Journal articles on the topic 'Translated into English by Alfred Kalisch'

Published in 1903 and 1904 the Weekly Critical Review was a typical ‘little magazine’: it was produced on a shoestring with a small readership, with big editorial ambition. Its uniqueness lay in its claim to be a literary tribute to the entente cordiale (and it enjoyed the imprimatur of King Edward VII), but more importantly, it was a bilingual journal, which was rare at the time even for a little magazine. The Weekly Critical Review aimed to produce high-quality criticism and employed at least a dozen high-profile English and French writers and literary critics including Rémy de Gourmont (1858–1915), Arthur Symons (1865–1945) and H.G. Wells (1866–1946). It also published articles and musical news by four leading music critics: English critics Alfred Kalisch (1863–1933), Ernest Newman (1868–1959) and John F. Runciman (1866–1916) and the American James Huneker (1857–1921).Why did these critics write for the Weekly Critical Review? What did the articles in the WCR reveal about Anglo-French relations, about the aspirations of the English and French music critics who wrote for it, and about the scholarly style of journalism it published – a style that was also characteristic of many other little magazines? And in what ways were those who wrote for it connected? As a case study, I examine the ways in which Ernest Newman’s literary and musical networks brought him into contact with the journal and examine the style of criticism he sought to promote.

In Alfred's famous Preface to his translation of the Regula pastoralis, the king writes that he translated ‘hwilum word be worde, hwilum andgit of andgiete’ (7.19–20); a similar phrase occurs in the proem to the Boethius (1.2–3). Yet words in different languages are rarely exact equivalents. Translators select words which they feel capture the primary sense of source words and match secondary meanings and connotations only if they can. Similarities between two terms in different languages can reveal where the conceptual systems of the source and target cultures overlap and which denotations and connotations of a complex word were most important to the translator. Differences can indicate how cultures differ and what other conceptual systems might have influenced the translator. In a well-established system of translation, certain terms become accepted as standard equivalents to particular terms in other languages. Alfred, however, was in the position not of employing accepted equivalidents but of trying to create them. By the time he worked on the Boethius, Wærferth had probably translated Gregory's Dialogi, and Alfred's own Regula pastoralis was most likely complete, but no other models were availabel. As one of the earliest Anglo-Saxon translators, producing translations of the De consolatione, Gregory's Regula pastoralis, Augustine's Soliloquia and the first fifty psalms, Alfred had to solve translation problems himself.

‘These fragments I have shored against my ruins’: T. S. Eliot's metaphor in The Waste Land evokes the evanescent frailty of human existence and worldly endeavour with a poignancy that the Anglo-Saxons would surely have appreciated. Such a concept lies at the heart of Boethius's De consolatione Philosophiae, and perhaps prompted King Alfred to include this work amongst those which he considered most necessary for all men to know. Written in the early sixth century, Boethius's work was translated from Latin into Old English at the end of the ninth century, possibly by Alfred himself. It survives in two versions, one in prose (probably composed first) and the other in prose and verse, containing versifications of Boethius's Latin metres which had originally been rendered as Old English prose. It is the latter of these versions which will be the focus of my discussion here. Damaged beyond repair by fire and water, the set of fragments which contains this copy will be seen to epitomize the ideas imparted by the work in ways that Alfred could never have envisaged.

AbstractKing Alfred's translations successively develop the metaphors of eagan modes and scip modes to render the implicit and explicit psychological contexts of nautical and ocular images in their Latin source-texts. The increasing complexity and independence of the metaphorical modification evident in the Old English translations suggest the order in which Alfred translated and reveal his maturing conception of epistemology, particularly the theory of illumination. In Pastoral Care, Consolations of Philosophy, Metres of Boethius, and, especially, Soliloquies, the interplay of these psychosomatic metaphors functions not as rhetorical flourish or stylistic ornamentation but as a means for Alfred to model his inferences about epistemological phenomena.

In this study, the researcher has talked about Old English or Anglo-Saxons history and literature. He has mentioned that this period contains the formation of an English Nation with a lot of the sides that endure today as well as the regional regime of shires and hundreds. For the duration of this period, Christianity was proven and there was a peak of literature and language. Law and charters were also proven. The researcher has also mentioned that what literature is written in Anglo-Saxon England and in Old English from the 450 AD to the periods after the Norman Conquest of 1066 AD. He also has argued that from where the composed literature begun of the era with reference to the written and composed literature. The major writers of the age are also discussed with their major works. There is slightly touch of the kings of the time have been given in the study with their great contribution with the era. The researcher also declared that what kinds of literary genres were there in the era. It is the very strong mark that Anglo-Saxon poetic literature has bottomless roots in oral tradition but observance with the ethnic performs we have seen elsewhere in Anglo-Saxon culture, there was an amalgamation amid custom and new knowledge. It has been also declared that from which part literary prose of Anglo-Saxon dates and in what language it was written earlier in the power of Ruler Alfred (governed 871–99), who operated to give a new lease of life English culture afterwards the overwhelming Danish attacks ended. As barely anybody could read Latin, Alfred translated or had translated the greatest significant Latin manuscripts. There another prominent thing discussed in the study which is the problem of assigning dates to various manuscripts of the era.

This article studies the translation of Brazilian literature in the United States between 1930 and the end of the 1960s. It analyzes political, historical and economic factors that influenced the publishing market for translations in the U.S., focusing on the editorial project of Alfred A. Knopf, the most influential publisher for Latin American literature in the U.S. during this period, and Harriet de Onís, who translated approximately 40 works from Spanish and Portuguese into English. In addition to translating authors such as João Guimarães Rosa and Jorge Amado, de Onís worked as a reader for Knopf, recommending texts for translation. The translator’s choices reflected the demands of the market and contributed to forming the canon of Brazilian literature translated in the United States.

This paper examines 67 canto from Alfred Tennyson’s “In Memoriam” translated to Russian by Vladimir Nabokov, as well as the reception of Tennyson’s poetry in Nabokov’s works. The key conceptual features of the translation are analyzed with consideration of the evolution of Nabokov’s opinions on translation and literary theory in general. The paper addresses mentions of Tennyson in Nabokov’s prose and other publications in order to broaden the understanding of Nabokov’s perspective. Nabokov’s translation is compared to the original English text and to the translations by D.L. Mikhalovskii and N.M. Minskii. The study describes transformations and the differences between the strategies used by the translators. Nabokov’s commentary on his translation of “Eugene Onegin” is taken into consideration when iambic structure of the English text is examined. The author has concluded that Nabokov’s approach to the translation of Tennyson’s poem is different from his work on translations of prose from the same period and is defined by translator’s effort to reproduce both the imagery and the structure close to the original. This translation illustrates the early stage of Nabokov’s path from translation as “adaptation”, when the original is transformed in one way or another, to the literalism of “Eugene Onegin”.

ABSTRACTIn 1909, with two companions Swiss meteorologist Alfred de Quervain travelled to the Uummannaq area of west Greenland, to the same area investigated by Erich von Drygalski in 1892–1893. A major objective was to investigate the changes in the nearby outlet glaciers since Drygalski's visit. Man-hauling sledges, de Quervain and his companions also made a sortie into the interior of the ice cap, penetrating to a distance of about 100 km and to a height of about 1700 m. Having thus whetted his appetite, in1912 de Qervain mounted a further expedition aimed at making a crossing of the ice cap, only the second after that of Fridtjof Nansen in 1888, and along a trajectory significantly further north. De Quervain hoped to determine the shape and height of the ice cap along this trajectory. With three companions and using dog-sledges de Quervain set off from the Disko Bugt area of west Greenland and crossed the ice cap to the area of Ammassalik (now Tasiilaq) on the east coast. In 31 days on the ice the party travelled some 640 km, reaching a maximum altitude of 2510 m. A comprehensive range of scientific observations was effected en route. A support party of three men remained at the western edge of the ice cap for the summer to conduct meteorological and glaciological studies. Thereafter two of this group spent the winter of 1912–1913 at the Danish Arctic Station at Godhavn as guests of Morten Porsild to conduct aerological studies using pilot balloons and, to a lesser degree, captive balloons. All quotations in this paper are translated from the German by the author. This article is the first English-language account of de Quervain's expeditions.

The present study traces the development of Sir Gawain’s traits in the Arthurian legend through an analysis of Arthurian literature in early medieval works, in transition, and in modern cycle. It aims to show what makes Sir Gawain a multiple character and how his plastic character has appealed to the literary, political, and social taste of the time of his creation and recreation. The focus will be upon the roles that the new characteristics of Sir Gawain should fulfil and the reasons which stand behind this transition in his character.The study examines the representation of Sir Gawain as a heroic knight in mainly three texts from the medieval and modern English Arthurian tradition: Geoffrey of Monmouth’s Historia Regum Britanniae Sir Thomas Malory’s De Morte Arthur, Alfred Lord Tennyson’s Idylls of the King. Some references are made to other contemporary texts. These texts range from literary to history, providing a broad overview of the many ways in which history and romance approaches the question of the roles of knighthood and chivalry through the figure of Sir Gawain.By exploring these narratives in their historical and social contexts, the present study explains why Sir Gawain maintains certain characteristics across a particularly eventful period in English history, as well as why certain characteristics change drastically. It will also offer new insights about public perception of medieval notions of knighthood and chivalry.All translated quotations from Historia Regum Britanniae are taken from Geoffrey of Monmouth, History of Kings of Britain, translated by Sebastian Evans (London: Dent, 1963). All Latin quotations from Wace’s Roman de Brut: A History of the British are taken fromWace, Wace’s Roman de Brut: A History of the British, edited by Judith Weiss (Exeter: University of Exeter Press, 2002). All quotations from the Arthurian Section of Layamon’s Brut are taken from Layamon, Layamon’s Arthur: the Arthurian Section of Layamon’s Brut, edited by W.R.J. Barron and S.C. Weinberg (Exeter: University of Exeter Press, 2001). All quotations from Idylls of the King are taken from Alfred Tennyson, Idylls of the king, edited by J. M. Gray (Harmondsworth: Penguin, 1983).

‘Remember’, King Alfred wrote to his bishops, sending them a copy of the translation he had made of Pope Gregory the Great'sCura pastoralis, ‘remember what punishments befell us in this world when we ourselves did not cherish learning nor transmit it to other men’. To remedy the twofold disaster consequent on this intellectual and pedagogic failure – not just the ransacking of the churches throughout England and loss of their treasures and books, but, worse, the loss to the English of the wisdom the books had preserved – King Alfred arranged to have the young men among his subjects taught to read in the vernacular. Set-texts for this programme were to be supplied by the translating of ‘certain books which are the most necessary for all men to know’. Among these was Boethius’Consolation of Philosophy, generally thought to have been translated by the king himself and to include some of Alfred's own musings. Towards the end of his text in the context of a discussion of the nature of God, eternity and the place of humanity in the divine plan, Alfred had Wisdom declare: ‘we can know very little concerning what was before our time, except through memory and inquiry, and even less concerning what comes after us. Only one thing is certainly present to us, namely that which now exists. But to God all is present, what was before, what is now, and what shall be after us. The central point at issue here is the disjunction between what an omniscient deity and frail humanity can know of the past, but it usefully introduces this discussion by linking the process of obtaining information about the past with that of personal memory.

The Metres of Boethiusoffer a unique opportunity to study the complex subject of Old English verse syntax. They enjoy this distinction because of the unusual way in which they were composed. The versifier did not work directly from the original Latinmetraof Boethius'sConsolation of Philosophybut from an Old English prose intermediary, freely translated from the Latin originals. King Alfred was the author of the prose translation and was probably also responsible for turning the parts of the prose corresponding to the Latinmetrainto Old English verse. Since a copy of the prose model survives, it affords us an opportunity to compare the two versions in order to judge the versifier's debt to the prose. He apparently followed it quite faithfully and without referring back to the Latin originals. In many verse passages one can find words and half-lines which are direct transcriptions from the prose. Consequently the Old EnglishMetresare generally considered nothing more than prose expanded into verse, adding only ‘poetic’ embellishments (like repetition and variation) and obvious morals drawn from the passage. The fruit of the versifier's labours may be uninspired poetry, but the way that he rearranged the words of the prose offers a rare glimpse into the more elusive conventions of verse-making. Since the many similarities make the differences quite pronounced, the poetical shortcomings of theMetresmay be a blessing. A mediocre versifier is more likely to compose mechanically and to imitate established patterns than a good poet, whose virtuosity often conceals the rudiments of his craft.

A life of professional caring, research, teaching, and inspiration—this is the legacy of Dr Stella Zacharioudaki Van Praagh, MD. Among her many outstanding contributions, only a few are recorded here: (1) a new surgical operation for closing apical muscular ventricular septal defects, (2) a newly discovered form of anomalous pulmonary venous drainage and its surgical repair, (3) a new understanding of sinus venosus defects and their surgical repair, (4) the realization that the concept of atrial-level isomerism (mirror-imagery) in the heterotaxy syndromes of asplenia, polysplenia, and single right-sided spleen is erroneous, (5) the understanding that it is possible to diagnose the atrial situs in the majority of cases of the heterotaxy syndromes, and (6) the fact that the concepts of evolution, natural selection, and survival of the fittest were described by Empedocles, an ancient Greek philosopher, in the fifth century bc, and that these concepts were not discovered and published for the first time by Charles Darwin and Alfred Russell Wallace in the 19th century (1858 ad). Dr Stella was conversant with ancient Greek and read it frequently in an ancient Greek study group that she headed. Dr Stella translated from ancient Greek into English a portion of Aristotle’s The Physics in which Empedocles’ understanding is cited at length. There is no doubt about what Empedocles thought.

En esta ponencia presentaremos la traducción al catalán del libro Análisis Reflexivo, de Lester Embree, quien es probablemente el representante vivo más influyente y líder de la corriente fenomenológica que empezó con la New School For Social Research y cuya primera generación fue la de Dorion Cairns, Aaron Gurwitsch y Alfred Schutz. Esta tradición empieza con la publicación de Ideas de Husserl en 1913, por lo que la traducción de este libro no deja de ser un pequeño homenaje al libro en el año de su centenario. Contaremos cómo surgió y por qué decidimos emprender la traducción del libro, para pasar a exponer luego algunas dificultades terminológicas que aparecieron a lo largo de la traducción, así como justificar algunos de los términos que usamos para su traducción. Nos centraremos en los términos que pertenecen estrictamente a la tradición de la New School, como son ‘intentivity’ and ‘intentive process’, acuñados por Cairns, para pasar a explicar luego el término que Lester prefiere para referirse a aquello a lo que se refieren estos conceptos: ‘encounterings’. Finalmente, acabaremos por comentar la traducción de los términos ingleses ‘experience’ (que en catalán y en castellano se traduce por ‘experiencia’, que es un nombre pero no un verbo) y ‘objects as intended to’. En resumen, nuestra intención es presentar la traducción del libro Análisis Reflexivo al catalán y que esta presentación sea un humilde homenaje al autor.In this paper we are going to present the Catalan translation of the book Reflexive Analysis, by Lester Embree, who is probably the most influential living representative and leader of what once was the New School tendency in phenomenology headed by Dorion Cairns, Aron Gurswitch and Alfred Schutz. This tendency began with the publication of Husserl’s Ideas in 1913. In this way, the translation of this book is a small tribute to Ideas in the year of the celebration of its centenary. We will explain how and why we decided to translate Embree’s book, followed by an exposition of some of the terminological difficulties that came up during its translation, as well as the justification for some of our terminological decisions. We will focus on the terms that strictly belong to the tradition of the New School tendency, such as ‘intentiveness’ and ‘intentive process’, coined by Cairns, so as to proceed then to explain the term that Lester prefers to use to refer to what those terms refer to: ‘encounterings’. Finally, we will close this talk by commenting on the translation of the English words ‘experience’ (which in Catalan and in Spanish is translated as ‘experiència’, and which can act as a noun but not as a verb) and ‘objects as intended to’. Summarizing, our intention is to present the translation of the book Reflexive Analysis into Catalan and we expect this presentation to be a humble tribute to the author.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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Abstract This essay explores the growth of the field of Latin American literature in translation in the U.S. from the second World War through the 1970s. In particular, I focus on how private actors such as publishers, translators, and philanthropic organizations strategically pushed to translate literature from the region as a mode of book diplomacy, whereby publications are subsidized, translated, and disseminated as means of establishing goodwill with their authors and advocates, and, ultimately, with their Latin American compatriots. I begin by examining publisher Alfred A. Knopf's efforts to translate Latin American literature, while also exploring the translation and cultural diplomacy efforts of Harriet de Onís, Knopf's main translator for Spanish and Portuguese from 1950 through the late 1960s. Subsequently, I discuss two translation subsidy programs from the 1960s and 1970s that were founded by different Rockefeller philanthropies with an eye towards casting the U.S. and the democratic system in a positive light for Latin American writers at a time when revolutionary fervor and anti-Americanism were running high in the region. In each case, Brazilian literature and authors-including, of course, Machado de Assis-play a prominent role. I end with a brief discussion of how the move to translate Machado de Assis into English in the U.S. in the early 1950s fits into this broader panorama-or doesn't.

Introduction Curation-related discourses have become widespread. The growing public profile of curators, the emergence of new curation-related discourses and their proliferation beyond the confines of museums, particularly on social media, have led some to conclude that we now live in an age of curation (Buskirk cited in Synder). Curation is commonly understood in instrumentalist terms as the evaluation, selection and presentation of artefacts around a central theme or motif (see O’Neill; Synder). However, there is a growing academic interest in what underlies the shifting discourses and practices. Many are asking what do these changes mean (Martinon) now that “the curatorial turn” has positioned curation as a legitimate object of academic study (O’Neill). This article locates an exploration of the curatorial turn in journalism studies since 2010 within the shifting meanings of curation from antiquity to the digital age. It argues that the industry is facing a Foucauldian moment where the changing political economy of news and the proliferation of user-generated content on social media have disrupted the monopolies traditional news media held over the circulation of knowledge of current affairs and the power this gave them to shape public debate. The disruptions are profound, prompting a rethinking of journalism (Peters and Broersma; Schudson). However, debates have polarised between those who view news curation as symptomatic of the demise of journalism and others who see it as part of a wider revival of the profession, freed from monopolistic institutions to circulate a wider array of knowledge and viewpoints (see Picard). This article eschews such polarisations and instead draws on Robert Picard’s argument that journalism is in transition and that journalism, as a set of professional practices, is adapting to the age of curation but that those traditional news providers that fail to adapt will most likely decline. However, Picard’s approach does not address the definitional problem as to what distinguishes news curating from other journalistic practices when the commonly used instrumental definition can apply to editing. This article aims to negotiate this problem by addressing some of the conceptual ambiguities that arise from wholly instrumental notions of news curation. From “Cura” to the Curatorial Turn and the Age of Curation Modern instrumentalist definitions are necessary but not sufficient for an exploration of the curatorial turn in journalism. Tracing the meanings of curation over time facilitates an expansion of the instrumental to include metaphoric conceptualisations. The term originated in a Latin allegory about a mythological figure, personified as the “cura”, translated literally as care or concern, and who created human beings from the clay of the earth. Having created the human, the cura was charged by the gods with the lifelong care of the human (Reich) and at the same time became a symbol of curiosity and creativity (see Nowotny). “Curators” first emerged in Imperial Rome to denote a public officer charged with maintaining order and the emperor’s finances (Nowotny) but by the fourteenth century the meaning had shifted to that of religious officer charged with the care of souls (Gaskill). At this point the metaphorical associations of creativity and curiosity subsided. Six hundred years later souls had been replaced by artefacts valorised because of their contribution to human knowledge or as a testament to exceptional human creativity (Nowotny). Objects of curiosity and originality, as well as their creators, were reified and curation became the specialist practice of an expert custodian charged with the care and preservation of artefacts but relegated to the background to collect, evaluate and archive artefacts entrusted to the care of museums and to be preserved for future generations. Instrumentalist meanings thus dominated. From the 1960s discourses shifted again from the privileging of a “producer who actually creates the object in its materiality” to an entire set of actors (Bourdieu 261). These shifts were part of the changing political economy of museums, the growing prevalence of exhibitions and the emergence of mega-exhibitions hosted in global cities and capable of attracting massive audiences (see O’Neill). The curator was no longer seen merely as a custodian but able to add cultural value to artefacts when drawing individual items together into a collection, interpreting their relevance to a theme then re-presenting them through a story or visuals (see O’Neill). The verb “to curate”, which had first entered the English lexicon in the early 1900s but was used sporadically (Synder), proliferated from the 1960s in museum studies (Farquharson cited in O’Neill) as mega-exhibitions attracted publicity and the higher profile of curators attracted the attention of intellectuals prompting a curatorial turn in museum studies. The curatorial turn in museum studies from the 1980s marks the emergence of curation as a legitimate object of academic enquiry. O’Neill identified a “Foucauldian moment” in museum studies where shifting discourses signified challenges to, and disruptions of, traditional forms of knowledge-based power. Curation was no longer seen as a neutral activity of preservation, but one located within a contested political economy and invested with contradictions and complexities. Philosophers such as Martinon and Nowotny have highlighted the impossibility of separating the oversight of valuable artefacts from the processes by which these are selected, valorised and signified and what, at times, has been the controversial appropriation of creative outputs. Thus, a new critical approach emerged. Recently, curating-related discourses have expanded beyond the “rarefied” world of museum studies (Synder). Social media platforms have facilitated the proliferation of user-generated content offering a vast array of new artefacts. Information circulates widely and new discourses can challenge traditional bases of knowledge. Audiences now actively search for new material driven in part by curiosity and a growing distrust of the professions and establishments (see Holmberg). The boundaries between professionals and lay people are blurring and, some argue, knowledge is being democratized (see Ibrahim; Holmberg). However, as new information becomes voluminous, alternative truths, misinformation and false information compete for attention and there is a growing demand for the verification, selection and presentation of artefacts, that is online curation (Picard; Bakker). Thus, the appropriation of social media is disrupting traditional power relations but also offering new opportunities for new information-related practices. Journalism is facing its own Foucauldian moment. A Foucauldian Moment in Journalism Studies Journalism has been traditionally understood as capturing today’s happenings, verifying the facts of an event, then presenting these as a narrative that reporters update as news unfolds. News has been seen as the preserve of professionals trained to interview eyewitnesses or experts, to verify facts and to compile what they found into a compelling narrative (Hallin and Mancini). News-gathering was typically the work of an individual tasked with collecting stand-alone stories then passing them onto editors to evaluate, select, prioritise and collate these into a collection that formed a newspaper or news programme . This understanding of journalism emerged from the 1830s along with a type of news that was accessible, that large numbers of people wanted to read and that, consequently, attracted advertising making news profitable (Park). The idea that presumed trained journalists were best placed to produce news appeared first in the UK and USA then spread worldwide (Hallin and Mancini). At the same time as there was growing demand for news, space constraints restricted how much could be published and the high costs of production served as a barrier to entry first in print then later in broadcast media (Picard; Curran and Seaton). The large news organisations that employed these professionals were thus able to control the circulation of information and knowledge they generated and the editors that selected content were able, in part, to shape public debates (Picard; Habermas). Social media challenge the control traditional media have had over the production and dissemination of news since the mid-1800s. Practically every major global news story in 2010 and 2011 from natural disasters to uprisings was broken by ordinary people on social media (Bruns and Highfield). Twitter facilitates a steady stream of updates at an almost real-time speed that 24-hour news channels cannot match. Facebook, Instagram and blogs add commentary, context, visuals and personal stories to breaking news. Experts and official sources routinely post announcements on social media platforms enabling anyone to access much of the same source material that previously was the preserve of reporters. Investigations by bloggers have exposed abuses of power by companies and governments that journalists on traditional media have failed to (Wischnowski). Audiences and advertisers are migrating away from traditional newspapers to a range of different online platforms. News consumers now actively use search engines to find available information of interest and look for efficient ways of sifting through the proliferation of the useful and the dubious, the revelatory and the misleading or inaccurate (see Picard). That is, news organisations and the professional journalists they employ are increasingly operating in a hyper-competitive (see Picard) and hyper-sceptical environment. This paper posits that cumulatively these are disrupting the control news organisations have and journalism is facing a Foucauldian moment when shifting discourses signify a disturbance of the intellectual rules that shape who and what knowledge of news is produced and hence the power relations they sustain. Social media not only challenge the core news business of reporting, they also present new opportunities. Some traditional organisations have responded by adding new activities to their repertoire of practices. In 2011, the Guardian uploaded its entire database of the expense claims of British MPs onto its Website and invited readers to select, evaluate and comment on entries, a form of crowd-sourced curating. Andy Carvin, while at National Public Radio (NPR) built an international reputation from his curation of breaking news, opinion and commentary on Twitter as Syria became too dangerous for foreign correspondents to enter. New types of press agencies such as Storyful have emerged around a curatorial business model that aggregates information culled from social media and uses journalists to evaluate and repackage them as news stories that are sold onto traditional news media around the world (Guerrini). Research into the growing market for such skills in the Netherlands found more advertisements for “news curators” than for “traditional reporters” (Bakker). At the same time, organic and spontaneous curation can emerge out of Twitter and Facebook communities that is capable of challenging news reporting by traditional media (Lewis and Westlund). Curation has become a common refrain attracting the attention of academics. A Curatorial Turn in Journalism The curatorial turn in journalism studies is manifest in the growing academic attention to curation-related discourses and practices. A review of four academic journals in the field, Journalism, Journalism Studies, Journalism Practice, and Digital Journalism found the first mention of journalism and curation emerged in 2010 with references in nearly 40 articles by July 2015. The meta-analysis that follows draws on this corpus. The consensus is that traditional business models based on mass circulation and advertising are failing partly because of the proliferation of alternative sources of information and the migration of readers in search of it. While some of this alternative content is credible, much is dubious and the sheer volume of information makes it difficult to discern what to believe. It is unsurprising, then, that there is a growing demand for “new types and practices of curation and information vetting” that attest to “the veracity and accuracy of content” particularly of news (Picard 280). However, academics disagree on whether new information practices such as curation are replacing or supplementing traditional newsgathering. Some look for evidence of displacement in the expansion of job advertisements for news curators relative to those for traditional reporters (Bakker). Others look at how new and traditional practices co-exist in organisations like the BBC, Guardian and NPR, sometimes clashing and sometimes collaborating in the co-creation of content (McQuail cited in Fahy and Nisbet; Hermida and Thurman). The debate has polarised between whether these changes signify the “twilight years of journalism or a new dawn” (Picard). Optimists view the proliferation of alternative sources of information as breaking the control traditional organisations held over news production, exposing their ideological biases and disrupting their traditional knowledge-based power and practices (see Hermida; Siapera, Papadopoulou, and Archontakis; Compton and Benedetti). Others have focused on the loss of “traditional” permanent journalistic jobs (see Schwalbe, Silcock, and Candello; Spaulding) with the implication that traditional forms of professional practice are in demise. Picard rejects this polarisation, counter-arguing that much analysis implicitly conflates journalism as a practice with the news organisations that have traditionally hosted it. Journalists may or may not be located within a traditional media organisation and social media is offering numerous opportunities for them to operate independently and for new types of hybrid practices and organisations such as Storyful to emerge outside of traditional operations. Picard argues that making the most of the opportunities social media presents is revitalising the profession offering a new dawn but that those traditional organisations that fail to adapt to the new media landscape and new practices are in their twilight years and likely to decline. These divergences, he argues, highlight a profession and industry in transition from an old order to a new one (Picard). This notion of journalism in transition usefully negotiates confusion over what curation in the social media age means for news providers but it does not address the uncertainty as to where it sits in relation to journalism. Futuristic accounts predict that journalists will become “managers of content rather than simply sourcing one story next to another” and that roles will shift from reporting to curation (Montgomery cited in Bakker; see Fahy and Nisbet). Others insist curators are not journalists but “information workers” or “gatecheckers” (McQuail 2013 cited in Bakker; Schwalbe, Silcock, and Candello) thereby differentiating the professional from the manual worker and reinforcing the historic elitism of the professions by implying curation is a lesser practice. However, such demarcation is problematic in that arguably both journalist and news curator can be seen as information workers and the instrumental definition outlined at the beginning of this article is as relevant to curation as it is to news editing. It is therefore necessary to revisit commonly used definitions (see Bakker; Guerrini; Synder). The literature broadly defines content creation, including news reporting, as the generation of original content that is distinguishable from aggregation and curation, both of which entail working with existing material. News aggregation is the automated use of computer algorithms to find and collect existing content relevant to a specified subject followed by the generation of a list or image gallery (Bakker; Synder). While aggregators may help with the collection component of news curation, the practices differ in their relation to technology. Apart from the upfront human design of the original algorithm, aggregation is wholly machine-driven while modern news curation adds human intervention to the technological processes of aggregation (Bakker). This intervention is conscious rather than automated, active rather than passive. It brings to bear human knowledge, expertise and interpretation to verify and evaluate content, filter and select artefacts based on their perceived quality and relevance for a particular topic or theme then re-present them in an accessible form as a narrative or infographics or both. While it does not involve the generation of original news content in the way news reporting does, curation is more than the collation of information. It can also involve the re-presenting of it in imaginative ways, the re-formulating of existing content in new configurations. In this sense, curation can constitute a form of creativity increasingly common in the social media age, that of re-mixing and re-imagining of existing material to create something novel (Navas and Gallagher). The distinction, therefore, between content creation and content curation lies primarily in the relation to original material and not the assumed presence or otherwise of creativity. In addition, curation outputs need not stand apart from news reports. They can serve to contextualize news in ways that short reports cannot while the latter provides original content to sit alongside curated materials. Thus the two types of news-related practices can complement rather than compete with each other. While this addresses the relation between reporting and curation, it does not clarify the relation between curating and editing. Bakker eludes to this when he argues curating also involves “editing … enriching or combining content from different sources” (599). But teasing out the distinctions is tricky because editing encompasses a wide range of sub-specialisations and divergent duties. Broadly speaking, editors are “newsrooms professionals … with decision-making authority over content and structure” who evaluate, verify and select information so are “quality controllers” in newsrooms (Stepp). This conceptualization overlaps with the instrumentalist definition of curation and while the broad type of skills and tasks involved are similar, the two are not synonymous. Editors tends to be relatively experienced professionals who have worked up the newsroom ranks whereas news curators are often new entrants ultimately answerable to editors. Furthermore, curation in the social media age involves voluminous material that curators sift through as part of first level content collection and it involves ever more complex verification processes as digital technologies make it increasingly easy to alter and falsify information and images. The quality control role of curators may also involve in-house specialists or junior staff working with external experts in a particular region or specialisation (Fahy and Nisbett). Some of job advertisements suggest a growing demand for specialist curatorial skills and position these alongside other newsroom professionals (Bakker). Whether this means they are journalists is still open to question. Conclusion This article has presented a more expansive conceptualisation of news curation than is commonly used in journalism studies, by including both the instrumental and the symbolic dimensions of a proliferating practice. It also sought to avoid confining this wider conceptualisation within unhelpful polarisations as to whether news curation is symbolic of a wider demise or revival of journalism by distinguishing the profession from the organisation in which it operates. The article was then free to negotiate the conceptual ambiguity surrounding the often taken-for-granted instrumental meanings of curation. It argues that what distinguishes news curation from traditional newsgathering is the relationship to original content. While the reporter generates the journalistic equivalent of original content in the form of news, the imaginative curator re-mixes and re-presents existing content in potentially novel ways. This has faint echoes of the mythological cura creating something new from the existing clay. The other conceptual ambiguity negotiated was in the definitional overlaps between curating and editing. On the one hand, this questions the appropriateness of reducing the news curator to the status of an “information worker”, a manual labourer rather than a professional. On the other hand, it positions news curators as one of many types of newsroom professionals. 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