpose of the Floral Games (Jocs Florals) in the early years of the 20th century; b) the reflex of the aesthetic eclecticism as a paradigm of the contemporary modernity, focusing on the analysis of literary genres and emphasizing, concerning poetry and prose, the specific study of the reception of works by Joan Maragall, Joaquim Ruyra and Victor Catala; and c) the reading of the Classics in «Joventut», in the convergence with the emerging Noucentism. In chapter VII. THE THEATRE CRITICISM (LA CRITICA TEATRAL), we undertake the study of this part of the publication, with Emili Tintorer as the one in charge of it and the one who evaluated the situation of the Catalan theatre, making proposals for the future so as to regenerate the Catalan scene and modernise it. He was also the responsible of the criticisms of the plays performed in Barcelona. In chapter VIII.THE MUSIC CRITICISM (LA CRÍTICA MUSICAL), we firstly examine the profile of the first and main responsible critic, Joaquim Pena, and we consider his judgements to this type of criticism and the level of contribution of the weekly publication to create and promote the Wagnerian Association; and, secondly, we deal with the development of the section of music criticism, after Pena left the team, when Jeroni Zanné and other collaborators took charge of this section of the publication. Similarly, in chapter IX. ART: CREATION AND CRITICISM (ART: CREACIÓ I CRÍTICA), we analise the task of the different artistic directors of the weekly publication (Alexandre de Riquer, Joan Brull i Sebastià Junyent, mainly), and we comment on the position of «Joventut» about the artistic modernism, the debates about art, catalanism and morals, and the defence of the ancient art and the heritage, among other issues. The next two parts concentrate on the linguistic field. In chapter X. THE DETERMINED BOOST TO ESPERANTO (EL DECIDIT IMPULS A L’ESPERANTO), we analyse the important job of dissemination that the publication undertook, from 1905 and at the hands of Frederic Pujulà i Vallès, in favour of the knowledge and use of this international language. And, finally, although it doesn’t belong to any section of the weekly paper as the previous ones, in chapter XI. «JOVENTUT» AND CATALAN («JOVENTUT» I LA LLENGUA CATALANA), we review the strong defence of the use of Catalan in all the fields and the different opinions and controversies around the normative language. After the compulsary chapters XII. CONCLUSIONS and XIII. REFERENCES (SELECCIÓ BIBLIOGRÀFICA), we conclude our study of the weekly publication «Joventut» with chapter XIV. ANNEX: a) Indexes: General index of authors and anonymous collaborations, Subjects and supplementary names, Alphabetical order of authors of poetry, Alphabetical order of authors of Narrations, Plays, Illustrators, Translated Authors, Translators, Reviews of Books, Critics and Review of Literaty Works, Reviews of weekly publications, Theatre and Music criticism; b) Unpublished texts and articles; c) Subscriptions, census and different types of lists; and d) Graphic documents.

Although research has been conducted on journaling, spirituality and art making separately, few studies investigate the potential for these modalities when combined together in a therapeutic context. This investigation explored the way that combining art making and journaling can contribute to spiritual growth and development during times of transformation. Specifically, by using self study and archival research approaches to conduct a systematic analysis of 5 of my previous journals and 5 of my previous art pieces which were created during times of transformation. Components illustrating spiritual growth such as contemplation, awareness, meaning making, connection, externalization, values and beliefs (Aten, 2011; Bryne & McKinlay, 2012; Hieb, 2005; Wiggins, 2011) were indicated. During this investigation, spirituality was examined through transpersonal and existential perspectives. The findings of this study suggest that examining a person’s core values, beliefs and how they seek meaning and connection with others is beneficial because it may be the source of unproductive thoughts, behaviors and feelings which motivate an individual to seek psychotherapeutic treatment. This study also illuminates the potential for spiritual development and maturation in spaces of disconnection.

As both journalism and the film industry have evolved, so has the portrayal of journalism ethics on television. Past research depicts an evolution in journalism film ethics, where the film industry has portrayed journalists as both good guys and bad guys. Advances in the film industry and narrative storytelling have allowed for more complicated plots to be featured on dramatic television shows which lends itself to fostering more discussion on a larger variety of ethical dilemmas with a larger variety of outcomes.

Cette thèse analyse les processus de politisation et dépolitisation de films documentaires attachés à l'urbain stigmatisé et prend pour objet 42 films tournés dans les quartiers du Centre-ville Basilique à Saint-Denis et de la Joliette à Marseille entre 2000 et 2010. L'enquête s'appuie sur une série d'entretiens semi-directifs auprès des réalisateurs et d'analyses filmiques, ainsi que sur un ensemble de sources afférentes à l'activité promotionnelle ou théorique des réalisateurs. Au croisement des sociologies de l'art, du cinéma, du journalisme et des professionnels engagés, cette thèse vise à dresser les contours d'un espace documentaire en voie d'autonomisation. Elle propose une analyse des trajectoires sociales et professionnelles des documentaristes, des clivages qui le constituent et des collaborations nécessaires à la fabrique et la diffusion des documentaires. Elle est l'occasion de revenir sur nombre de représentations couramment accolées à cette pratique allant du rapport à la politique entendu au sens large, à la place accordée au réalisateur dans le processus de création et à la division entre cinéma et journalisme. En plaçant au centre les logiques de professionnalisation et les relations avec des acteurs, intervenants filmés et publics, étrangers à l'espace documentaire, ce travail reconsidère les conditions d'un engagement politique par et au travers des films
This thesis analyzes the process of politicization and de-politicization of documentary films that focus on stigmatized urban areas. It is based on 42 films made between 2000 and 2010 in the neighborhoods of Centre-ville Basilique in Saint-Denis and La Joliette in Marseille. This research draws from open-focused interviews with directors and content analysis of the studied films, as well as of other promotional or theoretical productions by the same directors. This thesis aims at understanding the structure and logics of a “documentary world” which is gaining structural autonomy towards other social fields. At the intersection of the sociologies of art, cinema, journalism and politically involved professionals, this study analyses the ambiguous positioning of the filmmakers when it comes to taking a political stand in the light of their social and professional backgrounds, of the professional collaborations that develop around the making and distribution of the films, and of the structural divisions organizing the documentary world. This approach allows us to question several dimensions of documentary film making that are often taken for granted: from the creative power of the director and his/her place in the creative process, to the opposition between cinema and journalism, and the relationship between documentary and politics generally speaking. By placing professionalization mechanisms and the relationships that directors develop with filmed participants and the public at the center of the study, this work sheds new light on the process of political commitment by and through cinematographic productions

Abstract Close to the Source is comprised of a series of nonfiction vignettes about the artisan, agricultural, and culinary methods of Italy. In Close to the Source the human relationship with nature, food, and art is reexamined while a series of rich characters help bring the material to life. Through interviews, research, and first-hand experiences, the author attempts to archive fading artisan and food-related techniques and rituals. In the process, a cultural critique about the importance of the practical arts in contemporary times emerges. The thesis contains four sections: Terra/Land; Art and Artisans; Pane/Bread; and Compagnia/Company.

Orientador: Arlete Moyses Rodrigues
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-04T23:47:08Z (GMT). No. of bitstreams: 1 Cortez_GlaucoRodrigues_D.pdf: 18086948 bytes, checksum: bff3ae01e477057d777314391da9d0c8 (MD5) Previous issue date: 2005
Resumo: Este trabalho busca compreender o espaço mediador social,ou seja, um espaço de mediação que as sociedades possuem como uma forma de resolver conflitos e estabelecer consensos. Ele permite também o fluxo de idéias e bens materiais que tomam a vida em sociedade mais organizada, além de fazer com que os assuntos importantes sejam compartilhados ou, ao menos, conhecidos por todos
Abstract: This work tries to understand the space of the social mediationas a place where the societies decide conflicts and establish collective consensus. It also allows to have a flow of ideas and products that become the life in society more organized, besides to make that important subjects are shared or known for all
Doutorado
Doutor em Ciências Sociais

This study explores how a therapist’s personal history of complex trauma impacts countertransference in clinical work. Utilizing artmaking and journaling, the research questions and methodology are based on a previous study (Arbas, 2008), which this study replicates and then uses both data sets as for a comparative analysis. To inform this study, the literature review focuses on non-physical forms of child abuse, how child abuse over an extended period turns into complex trauma, how complex trauma effects a child, and how therapeutic treatments and art therapy can be utilized to help a child recover from trauma. In addition, Countertransference and vicarious traumatization, self- care, and Art and journaling as forms of self care are discussed. Through the data collection and presentation of data, the art responses and journaling illustrate effects and emotional responses of a therapist working with children with trauma histories in lieu of her own complex trauma history. The analysis identifies three themes: How countertransference manifests through the creative expressions used, how the creative reflections can help the therapist identify countertransference, and how the art process as a form of self-care helps the therapist is studied. Considering the data analysis from both this study and the study done by Arbas in 2008, it is observed that both subjects found that the art helped them to explore and identify their countertransference, release unconscious material, self regulate, better attend to their clinical work, and identify an increased need for self care.

The study seeks to find a baseline of Twitter usage of traditional media. Findings suggest that traditional media are using Twitter (a non-traditional medium) in a traditional way. The study explores why a tool like Twitter needs to be approached by journalists in ways to which they may not be accustomed. The study additionally finds that newsrooms are underutilizing Twitter's potential for audience interactivity and have not established guidelines for journalists in the use of Twitter for work purposes. Conclusions include the need for more understanding of Twitter on the part of managers, a usage of Twitter that fits the medium, rather than traditional journalism models and more study in the future so that the journalism business can stay ahead of the curve when new communication technologies are introduced.

This qualitative study aims to analyze the lived reality of women working in sports media today. Through systematic analysis of 12 in-depth interviews, the findings of this study suggest that the adoption of technological advancements in news media and all associated outlets have created a leveling effect for women due to the demand for highly skilled individuals who can handle the digital demand of modern news production. This study suggests that longtime gender disparities in sports media are experiencing a bit of a reprieve due to the massive digital audience and the need for professionals who can deliver information quickly and efficiently and with accuracy. However, the persistent symbolic annihilation of women as well as hegemonic hiring practices that emphasize aesthetic appeal have created a difficult path for women to move off the sidelines and into roles with more creative and analytical breadth, even with a rapidly increasing demand for jobs in the media industry.

Today�s globalized network communication initiates new interactive formats, transforming not only the dissemination, but - increasingly - the production of news. The �one-way� flow of news from a news outlet to the audience has been replaced by a network structure. Following Castells� concept of the �network� (1996) as the central model of information structures, I perpetuate this paradigmatic shift and suggest that networks also transform the professional journalism sphere in many world regions. A revised sphere of journalism is taking shape in which an increasingly global flow of news is evolving and a multiple platform structure of journalism is taking shape in which boundaries between traditional media outlets of print, radio, and television and between national and �foreign� journalism are blurring. Furthermore, I argue that a globalized journalistic network sphere is emerging which involves �traditional� journalistic outlets and bloggers, media activists, so-called citizen journalists, or user-generated content providers alike. These new journalistic spheres of connectivity establish new (and continuous) links between journalists, their sources as well as their audiences. This fundamental change creates new professional levels of connectivity on one hand and on the other, has severe strategic and organizational implications for the management of print, broadcast and online news outlets. Within this new �network� sphere of journalistic practice, the roles of journalistic outlets change. This work suggests a framework that helps to understand journalistic organization today, with innovative work structures based on digital technologies transforming the character and in effect substituting the model of �top-down� journalism models by a model that is far more complicated. I argue that within an evolving global news sphere, information flows are multidirectional. Decentralization and non-linearity become the key parameters defining news flows at the beginning of the twenty-first century. The character of this network in the journalism sphere is transnational, crossmedia, and cross professions. Based on results of thirteen qualitative interviews with media practitioners in Germany, the US and the UK, I argue that a new geography of journalism is taking shape in which journalistic outlets are being transformed into nodes. These nodes are arranged in a dense net of information gathers, producers and disseminators and the interactive connections among them constitute what I want to call network journalism.

Health officials estimate that the 2014 Ebola crisis disproportionately victimized women, who made up 75% of the disease's victims. This interdisciplinary study has two main goals. The first is to evaluate the news media's performance in relation to their representation of women caught up in the Ebola crisis because the media play an important role in influencing public responses to health. This study sought to understand the information behavior patterns of journalists who covered the Ebola crisis by analyzing how job tasks influence a journalist's information behavior. This study employed qualitative methods to study the perceptions of journalists who covered the 2014 Ebola outbreak. Semi-structured interviews were conducted with Liberian and American journalists who covered the outbreak to understand the choices that guided their reporting of the Ebola crisis. A content analysis of The New York Times, The Times, and The Inquirer was also conducted to examine the new media's representation of women in an outbreak which mostly victimized women. The findings suggest that covering a dangerous assignment like Ebola affected the information behavior patterns of journalists. Audience needs, the timing of coverage, fear, and the accessibility of sources, were some of the factors that influenced the news gathering decisions taken by the reporters. The findings also suggest that women were mostly underrepresented by the media as sources, experts and subjects.