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Artículos de revistas sobre el tema "Feuilletonist"

Autor: Grafiati

Publicado: 11 de marzo de 2023

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1

Mazurov, A. E. "Feuilletons by F. V. Volkhovsky (Ivan Brut) in the “Siberian newspaper”". Studies in Theory of Literary Plot and Narratology 15, n.º 2 (2020): 78–89. http://dx.doi.org/10.25205/2410-7883-2020-2-78-89.

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F. V. Volkhovsky lived in Tomsk since 1881. Almost immediately he began to actively cooperate with the “Siberian newspaper” and eventually became its leading feuilletonist. During his work, Volkhovsky published 89 feuilletons on its pages, more than half of the edition’s feuilletons. A huge role in the formation of the poetics of feuilletons by F. V. Volkhovsky is played by “literary masks” with characteristic features of his biography and personal qualities. The work of F. V. Volkhovsky with the images of feuilletonists is best manifested in the image of Ivan Brut. It is in the feuilletons of Ivan Brut that the dialogicity is manifested, which was not previously characteristic of the author, and also the diversity of satire is revealed even deeper – in the materials there are many characters with whom the feuilletonist discusses the phenomena of social life. Ivan Brut is the most frequent image of the feuilletonist used by F. V. Volkhovsky – 22 feuilletons have been written under this pseudonym. The purpose of this study is to clarify the features and meaning of the feuilletonist’s image in the materials of F. V. Volkhovsky on the example of the narrator Ivan Brut (1883–1888). As a result of the research, the author comes to the conclusion that Ivan Brut was perhaps the brightest character in the artistic and journalistic history of the first private newspaper in Western Siberia. This is the only full-fledged and thoughtful image of the feuilletonist – with his pedigree, biography and position, on many issues (in view of the democratization of the image) different from the author’s. Thus, Ivan Brut becomes not just a pseudonym, but a full- fledged co-author who constantly refers the reader to the same artistic images and thoughts. Despite a similar populist position with the author, Ivan Brut was able to “separate” from his personality and become a separate figure and a full-fledged member of the editorial board. The tradition of creating “literary masks” of feuilletonists was continued in the Tomsk newspaper “Sibirskaya Zhizn” (1894–1919), which to some extent was the “heir” of the “Sibirskaya Gazeta”. This technique expanded the satirical possibilities of feuilletonists, made it possible to involve readers in the literary game, and thereby increased interest in public problems that were discussed in the feuilletons. The image of Ivan Brut created by Volkhovsky in this respect turned out to be a kind of “reference point” for all subsequent generations of Tomsk feuilletonists of the 19 th – early 20 th centuries.

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2

Rybka, Małgorzata y Marta Wrześniewska-Pietrzak. "„Czemuż nie zostawiłem tej kartki pustej?!” – obraz felietonopisarstwa i felietonisty w tekstach Macieja Stuhra pisanych dla „Zwierciadła”". Poznańskie Studia Polonistyczne. Seria Językoznawcza 23, n.º 2 (4 de diciembre de 2016): 159–87. http://dx.doi.org/10.14746/pspsj.2016.23.2.10.

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The text presents linguistic image of a feuilletonist and writing a feuilleton in the texts written by Maciej Stuhr in “Zwierciadło” from January 2009 to April 2016. Analyses were conveyed according to the cognitive methodology and lead to the constructing the concept of writing a feuilleton that is combined with the problem of autotematism in the texts of Maciej Stuhr. The linguistic image of a feuilletonist is presented regarding the theory of autobiographism and the sender – reader relationship. The mentioned elements have enabled the authors of this article to read the entire image of a feuilletonist and present basic types of sender – reader relationship that characterizes Maciej Stuhr as a journalist – feuilletonist that is aware of his writing workshop.

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3

Hárs, Endre. "Ein Wiener Feuilletonist geht auf Urlaub. Ludwig Hevesis Die Althofleute. Ein Sommerroman (1897)". Neohelicon 45, n.º 1 (16 de abril de 2018): 17–33. http://dx.doi.org/10.1007/s11059-018-0430-4.

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4

Fedotova, Svetlana V. "“A curious fellow”: Letters of Z.N. Gippius and D.S. Merezhkovsky to K.I. Chukovsky (1907–1920)". Literary Fact, n.º 20 (2021): 31–81. http://dx.doi.org/10.22455/2541-8297-2021-20-31-81.

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The corpus of letters of D.S. Merezhkovsky and Z.N. Gippius to K.I. Chukovsky is published for the first time, which allow us to reconstruct the little-known story of the relationship between the writers-Godseekers and the critic- feuilletonist. Even in the absence of reciprocal letters, the epistolary is of great historical and literary interest, especially its first part, which documents the initial stage of Merezhkovsky’s personal communication during his first Parisian emigration with the young Chukovsky, as well as the circumstances and conditions for the emergence of their friendly interaction. The second part confirms the factual accuracy of Chukovsky's revolutionary diaries and is of great importance for the reconstruction of the biography of Merezhkovsky pre-emigration period.

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5

Proshchenko, Anastasia. "F. M. Dostoevsky in the Biased Opinions of the Feuilletonist and Critic V. P. Burenin". Неизвестный Достоевский 8, n.º 3 (septiembre de 2021): 107–35. http://dx.doi.org/10.15393/j10.art.2021.5561.

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The influence of the critic V. P. Burenin on the public life of the 1860s — 1880s is great: his popularity was comparable to that of V. G. Belinsky in the 1840s. According to B. B. Glinsky, everyone has secretly read Burenin's feuilletons, even those who despised the newspaper Novoe Vremya (New Time) and personally hated its critical columnist for the sharpness and rudeness of his polemical style. The article examines the evolution of the critic's views of F. M. Dostoevsky’s work and his role in Russian journalism and literature. In the initial period of his activity, V. P. Burenin tended to adhere to common moods and assessments, and scolded Dostoevsky. Gradually, he realized the scale of Dostoevsky's writing gift. Already a famous and influential author of the Novoe Vremya (New Time), V. P. Burenin became a great admirer, friend and defender of the writer. He was one of the few critics who appreciated the Writer's Diary. After Dostoevsky's death, Burenin maintained good communication with the writer's widow. Their correspondence makes it clear that A. G. Dostoevskaya considered Burenin her colleague in preserving the legacy of her late husband. The letters contain previously unknown information, namely, that the correspondence of the Novoe Vremya (New Time) about the fire in Staraya Russa were penned by A. G. Dostoevskaya herself, as well as some other information about Dostoevsky and the fate of his legacy.

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6

Majewska, Magdalena. "Językowo-kulturowy obraz męskości w felietonach Tomasza Raczka". LingVaria 14, n.º 27 (31 de mayo de 2019): 67–76. http://dx.doi.org/10.12797/lv.14.2019.27.04.

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The Linguistic and Cultural Image of Masculinity in Tomasz Raczek’s FeuilletonsIn this paper, the author presents the linguistic layer of Tomasz Raczek’s feuilletons published in the “Wprost” weekly. Analysed are the various linguistic means, phraseologisms, and lexemes occurring in Raczek’s texts, which showcase masculine and non-masculine social attitudes, and thereby the subjective value system represented by the author of the “Ekran osobisty” (‘Personal screen’) series of feuilletons. Moreover, the paper presents the narrative strategies of Raczek’s feuilletons, revealing the linguistic and cultural image of masculinity in Raczek’s texts: the culture of intertextuality and conceptual metaphors.

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7

Ujvári, Hedvig. "Meilensteine der journalistischen Karriere von Theodor Herzl vor der Neuen Freien Presse •". Hungarian Studies 34, n.º 2 (6 de julio de 2021): 223–38. http://dx.doi.org/10.1556/044.2020.00021.

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AbstractTheodor Herzls Name ist in erster Linie mit dem Zionismus und der Grundlegung dessen, was als Judenstaat bezeichnet wurde, verknüpft. Der gebürtige Ungar, der später in Wien studierte und sesshaft wurde, war allerdings in seiner Jugend weit davon entfernt und hegte noch ganz andere Pläne. Er wünschte sich anstelle einer juristischen Karriere vielmehr eine Laufbahn als erfolgreicher Bühnenautor des Burgtheaters und/oder als Feuilletonist der Neuen Freien Presse. Seine Anstrengungen blieben nicht erfolglos. Während er als Dramatiker eher als gutes Mittelmaß galt, etablierte er sich zuerst als Paris-Korrespondent, letztlich als gefeierter Feuilleton-Autor der angesehensten Zeitung Wiens, der Neuen Freien Presse. Dort anzukommen war aber ein Weg, der fast eine ganze Dekade in Anspruch nahm. Die vorliegende Studie hat sich als Ziel gesetzt, diesen bislang unerforschten, langen und oft nervenzermürbenden Prozess mit all den Versuchen, Ablehnungen, seelischen Tiefen, Hoffnungen und erneuten Anläufen darzustellen.

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8

Nesci, Catherine. "Feuilletons sans frontières ? Le « Monde » selon Delphine de Girardin". Études littéraires 40, n.º 3 (15 de febrero de 2010): 61–72. http://dx.doi.org/10.7202/039244ar.

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Cette étude des chroniques parisiennes que Delphine de Girardin publie au bas du journal La Presse, entre 1836 et 1848, vise à éclairer le décloisonnement des discours et le métissage des genres textuels que promeut la civilisation du journal dès le premier XIXe siècle. À l’époque, les feuilletons de Girardin firent l’objet de violentes attaques portant sur la mise en spectacle de la mondanité et les menaces qui pèsent sur les figurations genrées du journaliste, chez la feuilletoniste. L’analyse des images tendues de la distinction et celle de la mise en oeuvre de la polémique politique, dans le feuilleton, annoncent la refonte des discours et des représentations dans l’espace social et politique moderne.

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9

Fedotova, S. V. "Gender inversion in the ‘critique of a critic’. Zinaida Gippius on Korney Chukovsky". Voprosy literatury, n.º 1 (5 de abril de 2022): 163–78. http://dx.doi.org/10.31425/0042-8795-2022-1-163-178.

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Examined in the article is an obscure feuilleton called ‘An immature critic’ [‘Nevzrosliy kritik’] (1914), penned by Anton Krayniy (Z. Gippius) with Korney Chukovsky in mind. The article sets out to identify the role of gender inversion in the feuilleton’s intended purpose and unique genre characteristics. Having analysed the semantics of two variants of the title and subtitle (‘A study in inverted commas’ [‘Etyud v kavychkakh’]), critical techniques and quotation strategies, the scholar finds that Gippius’ metacritical piece is a spoof. A female critic (in a male disguise) expounds on the ‘feminine soul’ of a male critic, employing his own techniques and making a witty use of a female stereotype according to Weininger (‘a prostitute’). It appears that the feuilleton’s initial title implied not just an individual characteristic of Chukovsky’s, but ‘journalistic prostitution’ in general and critical feuilletons in particular — a genre practised by Gippius as well. The final choice of the title stresses the distinction of Krayniy’s journalistic (‘masculine’) criticism from the aesthetic (‘feminine,’ ‘immature’) criticism espoused by Chukovsky.

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10

Fokin, Pavel E. "The Last Newspaper Fyodor Dostoevsky Read (Based on the Collections of Vladimir Dahl State Museum of the History of Russian Literature)". Dostoevsky and world culture. Philological journal, n.º 4 (2020): 197–218. http://dx.doi.org/10.22455/2541-7894-2020-4-197-218.

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

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11

Fokin, Pavel E. "The Last Newspaper Fyodor Dostoevsky Read (Based on the Collections of Vladimir Dahl State Museum of the History of Russian Literature)". Dostoevsky and World Culture. Philological journal, n.º 4 (2020): 197–218. http://dx.doi.org/10.22455/2619-0311-2020-4-197-218.

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

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12

Wolkenfeld, Stefan. "Über die verschollenen geglaubte Schauspielmusik zu Shakespeare "Othello" von August Wilhelm Ambros". Die Musikforschung 60, n.º 1 (22 de septiembre de 2021): 21–30. http://dx.doi.org/10.52412/mf.2007.h1.520.

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Der Musikwissenschaftler August Wilhelm Ambros (1816-1876) spielte als Feuilletonist und Komponist im Prager Musikleben der 1840er Jahre eine wichtige Rolle. Seine 1848 komponierte Schauspielmusik zu William Shakespeares "Othello" (die in Prag zahlreiche Aufführungen erlebte) wurde nie publiziert und galt als verschollen. Diese Ansicht muss revidiert werden. Das Autograph der Komposition befindet sich seit 1939 unbeachtet im Besitz der Österreichischen Nationalbibliothek. Die erste Sichtung ergab folgenden Befund: Ambros hat sich an dem für eine Schauspielmusik üblichen Modell orientiert. Neben Ouvertüre und Finale besteht die Komposition aus mehreren Zwischenaktmusiken, die durch die Handlung des Dramas miteinander verknüpft sind. Stilistisch orientiert sich die Komposition an den Werken Felix Mendelssohn Bartholdys und Robert Schumanns, die für den Prager Davidsbündler Ambros als wichtige Vorbilder fungierten. Durch die Entdeckung der Schauspielmusik zu "Othello" lässt sich diese immer wieder betonte Nähe nun an einem größeren Werk untersuchen. The musicologist August Wilhelm Ambros (1816-1876) played an important role as feature writer and composer in the musical life of Prague during the 1840s. In 1848 he composed an incidental music for William Shakespeare's drama "Othello" which was performed in Prague for several times, but never was published. It has been considered to be lost, what has to be revised. The autograph of the composition is owned by the Austrian National Library since 1939, but has met with no response so far. The results of a first investigation are: the music to the drama "Othello" does not diverge from the common patterns of this genre. It consists an overture, a finale and some intermission music. Its style is affected, like most of Ambros' other compositions, by Robert Schumann and Felix Mendelssohn Bartholdy. The recovering of this composition now allows to research this influence on a larger opus.

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13

Vick, Liza, Santie de Jongh, Valia Vraka, Stephanie Merakos y Estelle Lowry. "Briefs / Feuilletons". Fontes Artis Musicae 67, n.º 4 (2020): 363–69. http://dx.doi.org/10.1353/fam.2020.0037.

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Březina, Aleš. "Briefs / Feuilletons". Fontes Artis Musicae 68, n.º 1 (2021): 33–36. http://dx.doi.org/10.1353/fam.2021.0002.

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15

Krämer, Kristina, James P. Cassaro y Stephanie Merakos. "Briefs/Feuilletons". Fontes Artis Musicae 69, n.º 2 (abril de 2022): 139–41. http://dx.doi.org/10.1353/fam.2022.0011.

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16

Cassaro, James P., Julianna Gócza y Mari Itoh. "Briefs / Feuilletons". Fontes Artis Musicae 68, n.º 2 (2021): 169–74. http://dx.doi.org/10.1353/fam.2021.0010.

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Merakos, Stephanie. "Briefs / Feuilletons". Fontes Artis Musicae 69, n.º 1 (enero de 2022): 53. http://dx.doi.org/10.1353/fam.2022.0006.

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18

Volclair, Christine. "Feuilletons japonais". L'école des parents N° 594, n.º 1 (2012): 54. http://dx.doi.org/10.3917/epar.594.0054.

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19

Vaculík, Ludvík y George Theiner. "Three feuilletons". Index on Censorship 15, n.º 7 (julio de 1986): 12–16. http://dx.doi.org/10.1080/03064228608534127.

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‘“You aren't a member of the Writers Union, nor are you registered with the Literary Fund,” he said to me on one occasion, “so that means you're no writer.” Oh dear, I thought, who is a writer, anyway.?’

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20

Lorch, Natalie, Pauline Sjöberg y Ricardo Tacuchian. "Briefs / Feuilletons". Fontes Artis Musicae 63, n.º 1 (2016): 45–49. http://dx.doi.org/10.1353/fam.2016.0007.

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Grigat, Friederike y Musse Magnussen Svare. "Briefs / Feuilletons". Fontes Artis Musicae 63, n.º 2 (2016): 140–47. http://dx.doi.org/10.1353/fam.2016.0008.

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Goldbach, Karl Traugott, Jan Dewilde, José González Ribot y Hyun Kyung Chae. "Briefs / Feuilletons". Fontes Artis Musicae 63, n.º 4 (2016): 299–304. http://dx.doi.org/10.1353/fam.2016.0036.

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Diet, Jürgen, Massimo Salcito y Mary Black Junttonen,. "Briefs / Feuilletons". Fontes Artis Musicae 64, n.º 1 (2017): 68–71. http://dx.doi.org/10.1353/fam.2017.0002.

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Ward, Jennifer A. y Mariella Sala. "Briefs / Feuilletons". Fontes Artis Musicae 64, n.º 2 (2017): 193–95. http://dx.doi.org/10.1353/fam.2017.0020.

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Shepard, John, Arsinoi Ioannidou y Eleanor Selfridge-Field. "Briefs / Feuilletons". Fontes Artis Musicae 64, n.º 3 (2017): 299–305. http://dx.doi.org/10.1353/fam.2017.0030.

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Bewley, John y Paul T. Jackson. "Briefs / Feuilletons". Fontes Artis Musicae 65, n.º 1 (2018): 24–27. http://dx.doi.org/10.1353/fam.2018.0002.

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Vraka, Valia, Stephanie Merakos, H. Robert Cohen, Richard Chesser, Ann Kersting-Meuleman y Ulrich Leisinger. "Briefs / Feuilletons". Fontes Artis Musicae 66, n.º 1 (2019): 52–60. http://dx.doi.org/10.1353/fam.2019.0003.

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Simon-Reecht, Agnès. "Briefs / Feuilletons". Fontes Artis Musicae 66, n.º 4 (2019): 372–74. http://dx.doi.org/10.1353/fam.2019.0038.

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Gottlieb, Jane y Pamela Thompson. "Briefs / Feuilletons". Fontes Artis Musicae 67, n.º 2 (2020): 161–66. http://dx.doi.org/10.1353/fam.2020.0011.

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Vick, Liza, Santie de Jongh, Valia Vraka, Stephanie Merakos y Estelle Lowry. "Briefs / Feuilletons". Fontes Artis Musicae 67, n.º 4 (2020): 363–69. http://dx.doi.org/10.1353/fam.2020.0037.

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Campana, Deborah, Richard Griscom, Judy Pinnolis y Sandi-Jo Malmon. "Briefs / Feuilletons". Fontes Artis Musicae 69, n.º 4 (octubre de 2022): 327–30. http://dx.doi.org/10.1353/fam.2022.0026.

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Sabourin, Lise. "Charles Nodier, Feuilletons du «Temps», tome I – Articles et feuilletons (1830-1843)". Studi Francesi, n.º 166 (I | LVI) (1 de abril de 2012): 162–63. http://dx.doi.org/10.4000/studifrancesi.4726.

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Mazurov, A. E. "The cycle of feuilletons “Siberian Museum” of the “Conservator” (F. V. Volkhovsky) in the “Sibirskaya gazeta” (1884–1885)". Sibirskiy filologicheskiy zhurnal, n.º 2 (2021): 82–95. http://dx.doi.org/10.17223/18137083/75/6.

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Feuilleton occupied an important place in the system of genres of the pre-revolutionary press. The genre allowed the publishers to openly express their position, criticize the phenomena of social life, and point out the existing problems of society. Feuilletons were often signed with pseudonyms, and some authors transformed pseudonyms into full-fledged “literary masks” that proved to be an important part of the poetics of feuilletons and literary play. Feuilletons were incredibly influential in the provincial press due to its more difficult censorship position than the capital. The leading newspaper of Siberia in 1881–1888 was the Tomsk “Sibir- skaya gazeta” that fully revealed the feuilleton talent of the exiled populist and poet F. V. Volkhovsky. The purpose of the study was to identify the content and structural features of the cycle of feuilletons “Siberian Museum” by F. V. Volkhovsky, signed by his pseudonym “Conservator.” The cycle was published in 1884–1885 and comprised 14 works. The “Siberi-an Museum” turned out to be one of the most conceptual feuilleton cycles by Volkhovsky. The idea of “collecting museum exhibits” became a kind of “frame” for designing the feuille-ton content, expanding the author’s capabilities in implementing the installation of “satire on faces,” and it is here that one can see a direct parallel with the satire of N. I. Novikov. “Con-servator” was the first “literary mask” of Volkhovsky, the closest to the author himself with his democratic position. However, this allowed Volkhovsky to expand the problem-thematic framework of feuilletons and to test new satire methods that were in demand among the read-er of Siberian periodicals.

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Ryan-Hayes, Karen. "Marina Lebedeva's "MEZHDU NAMI, ZHENSHCHINAMI" Feuilletons". Slavic and East European Journal 36, n.º 2 (1992): 172. http://dx.doi.org/10.2307/308964.

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Herpe, Noël y Priska Morrissey. "« Ceux qui aiment les romans-feuilletons... »". Vertigo 25, n.º 1 (2004): 26. http://dx.doi.org/10.3917/ver.025.0026.

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Molénat, Xavier. "1950-1970. Le temps des feuilletons". Les Grands Dossiers des Sciences Humaines N° 26, n.º 3 (1 de mayo de 2012): 18. http://dx.doi.org/10.3917/gdsh.026.0018.

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Zito Araújo, Joel. "Le Noir dans les feuilletons télévisés". Cinémas d’Amérique latine, n.º 15 (1 de marzo de 2007): 17–27. http://dx.doi.org/10.4000/cinelatino.6458.

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Huck, Christian. "Das Lieblings-Video des neuen Feuilletons". POP 4, n.º 1 (1 de marzo de 2015): 58–62. http://dx.doi.org/10.14361/pop-2015-0110.

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Öhlschläger, Claudia. "Feuilletons als kleine Bildarchive historischen Wissens". KulturPoetik 19, n.º 2 (24 de septiembre de 2019): 238–56. http://dx.doi.org/10.13109/kult.2019.19.2.238.

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Lascar, Alex. "Balzac et Sue : échanges à feuilletons mouchetés". L'Année balzacienne 11, n.º 1 (2010): 201. http://dx.doi.org/10.3917/balz.011.0201.

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41

Hopper, Kim. "On not leaving it to the feuilletons". Addiction 87, n.º 1 (enero de 1992): 12–15. http://dx.doi.org/10.1111/j.1360-0443.1992.tb01891.x.

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Bianchi, Jean. "Dallas, les feuilletons et la télévision populaire". Réseaux 3, n.º 12 (1985): 19–28. http://dx.doi.org/10.3406/reso.1985.1167.

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Abramova, Ksenia V. "Far Eastern Futurists and the Satirical Leaflet “Blokha” (“Flea”) (Vladivostok, 1920)". Critique and Semiotics 40, n.º 1 (2022): 319–48. http://dx.doi.org/10.25205/2307-1737-2022-1-319-348.

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The article deals with the analysis of publications of poetic feuilletons in the satirical leaflet “Blokha” (“Flea”), which was published in 1920 in Vladivostok. The authors of the publications hid behind pseudonyms that are currently indecipherable. Analyzing the texts, we primarily drew attention to the features characteristic of the poetry of futurists. On the one hand, these features served to create a parody, ridicule the figures of the literary community of Vladivostok in those years. On the other hand, having analyzed examples of poetic and prose feuilletons, we can say that the satirical magazine “Blokha” (“Flea”), published in Vladivostok in 1920, is closely connected with the futuristic movement that was actively developing in the Far Eastern republic in 1918–1921.

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Alexandrova, Elmira K. "International scientific conference “Writer versus critic: Social roles, genre preferences, language”". Philological Sciences. Scientific Essays of Higher Education, n.º 2 (marzo de 2022): 153–58. http://dx.doi.org/10.20339/phs.2-22.153.

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A chronicle of the scientific conference IRLI (Pushkiskin House) of the Russian Academy of Sciences (October 6–7, 2021), dedicated to the relationship between writers and their critics, is presented. The conference reports raised a wide range of issues: the structure of the readership in the era of modernization; social roles of critic and author, genre preferences, language. The participants of the scientific discussion considered the problem of interaction between the writer and criticism, the problem of “criticism of criticism”, as well as its significance and role in the literary process of the early 20 century. The topic of competition between periodicals was discussed; repertoire of artistic means and media techniques of critics-feuilletonists. The role of the press in the formation of the reputations of contemporary writers, verbal and non-verbal ways of representation (interviews, photographs), various polemics, disputes in liberal, party, conservative publications, the creation of biographical myths are analyzed. A number of reports were devoted to the problem of interaction between modernist writers and newspapers. Separately, the question of the fate of the critics-feuilletonists during the period of the revolutionary redistribution and the end of the free press was brought up for discussion. A separate session was devoted to the figure of the critic A.A. Izmailov and his relationship with fellow critics and the authors themselves.

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Kernmayer, Hildegard. "Sprachspiel nach besonderen Regeln. Zur Gattungspoetik des Feuilletons". Zeitschrift für Germanistik 22, n.º 3 (1 de enero de 2012): 509–23. http://dx.doi.org/10.3726/92137_509.

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Compte, Carmen. "Les Feuilletons américains : structuration narrative et manipulation technique". Cahiers du Centre de Linguistique et des Sciences du Langage, n.º 1 (14 de julio de 2022): 87–108. http://dx.doi.org/10.26034/la.cdclsl.1992.3109.

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Dans une télévision américaine avide de changement et anxieuse de nouveauté, le feuilleton de l'après-midi, le « soap opera »1 apparaît comme un phénomène à part. Non seulement certains « soaps » sont encore diffusés 35 ans après leur première apparition à l'antenne, mais ils constituent un apport essentiel ( 75 %) aux ressources des chaînes américaines (<< networks » ) . A quoi tient ce succès ? Ce n'est pas seulement, comme l'indique Esslin, parce' que l'être humain aime qu'on lui raconte des histoires. Le feuilleton satisfait effectivement ce besoin, il se prête de plus à différents niveaux de compréhension et aux goûts d'un public très hétérogène. Crest ce point qui nous a paru parti culièrement intéressant : comment le soap opéra arrive-t-il à trai ter des sujets complexes (quatre à cinq histoires par épisode), à un rythme qui n'est entamé ni par les coupures publicitaires ni par la concurrences des autres chaînes ? Comment cet ensemble compliqué et rapide peut-il accrocher un public ? Comment réussit-il à donner au spectateur l'impression de ne faire aucun effort de compréhension ?

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Milosavljević, Ilija. "FEUILLETON IN SERBIAN PRESS". MEDIA STUDIES AND APPLIED ETHICS 2, n.º 2 (2 de diciembre de 2021): 51–63. http://dx.doi.org/10.46630/msae.2.2021.04.

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The feuilleton is one of the most specific and oldest genres in journalism, but also one of the least analyzed and defined. Often appropriated as a literary genre in journalism, it has changed its form, style and content throughout history in order to adapt to the current circumstances in the media world. In keeping with the contemporary development of digital platforms, online journalism and sensational, fast-paced reporting, its specifics and peculiarities bring new challenges. The aim of the paper is to note the use, specifics, topics and the position of this genre through the analysis of feuilletons in the serious, semitabloid and tabloid daily press in Serbia. Additionally, the goal is to observe potential differences in relation to the type of press, but also the ways in which this newspaper genre is implemented in online newspaper portals. In accordance with these goals, the method of descriptive and comparative content analysis as well as the statistical method were used in the paper. The research was conducted on four daily newspapers, Danas, Politika, Večernje novosti and Blic, in the period from January 24, 2020 to January 30,2020. Twenty seven issues of these newspapers were analyzed, including 2,230 media texts, 30 of which were feuilletons. Research has shown that this genre is more common in serious than in semi-tabloid and tabloid press, that the most common topic covered through this genre is politics and that there are significant differences between the same feuilletons in printed newspapers in comparison to online editions.

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Abu-Lughod, Lila. "Du réalisateur au spectateur : la politique des feuilletons égyptiens". Égypte/Monde arabe, n.º 24 (31 de diciembre de 1995): 43–58. http://dx.doi.org/10.4000/ema.629.

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Pietrzak, Magdalena. "The Image of the Poles in Henryk Sienkiewicz’s Feuilletons". Studia Językoznawcze : synchroniczne i diachroniczne aspekty badań polszczyzny 14 (2015): 285–96. http://dx.doi.org/10.18276/sj.2015.14-18.

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Lorey, Isabell. "Die Wiederkehr des Verdrängten am Beispiel des Ekels". PROKLA. Zeitschrift für kritische Sozialwissenschaft 35, n.º 139 (1 de junio de 2005): 307–14. http://dx.doi.org/10.32387/prokla.v35i139.606.

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One year ago in German feuilletons, disgust and abhorrence were one of the first reactions on the publication of the photos of torture. Especially on the photos with Lynndie England. The paper follows this reactions of disgust and asks for the meaning of the pictures in the cultural imaginary of the west.

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